Henson's run may have been its best (before the McHale revamp); Kinnear was well-liked, but always came off to me as smarmy and transparently eager to move on to his eventual big-time career as the star of such films as The Matador and Heaven is for Real. After Henson, Hal Sparks's stupid face and terrible timing…

"Don't Mind the Guy Who Listens to Finger-Eleven in Apt. 27"

If I were a less cynical person, I'd expect him to do the same thing Magic Johnson did: take to the media to publicly announce that anyone who has had sexual contact with him should get checked immediately.

Oh yeah. Because he was a fucking maniac.

Oh man, I forgot they cast that maniac as her dad.

COUNTERPOINT: Jonah Ray is responsible for heroically marching our society one step closer to admitting that Sublime was a lousy band.

Give It A Rest, Internet!

AVC's going to start charging us for these threads; the fee is a pun-per-nickel.

You're gonna want to scrub off with a falafel afterward.

Bill Maher could eat all the dicks, and it still wouldn't come close to the number of hooker-facilitated BJs he's skipped out on paying.

It depends on whether they can finally, definitively explain the alien concept of "talking animals" to American audiences.

An' that's all that I yam.

You're not my supervisor!

It helps that his character gets horribly beaten and battered throughout the film.

Oh, wait. "Foot Controlled Activator?" They never formally recorded that in studio. When/where would you have heard it?

They had three albums! Go get the final one now - the band has it up for free download on their website, plus a collection of rarities and a final "farewell" song.

I know the entire Harvey Danger catalogue (please, hold your applause) and that does not sound like any of their song titles. The closest thing I can think of is "Terminal Annex?"

Only in an intellectual sense.

Oh yeah, that's true! The recording for that also circulated on some band-approved bootlegs over the years.

That string of one-hit-wonders had little to do with the quality of the bands themselves, but rather their unfortunate timing relative to events transpiring in the industry. Between 1998 and 2002, the major labels all started sinking under the weight of bloated overhead and A&R expenses, while making substantial…