Top 10 Funniest Movies of All Time

Greetings, reader!

Tomorrow is the 40-year anniversary of Monty Python's The Meaning of Life (1983), the third and final Monty Python film, being released. In honor of this comedy classic, I'm taking a look at the very gems of the comedy genre, and ranking the 10 funniest films of all time (in my humble opinion). Just to be clear, this isn't the same as 'the greatest overall comedy films', but purely the ones that are the very funniest, no matter what tier of cinema they come from. I hope you enjoy!

Here are my honorable mentions: Deadpool (2016), Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), Due Date (2010), Ferris Bueller's Day Off (1986), Home Alone (1990), In Bruges (2008).

10. 21 Jump Street (2012)

"One particle of unobtainium has a nuclear reaction with the flux capacitator - carry the '2' - changing its atomic isotoner into A RADIOACTIVE SPIDER. Fuck you, science!"

With this ultimate "watch it on a Sunday night or an airplane" flick, it's mainly about Jonah Hill and Channing Tatum's collective chemistry, individual comedic talent, and amusing reversal of expected roles. Also, Ice Cube being Ice Cube adds monumental comedy value. Having the scene that ousted Blues Brothers (1980) as the funniest car chase sequence in cinema doesn't hurt either. And then there's the undercover cop storyline's way of combining Brooklyn Nine-Nine (2013-2021) style police comedy shenanigans with American Pie (1999) style high school shenanigans. So, it's a whole lot of things, really. Even the soundtrack has great comedic timing.

9. Tag! (2018)

"What's the difference between Episcopalian and Lutheran?"

"Episcopalians don't eat fish"

"That's pescatarian, that's...not a religion"

"They're all fanatics, I don't know"

The interaction quoted above is justification enough for a top 10 slot. Besides that fantastic piece of dialogue, Tag! keeps one amused and entertained with its incredibly real-life-inspired premise (a group of friends who started an ongoing game of tag as kids, and have continued to play it and take it seriously way into adulthood) and its beyond-hilarious cast. Hannibal Buress' stoner humor, Jon Hamm's down-to-earth antics, Ed Helms' chaotic brand of comedy, Jeremy Renner's over-the-top action hero aesthetic and Jake Johnson's completely baffling, absurd and unique style of Jake Johnson comedy make for one hell of a combination - each of the main characters is very, very funny in their own way.

8. Scary Movie (2000)

"If you could have spoken to her before she died, what would your last words to her have been?"

"Run, bitch, run!"

The big difference between a "Top 10 best movies that happen to fall under the comedy genre" list and a "Top 10 comedies, based purely on how funny they are" list is that some truly dumb but inexplicably hilarious pseudo-cinema can make it onto the latter while having no business near the former. Chief among these gems is the cult-classic horror parody Scary Movie.

It says a lot that the film's chief source of parody is Wes Craven's Scream (1996), which in itself is not very serious and a semi-parody of the slasher genre on a meta level. And the level of humor in Scary Movie is exactly what you can expect from something that is essentially a parody of a parody. But dammit if the dumb jokes don't make me laugh out loud every time, as they tap into something primal in the human sense of basic comedy. Jokes like the "Amistad 2" trailer, the "WAZZUUUP" sequence and the film's unforgettable twist ending are as objectively funny as they are unapologetically stupid. I've talked a lot about "watch this on a Sunday night or an airplane" films, but this one falls more into the "watch this while high at 2 A.M. at a noisy house party" category.

7. The Hangover (2009)

"Counting cards is a foolproof system"

"It's also illegal"

"It's not illegal, it's just frowned upon, like masturbating on an airplane"

"I'm pretty sure that's illegal too"

Forbes once made a pseudo-scientific study on what the funniest movies of all time are, based on the average "laughs per minute" caused in different kinds of viewers. Out of all the movies tested, The Hangover came in second place, averaging at 2.4 laughs per minute. Just think about that for a moment - the average minute of The Hangover will make you laugh, out loud, multiple separate times. That's quite the achivement.

Yeah, The Hangover is pretty great - Justin Bartha is the comedic straight man, Bradley Cooper and Ed Helms deliver funny and memorable performances and Zach Galifianakis knocks it out of the park (not to mention Ken Jeong and Mike Tyson's delightful supporting performances).

6. Hot Shots! (1991)

"Admiral Benson!"

"Really? That's my name too!"

Ah, back to the dumb variety. The humor in Hot Shots! may be simple, but there's no limit to how effective it is. From the film's opening moments hilariously spoofing the iconic Top Gun (1986) opening, through unforgettable gags like "I have my father's eyes" and the tears-of-laughter-inducing culinary sex scene, all the way to the glorious ending, this top tier parody film is one for the ages. Charlie Sheen is fantastic in the lead role, and all of the hilariously stupid (or stupidly hilarious) humor just works like a charm while having multitudes of re-watch value.

