Oh, sure, pander to the Zoroastrian audience.

Well, technically, Aladdin's supposed to be Chinese.

But it's a HUGE Chekhov's Gun situation. You KNOW they wouldn't spend time explaining the effects of relativity on the astronauts unless it was going to come up later.

I never understood how the ending to Planet of the Apes was supposed to be a twist. They tell you right at the beginning that, thanks to traveling close to the speed of light, the astronauts will be returning to Earth centuries after they left. Combined with the apes mentioning that they evolved from humans, it seems…

I really liked the second season of Justice League, but always had more of a hit-and-miss feel about the Unlimited version of the show; a lot of the time it felt like that show had loads of ambition, but not really the skill to pull it all off. The resolution to the whole Cadmus arc is especially disappointing.

"I beg your pudding?"

Probably the best example of a parody mimicking the genre it's making fun of is Garth Marenghi's Darkplace. The sheer level of detail put into showcasing the poor craftsmanship of the show-within-the-show is remarkable.

But would Canada's increased independence have gone so smoothly if Britain didn't have its experience with the American Revolution to show why fighting them on that would be a bad idea?

Not Another Teen Movie is frickin' great, though by this point pretty significantly dated.

His Girl Friday, like all adaptations of The Front Page, is about a reporter trying and failing to overcome their addiction to the seedy, amoral world of journalism. In the case of His Girl Friday, succumbing to their journalism compulsion includes succumbing to the charms of crooked-journalism incarnate, Walter Burns.

Or when the Daily Show had a brief bit about "Redenbachers" (older men who hook up with younger women) and the correspondent accused Jon Stewart of being one. When he explained that both he and his wife were in their forties, the correspondent said, "You're in your FORTIES!? What happened to you?"

"That's what I love about these high school girls, man: I get older, they stay the same age."

I like it, because it's framed in a "we don't know where our lives are going, but let's try finding out together" thing, rather than a "we got together, so we're happy forever now!" thing.

I think most people misread that ending. It's not telling us that Ted and Robin end up together; the whole finale is centered on the theme that life doesn't really have an ending (besides the obvious one) and these characters will keep having massive changes in their lives long after the cameras stop rolling. So all…

The writers specifically say in one of the episode commentaries that they decided to differentiate the two couples by mostly only giving Chandler and Monica small, cute fights, while Ross and Rachel had big, dramatic fights and more incompatible personalities. So that was very much deliberate.

Though you can also read Romeo & Juliet as having the moral "if your teenaged son or daughter gets into a relationship that you don't approve of and think is moving too fast, just let them be; interfering will make things so much worse."

He probably outgrew his attraction to her, then eventually regrew it, then outgrew it again, and then regrew it again multiple times over the course of the 10,000 years or so he spent on that day.

I've never understood this bad opinion people have of Ferris Bueller. His two big sins are pretending to be sick so he can skip school (and helping his girlfriend do the same) and talking his friend into driving his dad's car without permission. And when it looks like the latter act isn't going to go completely…

You can argue that she SHOULDN'T put so much trust in a complete stranger when she knows she has such severe memory loss, but that's not the same thing as her not having the RIGHT or ABILITY to give him her trust. And, from what we see of her specific circumstances, that trust was well placed.

And they actually bring up that fact in the movie. Long term, she's in for a traumatic shock when she wakes up every day no matter what, but we see the Sandler's character makes accepting that shock much easier for her than normal.