As a hardcore Bobby Fuller fan, Let Her Dance is probably my second favorite Wes Anderson song use, right behind Needle In The Hay from Royal Tenenbaums.

Let Her Dance was in Fantastic Mr. Fox, Paint It Black was Full Metal Jacket, Baby You're A Rich Man was The Social Network.

I'm not sure what I'd think of it if I saw it for the first time now, but sixteen-year-old me was in the perfect place to respond to its mix of stoner philosophizing and low comedy.

Really? No one's gotten the Pinback thing yet? Dark Star, of course—one of my favorite movies.

Neil Simon would try to integrate more "serious" subject matter into his work, but the results have aged very badly, like a Norman Lear sitcom which would make some socially relevant point, then revert to standard schtick so things never got too heavy. His shows remained popular through the nineties, but the…

Neither was Sudden Impact, and the original (non-Dirty Harry) script was co-written by Charles "Boggy Creek" Pierce.

I might switch out Sudden Impact and Magnum Force—Eastwood as director was quite the stylist by 1982—but otherwise, this is the proper ranking. Even for a hardcore fan of the series, The Enforcer is a piece of shit—it plays like a bad seventies TV pilot.

My jealousy levels are rising to overload.

It's sad—Chakiris' career is pretty much West Side Story and not much else, but he had charisma to burn and that movie was obviously hugely popular in its day. I have no idea why he didn't become a star.

Gene Kelly was in Young Girls Of Rochefort (and what a great movie it is!), so he's presumably the one that was meant. But it also has George Chakiris, who's at least semi-famous.

When you mentioned one of the topics was directors who only made one film, Kastle's was the first name that popped into my head.

Leonard Kastle—not Martin Scorsese—directed The Honeymoon Killers.

I admire the ambition of Sandinista! and I certainly like some of the songs, but man, it's a slog to get through. I think it largely comes down to me just preferring Weller as a songwriter than Strummer or Jones.

I do, too. My theory is, with The Clash you've got a string of killer singles, one consistently great album (London Calling, of course) plus a whole lot of filler. The Jam started great and stayed great, and all their albums are essential.

But this is the state where people turned out en masse to support Cruz at the caucuses, so if he's the nominee, bad times will be ahead. And with the attacks in Brussels, I'm very much a-scared that Cruz will ride the hate machine all the way.

Oh, I wish I could believe that. But Grassley is an institution, and people vote for him out of habit, and King unfortunately has many, many people who claim he speaks for them. The democrats keep claiming that this time, no shit really, they have formidable challengers, but I just don't see it.

As an Iowan, let me say fuck that obstructionist asshole Chuck Grassley, fuck our worthless governor, who is actually related to Merrick Garland but automatically sides with Grassley because the people should decide, and especially fuck Steve King, just because he exists.

"The Beatles are kinda busy. But here's Marshall Crenshaw." I'd call that an upgrade.

King Tut's Best Friend actually aired under the title Through The Magic Pyramid. Ron Howard directed, his dad Rance wrote it, and the cast included Vic Tayback, Jo Ann Worley and Robbie "Cousin Oliver" Rist. And, um, I watched it when it first aired. Here's a shocker—it was terrible!

Well, that number is…not good.