5. Police Academy (1984)

"What's wrong with this man?"

"There was gunplay, Sir. And he missed it"

And so we arrive at the very essence of slapstick. A movie where the myriads of humor are matched only by the escalating cruddiness of the sequels, Police Academy is a silly classic where even the score and especially main theme are among the funniest of their kind.

But what really makes the movie into such a comedic tapestry is the cast of characters. From Mahoney's (Steve Guttenberg) bad-boy antics and Hightower's (Bubba Smith) over-the-top presence, through Jones' (Michael Winslow) hilarious sound effects and Hooks' (Marion Ramsey) vocal struggles, all the way to Fackler's (Bruce Mahler) bumbling antics and Tackleberry (David Graf) somehow being such a flawlessly executed 'gun nut' character that even I find it funny, the main group of characters is an unforgettable one, with each one's comedic hijinks playing off each other.

4. Clerks (1994)

"Thirty-seven! My girlfriend sucked thirty-seven dicks!"

"In a row?"

That exchange alone deserves Kevin Smith's masterpiece a spot on this list. But, yeah, in all its crudeness, Clerks is top tier comedy. Following a day in the life for two store clerks, the film finds its comedic voice through its chill atmosphere - much like the famous 'show about nothing' concept working in Seinfeld (1989-1998), Clerks bathes in the delight and amusement of life's little things.

The dialogue between the main characters, as they argue about movies and take roof-hockey breaks amidst their workday, is as sharply funny as it is authentically laid-back. The interactions with the side characters, such as Jay (Jason Mewes), Silent Bob (the man himself) and a vast array of customers, are the icing on the cake.

3. Monty Python's The Meaning of Life (1983)

"Hello, and welcome to the Middle of the Film, the moment where we take a break to invite you, the audience, to join us, the film-makers, in 'Find the fish'"

Ah, the movie of the hour! Turning fourty years old tomorrow, The Meaning of Life is one bizarre film, even by Monty Python standards. But my God, it's hilarious, in a way quite like no other. I mean, already the film's structure has some fantastic comedic genius to it - the semi-musical style with multiple original songs, while jumping from skit to skit as they tie together just enough to feel like a cohesive movie, made all the better by the wonderfully psychedelic fish tank interludes. Also, this is the one movie where an announcer welcomes the viewer to the middle of the film (and later to the end of the film), so there's that.

The absolute hilarity of the structure is completely matched by the substance of the various sequences. The Crimson Permanent Assurance buildings crashing into each other, the 'Every sperm is sacred' song, everything Eric Idle says and does, the list goes on. The film makes some majestic humor out of its deeper-than-previous-works -subject matter, while also going deeper into it than one might expect - and, once it has reached some quite philosophical ponderings, uses them to milk even more comedy gold out of this treasure trove of laughs.

2. Monty Python's Life of Brian (1979)

"Crucifixion?"

"Yes"

"Good. Out of the door, line on the left, one cross each. Next! Crucifixion?"

"Yes"

"Good. Out of the door, line on the left, one cross each. Next! Crucifixion?"

"Eh, no, freedom"

"What?"

"Freedom for me. They said I haven't done anything and I could go free and live on an island somewhere"

"Oh! Oh well that's jolly good, well, off you go then"

"Nah, mate, I'm pulling your leg, it's crucifixion really!"

Laughing so hard that you cry from laughter is a rare and beautiful occurrence. And I have never laugh-cried as hard, in my life, as I did when I watched the final moments of Life of Brian unfold for the first time. The film had been hilarious enough leading up to it (the stoning sequence, the Judean Peoples' Front, the 'What have the Romans ever done for us' dialogue, you name it), but that ending just seals the deal. Is there anything in this world that's funnier than Eric Idle getting a bunch of crucifixion victims to gleefully sing 'Always look on the bright side of life' as they hang from the crosses?

Well, I can think of one funnier thing off the top of my head, but that'll come up in today's #1.

But, yeah, Life of Brian is as amusing with its individual skits as it is with the larger theme as the film makes light of events from the New Testament and religion in general. The film sure got its share of criticism back in the day, but I mean really, when considering how many have been killed in the name of religion, I can't see how anyone would see 'six British comedians not taking religion all that seriously' as a major problem after centuries of 'people taking religion, like, WAY too seriously'. I've been glad to hear that many modern Christians do enjoy the film as a light-hearted take on it all.

1. Monty Python and the Holy Grail (1975)

"What makes you think she's a witch?"

"She turned me into a newt!"

"A newt?"

"...I got better"

Is it a bit overkill to have the three Monty Python feature films as my picks for the literally three funniest movies of all time? No, it is not, and they deserve it. In my honest opinion, the least funny Python film really is funnier than any non-Python film I've seen, which speaks volumes of the comedic genius of this fantastic group. And the best of the bunch is 1975's Monty Python and the Holy Grail.

You know that feeling that you get when Nino Rota's music lays the atmosphere for the opening moments of The Godfather (1972) or when the yellow opening text blasts onto the screen in Star Wars (1977)? You know, the 'I'm about to watch Great Cinema' -goosebumps? I bring this up because this film starts with what can only be described as comedy's equivalent to this dramatic feeling. When I watched The Holy Grail for the first time with my brother, we hadn't seen any Monty Python skits and knew pretty much nothing about the group, just that these movies are among the highest-rated comedy classics so we should probably watch them. And just from the wonderfully escalating opening credits, it was pretty clear that we're watching something life-changingly funny, something on the next level.

There's just so much to love here. You've got insanely hilarious running jokes, like the low-budget take on cavalry scenes where everyone rides imaginary horses, and the random subplot where modern-day policemen are thrust into the medieval story. You've got mind-blowingly imaginative comedy that no one else could come up with, like the monster dying because 'the animator suffered a sudden heart attack' and the Holy Hand Grenade. You've got unforgettable and hysterical characters, like John Cleese's Black Knight, Terry Gilliam's Bridgekeeper and everyone Eric Idle plays. You've got uniquely Monty Python -style humor, such as the scene where the bridgekeeper ends his first set of riddles with a ridiculously difficult question, then twists the expectations by ending the next set with the amusingly easy "what is your favorite color?" - only for a laugh-out-loud double twist to occur, as Sir Galahad (Michael Palin) somehow fumbles his response ("Blue! NO, WAIT, YELLO...") and is thrown off the bridge.

And, yes, I mentioned in my Life of Brian description that there is one thing I could think of that is even funnier than the crucifixion sequence in that film; I believe Monty Python and the Holy Grail to contain the single funniest scene in all of cinema (or television, literature or theater, for that matter). The scene in question is the King of Swamp Castle (Michael Palin) ordering his guards (Eric Idle and John Cleese) to stay and guard Prince Herbert (Terry Jones), but they keep misunderstanding the order. I have yet to see a better comedic payoff than the guards, after getting the simple instructions wrong in every possible way, finally seeming to understand - until the King leaves the room and they start to leave with him, proving that they're still not getting it. Comedic genius at its highest level.

Thank you for reading! Tune in next week as I begin the second edition of a special music-themed month, kicking off with next Thursday's post where I rank the albums of The Beatles!

Top 10 Scenes from Tarantino Movies

Greetings, reader!

A while back, I polled my Instagram users for future blog topics. Many wanted to see a ranking of Quentin Tarantino's movies, but I've already done that one in a previous post (click to view). However, my friend Tuukka suggested posting a ranking of my top 10 favorite scenes from Tarantino movies, and that was an idea worth exploring! Across the filmography of one of Hollywood's finest, these are the very best moments.

Oh, and a spoiler alert is in order for Pulp Fiction, Jackie Brown, both Kill Bills, Death Proof, Inglorious Basterds and One Upon a Time in Hollywood.

Here are my honorable mentions: Mexican Standoff from Reservoir Dogs (1992), "You shot Marvin in the face!" from Pulp Fiction (1994), House of Blue Leaves Bloodbath from Kill Bill: Volume 1 (2003), Cinema Bloodbath from Inglorious Basterds (2009), Candyland Bloodbath from Django Unchained (2012), The Creepy Cult Ranch from Once Upon a Time in Hollywood (2019).

10. Anime Backstory from Kill Bill: Volume 1 (2003)

Wild creativity and out-of-the-box ideas enriching the storytelling are a big part of the Tarantino recipe, and a prime example is the scene from Kill Bill: Volume 1 where we learn the origin story of assassin O-Ren Ishii (Lucy Liu). In order to tell the backstory in an interesting and memorable way, while surprising the viewer and also paying tribute to an important visual medium steeped in the culture where his story is taking place, Tarantino cleverly switches things up from live action to anime for this sequence. It's a visually striking and delightfully creative scene, properly introducing us to this badass villain.

9. The One that Says 'Bad Motherfucker' from Pulp Fiction (1994)

What a way to end one of the great films of our time. Circling back to the diner robbery from the beginning of the film, Tarantino ties the Jules (Samuel L. Jackson) and Vincent (John Travolta) narrative together with the Pumpkin (Tim Roth) and Honey Bunny (Amanda Plummer) robbery. This leads to a tense yet humorous standoff between the groups of criminals, with Sam L. Jackson (the 'L' stands for 'motherfucker') absolutely running the show with his wisdom, street smarts and turn of phrase. It all unfolds in quite memorable fashion, leaving things on just the right note.

8. The Final Confrontation from Kill Bill: Volume 2 (2004)

The climax of the second and final Kill Bill film is not unlike the scene from How I Met Your Mother's (2005-2014) series finale where Ted meets Tracy - both scenes have a strong "everything has been leading up to this one moment straight from the title, so the payoff better be worth it" vibe.

And boy, they sure succeed. After fighting her blood, sweat & tears -journey all the way to the main villain's abode, The Bride (Uma Thurman) has a tense conversation with Bill (David Carradine), before they fight. And using the 'Five Point Palm Exploding Heart' technique, very much Tarantino's personal take on Chekov's gun, our protagonist manages, in the most glorious fashion, to kill Bill.

7. The Tradeoff from Jackie Brown (1997)

While this technically could be seen as three different scenes, I'm choosing to count it as one drawn-out sequence. We see the climactic money exchange going down from three different perspectives, each adding some vital new information in a very Tarantino fashion. There's also a cool video on YouTube, where all three points of view have been chronologically synchronized, which I recommend checking out!

All in all, between its heist-movie suspense and neat narrative structure, this tense and twisty sequence is definitely the high point of Quentin's most understated film.

6. The Car Chase from Death Proof (2007)

This 17-minute behemoth of an individual scene serves as quite the thrill ride climax for Death Proof, the Tarantino-directed opening act of the Grindhouse double feature by him and Robert Rodriguez. One of my favorite details* in Death Proof is that it stars Tarantino's longtime collaborator Zoe Bell, who up until then was known as a stunt actress, most famous for being The Bride's stunt double in the Kill Bill films. Here she gets a chance to shine in the spotlight, and her incredible stuntwork is on full display in this impeccably directed action sequence that just keeps on giving.

*My least favorite detail about Death Proof: like many other Tarantino films, this one was produced by Harvey Weinstein - and it's especially upsetting to think about here, as in hindsight one can't help but wonder if the producer saw the film as some misguided fantasy, with Kurt Russell's violent and sexist lead character likely being more hero than villain in Weinstein's twisted mind.

5. Three More Drinks from Inglorious Basterds (2009)

"Why do you have your Walther pointed at my testicles?" Man, no one does dialogue quite like good ol' Tentin Quarantino. In this tense bar sequence, a fun party game escalates into a tense stand-off when the undercover nature of Lt. Archie Hicox (Michael Fassbender) is discovered.

Everything about this memorable scene is just so good - the clever storytelling in Hicox's fingers giving him away when he orders three more drinks, the suspenseful yet classy dialogue during the stand-off, and the violent conclusion that it all leads up to. In just one scene, Fassbender's performance becomes one of the best in a film filled with memorable characters.

4. Mans(i)on Bloodbath from Once Upon a Time in Hollywood (2019)

One of my favorite tropes in storytelling is a story feeling atmospherically different from what you'd expect based on previous works, until suddenly it uses the expected feeling as an ultimate power move. For example, the first episode of Twin Peaks: The Return (2017) feels atmospherically very far off from the original Twin Peaks - which makes it such a payoff when we hear the familiar main theme and see the familiar settings close to the end of the episode. Or, in both the book and movie adaptation of Stephen King's Doctor Sleep, which is a pseudo-sequel to The Shining, the atmosphere is very far off from certain elements we remember from the original work, which just makes it all the more satisfying when the climax hits you with a gut punch of The Shining elements.

The same trope can be found from Tarantino's newest release; while many of the elements in Once Upon a Time in Hollywood feel Tarantino-esque to the maximum, one key element is missing: the violence. Tarantino's specific brand of entertaining violence, to be exact. And this makes it all the sweeter when, in the final act, we get the most Tarantino action sequence that Tarantino has ever Tarantinoed across his decades of being Tarantino. By the time Leo grabs the flamethrower, you just know you're watching the stuff of legends unfold.

3. The nerve-wracking opening from Inglorious Basterds (2009)

There's a fantastic Hitchock quote about suspense: "Mystery is when the spectator knows less than the characters in the movie; suspense is when the spectator knows more than the characters in the movie". And therein lies the genius of Tarantino, early on, letting the viewers know about the Jewish family hiding under the floorboards while SS-Standartenführer Hans Landa (Christoph Waltz) questions the owner of the house.

Waltz won an Oscar for his villainous performance in this film, and honestly, it feels like he would've won it for this scene alone without appearing in the rest of the movie. The evils of antisemitism and the Nazi movement are condensed into his performance in a way that feels simultaneously over-the-top in its immorality yet strikingly believable, realistic and humane (humane as in "yeah, it makes sense that humanity came up with this shit"). Between its unforgettable introduction to the main villain, the extreme levels of tension and suspense, and the way Shosanna's (Mélanie Laurent) escape poetically sets up the film's climax, this opening scene is one for the ages.

2. You Never Can Tell from Pulp Fiction (1994)

You can be cool all you want - but no matter how cool you are, you will never be "John Travolta and Uma Thurman dancing the twist to Chuck Berry's You Never Can Tell at a 1950's themed diner" cool. The aesthetic in this iconic scene is quite simply off the charts, and the chemistry between Travolta and Thurman is nothing short of electrifying.

The scene's lack of importance for the film's plot makes it all the better - Pulp Fiction has been dubbed 'the masterpiece without a message', and it's scenes like this, scenes where Tarantino just went "Ah fuck it, wouldn't it look cool if the characters did this and that" that truly make the film stand out. The film's plot wouldn't be very affected if the twist dance was cut, but the film would sure as hell be less memorable and less of a stylistic masterpiece without this charming interlude. I suppose it goes to show you never can tell.

1. A damn tasty burger from Pulp Fiction (1994)

The dialogue in this legendary scene is the only thing even more delicious than a Big Kahuna hamburger. If you merely summarized the events of this scene, it would be no different from tons of similar scenes in crime films - honestly it feels a bit weird, that a "two hitmen arrive to take care of a guy who double-crossed their boss" moment from the film's first act would be the #1 best scene of a great filmmaker's filmography, going ahead of numerous climactic and spectacular sequences.

But if you watch the scene, it all makes sense. Sure, all of Tarantino's films have decent dialogue, but this scene is the very epitome of quality dialogue in cinema. Every single line is perfect, and the way in which Samuel L. Jackson delivers them is beyond amazing. The scene's atmosphere is somehow funny as hell while being threatening, weirdly chill while being intense and suspenseful, and just a whole strange mixture of things as is evident from Vincent Vega's random kitchen exploring in the background while Jules does his thing. If there's one scene you need to watch in order to understand and appreciate Tarantino's genius, it's this one.

Thank you for reading! Tune in next week, as I celebrate the anniversary of a classic Monty Python film by ranking the 10 funniest movies of all time.

Also, one thing I forgot to do last week was keeping my promise to revisit my Oscar predictions after the gala is over. So, one and a half weeks after the Oscars, I can proudly say that I matched last year's score, with a whopping 17 out 23 correct. I'm especially thankful that I got Best International Feature and Best Visual Effects right due to certain promises I had made - now I won't have to watch and rank all Sharknado movies and/or all Michael Bay movies.

Ranking the Episodes of HBO's The Last of Us

Greetings, reader!

This week's Monday marked the end of the debut season of HBO's The Last of Us, a hit post-apocalyptic thriller based on the vastly acclaimed video game of the same name. I walked into this video game adaptation as I did into 2021's Arcane: I haven't played the game, the story and the world aren't familiar, so I can't speak to how good of an adaptation it is. However, I'm delighted to say that the series works well as a show of its own, to those of us who aren't familiar with the game. Here is my ranking of the first season's nine episodes!

SPOILER ALERT: This post contains spoilers of the series (and indirectly the video game as well, I suppose). You've been warned!

9. Infected (Episode 2)

It's hard to put any episode last, because the overall level of episodes is incredibly solid. No episode is a 10/10 masterpiece, but they're all very good - I've never seen a TV season where any episode could be so easily argued to be the best out of the bunch. While that applies to the sophomore episode Infected, with its emotionally charged ending, it still finds itself at my ranking's last place.

While the sacrificial death of Tess (Anna Torv) is moving, it wasn't quite up there with some of the show's most powerful moments for me - having no previous investment to the character as I haven't played the game, I didn't feel like I had really gotten to know her that well during the first two episodes. What still makes it quite gripping in its own right is Joel's (Pedro Pascal) reaction, making the episode quite memorable even if it remains the least of the bunch in my book.

8. Left Behind (Episode 7)

I do see why this is the show's lowest-rated episode on IMDB, as it doesn't do much to advance the plot and feels a bit disjointed from the other ones. However, I strongly disagree with those calling the episode 'pointless' or 'filler', as it does wonders for Ellie's (Bella Ramsey) character development and gives the actress an opportunity to shine.

The flashback narrative is a nice way to flesh Ellie's character out, and her bond with Riley (Storm Reid) is quite sweet until things take a turn for the heartbreaking. While the episode is an important part of the season's tapestry, it doesn't quite reach the levels seen in most Joel-and-Ellie -centric episodes, and that is why the episode is left behind most of the others in my ranking.

7. Look for the Light (Episode 9)

Look for the Light is a thoroughly decent season finale, wrapping some things up while leaving others open for the upcoming second season. While I enjoyed much of the episode, especially the moral dilemmas it centers on, it wasn't quite as memorable and/or powerful as a whole as many of the episodes leading up to it.

Still, seventh out of nine is by no means a bad ranking, when taking into account how all of the episodes had some special hook to them. The finale wasn't the masterful coup de grâce for me that it might've been for some, but it certainly did its job as an ending and left me excited for season 2.

6. When You're Lost in the Darkness (Episode 1)

One of the most intriguing parts of post-apocalypse stories often is seeing the chaos of how the apocalypse goes down. Many, like The Walking Dead (2010-2022) and Mad Max (1979) start from after the world-changing events and might later flash back to shed light on the background, but others, like Stephen King's The Stand (1978) and this show, start in 'the normal world' and use their first act to showcase the horror of a world-changing disaster going down.

The pilot episode is chaotic and intense, grabbing the viewer's attention and leaving lots of room for worldbuilding and character development in the following episodes. The main jist of the show's story barely gets started, as we only meet Ellie towards the tail end of the episode, but the amount of information and context given in this episodes is vital for how well the next episodes take the story forward.

5. Kin (Episode 6)

Speaking of worldbuilding, this episode comes close to perfecting that concept. In post-apocalyptic shows like this one, it's always fascinating to follow what kinds of places, groups and societies there are out there in this changed world, whenever the main characters travel somewhere new and mysterious. The characters we meet, places we see and things we learn throughout Kin are a delightful expansion of the Last of Us universe for viewers like me, who didn't know what all would be out there.

This is also one of those episodes where the 'adapted from a video game' element can be seen and felt even by those not familiar with this particular game - even from the fairly limited amount of video games I've consumed, I have fond memories of that feeling where after an adventurous and chaotic series of dangerous encounters, you find a safe place where you can rest and just sort of look around for a while. This phenomenon translates fantastically onto the screen in Kin, making it feel like a breath of fresh air amidst the chaos while still having its share of human drama to keep things interesting.

4. Please Hold to My Hand (Episode 4)

I find this slightly overlooked middle-of-the-road episode to be one of the more underrated instalments of The Last of Us. It would be even higher on my list, but I had to give some minus points for the Kathleen (Melanie Lynskey) subplot - the build-up does pay off in the following episode, but that doesn't change the fact that her storyline in this episode feels quite boring and distracting from the main plot.

But everything with Joel and Ellie is pure gold. After a rocky start with so much focus on survival that no bonding could really happen yet, this is the episode where the two main characters start to develop a chemistry, a common language and some sort of pseudo-father-daughter relationship. The dialogue between the two has a delightful arch from cynical suspicion to a foundation of common humor and basic caring, and the two actors play wonderfully off each other. One of the less flashy and memorable episodes, but one of the best and most important ones considering Joel and Ellie's relationship.

3. Endure and Survive (Episode 5)

This highly rated episode is a fan favorite for good reason, even if I consider the 9.5 average on IMDB to be a tad overkill (then again, I can't speak to the show as a game adaptation, so it could very well be that the episode is even more powerful for fans of the original work). The first half of the episode builds up towards the big clash between Kathleen's faction and our main characters, and when the moment arrives, it is as narratively intense as it is well-coordinated and sharply directed. The show's first appearance of a Bloater (the fourth stage of infection) couldn't have had better timing, as an already chaotic sequence manages to escalate even further with this addition.

After the big clash, the episode pulls a massive emotional gut punch with the infection and death of Sam (Keivonn Woodard), the kid we had spent much of the episode getting to know and love. Definitely one of the saddest moments in an overall bleak series, and one that stays with the viewers as it does with the characters.

2. Long, Long Time (Episode 3)

There are many things to enjoy in Nick Offerman's guest performance - one that better win him an Emmy come the next awards season. Chief among these elements is the delightful similarity between his grumpy, libertarian character in this dark and serious series, and his grumpy, libertarian character Ron Swanson in the sitcom Parks and Recreation (2009-2015). Throughout Long, Long Time, one keeps having the amusing thought that this is how things would turn out if the apocalypse happened and Ron Swanson was out there (he's also gay in this version).

And therein lies the secret to the episode's greatness - the love story between Offerman's character Bill and Frank (Murray Bartlett) is moving and ultimately heart-wrenching to the maximum. The episode also features some amazing scenery captured by Eben Bolter's sharp cinematography, further adding to the episode's beautiful nature.

1. When We Are in Need (Episode 8)

I didn't think that the series would top its fantastic third episode, but season 1's penultimate instalment proved me wrong. Just based on this lone episode he appears in, David (Scott Shepherd) is one of the most memorable television villains in recent years. While some episodes had me wishing I had played the game before getting into the series, When We Are in Need made me very happy that this wasn't the case, as following the brilliant escalation of this character from innocent-seeming friend to beyond-frightening foe as a slow-burning shock was a truly gripping viewing experience.

Having acted her heart out throughout the season, Bella Ramsey manages to stretch her skills further yet in this tour-de-force of an episode, culminating in quite the conclusion. While the series is filled with emotional moments, none come close to topping Joel and Ellie's reunion here. Joel comforting his protegé, who first reacts with post-trauma alertness before realizing what's happening and answering his embrace, is a pivotal moment for both main characters and their bond feels stronger than ever. Tears, man.

Thank you for reading! Tune in next week for a post requested by my friend Tuukka - the top 10 scenes from Quentin Tarantino movies.

My 2022/23 Oscar Predictions

It's Awards season, baby!

The Academy Awards will be held this Sunday, and as is tradition, I'm sharing my annual predictions with my dear readers. So far, every year I've posted my predictions on this blog of mine, I've gotten a better score than in previous years - 12 correct predictions out of 24 three years ago, 13 out 23 two years ago, and a whopping 17 out of 23 last year. Let's see if I'll be able to keep the momentum going!

Best Live Action Short Film - An Irish Goodbye

This one is a real 50/50 between BAFTA-winning short film An Irish Goodbye, and the Alfonso Cuaron -produced Le Pupille. While both have some momentum, I'm going with the overall critical acclaim and hype behind An Irish Goodbye. While the themes of Le Pupille are even more Oscar-bait than its main competitor, one must also consider whether the Academy would prefer an 'old-school' short with lots of film festival circulation, or one released on Disney Plus. So, I'm going with An Irish Goodbye.

Best Documentary Short Film - The Elephant Whisperers

Netflix's The Elephant Whisperers seems to have the most award-season hype around it, and no wonder why - it's a damn good 41-minute look at the relationship and barriers between humans and animals, and our harmony as well as disconnects with nature. The Elephant Whisperers just feels like an Oscar winner, with its powerful message and well-shot, neatly edited final product.

Best Documentary Feature Film - All the Beauty and the Bloodshed

The Documentary Feature category is one of this year's biggest toss-ups - between All the Beauty and the Bloodshed's supposed frontrunner status, Navalny's BAFTA award for Best Documentary, the acclaim and Oscar-worthy themes of All That Breathes and Fire of Love's dark horse speculation, only one out of the five nominees (sorry, A House Made of Splinters) can be ruled out. But I'm going with All the Beauty and the Bloodshed here - a film centering on the opioid epidemic and pharmaceutical dynasties seems like proper Oscar bait, and director Laura Poitras has proved herself more than capable of winning this category in the past.

Best Animated Short Film - The Boy, The Mole, The Fox and The Horse

While the most obscure of Academy Award categories might go a few different ways (The Flying Sailor also has its share of momentum, and some have been suggesting the fantastically titled My Year of Dicks as a potential dark horse), my money is on Apple TV's The Boy, The Mole, The Fox and The Horse. Not even for the story, but the animation style - over 120 people from 20 different countries worked on it during the lockdown phase of Covid, and the intricate pencil ink animation just looks wonderful and certainly Oscar-worthy.

Best Animated Feature Film - Pinocchio

Guillermo del Torro's Pinocchio remake has gotten vast critical acclaim, so far culminating in its Golden Globe win for Best Animated Film (soon to be outdone with its Oscar win for the same category). I haven't seen this one yet, but it seems to outdo all of its competitors in any given Oscar-hype factor.

Best International Feature Film - All Quiet on the Western Front

Each year, I pick one category I'm the most certain about, and make the same promise: if I get this one wrong, I'm going to watch all six Sharknado movies (as well as the two Lavalantula spin-offs) and rank them on my blog in excruciating detail. This year, I'm making the Sharknado promise about Best International Feature.

I mean, in years like this, it's a safe bet unless the Academy bullshits themselves - after all, when only one of the five International Feature Film nominees is also nominated for Best Picture, that's kind of a dead giveaway. Also, All Quiet on the Western Front just is one hell of a film.

Best Production Design - Babylon

I haven't seen Babylon yet, but just based on the trailers and promotional materials alone, the set design there is just something else. And how could the Academy resist rewarding a nostalgic recreation of historic Hollywood? While this is one of the few categories where all five nominees have at least somewhat of a slim chance and none can be totally ruled out, Babylon does seem like the most likely winner.

Best Makeup and Hairstyling - The Whale

I haven't seen The Whale yet, but the Makeup and Hairstyling award seems to always go to the film where they use prosthetics to make a famous actor look totally different - Gary Oldman in The Darkest Hour (2017), Christian Bale in Vice (2018), John Lithgow in Bombshell (2019) et cetera, the pattern is there. And sure, that would also apply to Colin Farrell's Penguin look in The Batman as well as Brendan Fraser in The Whale, but The Whale just seems so much more Oscar-bait material out of those two.

Best Costume Design - Black Panther: Wakanda Forever

This one could go many ways, between the imaginative costumes of Wakanda Forever, the period-piece aesthetic of Babylon, and the recreation of several iconic Elvis costumes in Elvis. Still, I'm edging towards Black Panther - the first Black Panther won the Oscar for Best Costume Design, and the sequel is arguably even more deserving, with the creative costume design further expanding with the dazzling costumes of the newly introduced Talokan people in addition to the vibrant Wakanda costumes.

Best Film Editing - Everything Everywhere All At Once

Best Editing is a bit of a toss-up this year, with Top Gun: Maverick having a fair shot and Banshees of Inisherin as well as Elvis not being totally ruled out either. Still, I reckon it'll be Paul Rogers' work on Everything Everywhere All at Once that nabs the award - the film is littered with clever cuts and quick edits, greatly adding to the world-hopping nature of the final product.

Best Sound - Top Gun: Maverick

While this is one of the few categories where I've seen all five nominees, I can't really compare them objectively - I saw one on my laptop, one on a TV and three in the cinema, so take a wild guess which three impressed me the most with their sound design.

Still, it's hard to imagine any of them beating Top Gun: Maverick. Those jet sounds, and the way their roaring presence is mixed together with the dialogue and music and everything else in the action sequences - far out, man. The original Top Gun was only nominated for Best Sound in 1987, but I'm guessing that the sequel will go a notch further and bring the award home.

Best Visual Effects - Avatar: The Way of Water

I mean, it's going to win, and admittedly it will be quite deserved. When considering that the Avatar sequel was somehow nominated for Best Picture (seriously, what the hell) even though its story, dialogue, acting and other such factors were mediocre at best, it almost feels like the visual effects alone were so good that they earned the film a Best Picture nomination in addition to its nomination and inevitable win in this category.

I already used up my Sharknado promise, but uh, if The Way of Water doesn't win this category, let's say I'll watch every Michael Bay movie and rank them.

Best Cinematography - All Quiet on the Western Front

My in-depth analysis is that the German remake of All Quiet on the Western Front will sweep this category, on the grounds that the cinematography in this film is awesome and it f**king rules.

Best Music, Original Song - RRR (M. M. Keeravani & Chandrabose - Naatu Naatu)

Another no-brainer. I've seen three of the films nominated in this category, and while Rihanna's Lift Me Up from Black Panther: Wakanda Forever, Lady Gaga's Hold My Hand from Top Gun: Maverick and Son Lux, Mitski & David Byrne's This Is a Life from Everything Everywhere All at Once are all good, none of them seems quite as 'Oscar-winner' as this catchy banger from Indian Telugu film RRR. Naatu Naatu also took home the Golden Globe for Best Original Song, which just adds firepower to its case.

Best Music, Original Score - Babylon (Damien Chazelle)

As I mentioned, I haven't seen Babylon - but having listened to several tracks of Justin Hurwitz's score, it almost feels like I have. That's how much of a picture his music paints. And based on the deserved acclaim of Whiplash and La La Land, it feels like a Justin Hurwitz score in a Damien Chazelle film just can't go wrong. What a partnership.

Best Actor in a Supporting Role - Everything Everywhere All At Once (Ke Huy Quan as Waymond Wang)

Here are a couple of reasons why Ke Huy Quan will win Best Supporting Actor: the Best Picture winner always wins quite a few other categories so this could be one of them, Quan's career comeback is the perfect cinderella story for the Oscars, and based on his acting in the Best Picture frontrunner, the dude does deserve award season acclaim - I mean really, what a performance. I won't be mad if either one of the nominated Banshees of Inisherin performances pulls an upset (I personally think Barry Keoghan deserves the award more than Brendan Gleeson or Ke Huy Quan), but I'm guessing the award will go Quan's way.

Best Actress in a Supporting Role - Black Panther: Wakanda Forever (Angela Bassett as Ramonda)

This is an odd one - you'd think I'd be in front of the hype-train for a performance in a Marvel movie potentially winning an Oscar. However, with this particular performance, I have some mixed feelings - nothing against Angela Bassett and her amazing career, but I personally wasn't the biggest fan of her performance in Wakanda Forever. It felt a bit too melodramatic, a bit unnatural in the intensity of emotion - a bit too 'trying to win an Oscar'.

So, obviously she's winning the Oscar. If there's one thing the Academy loves, it's movies and people doing everything they can to try and be 'Oscar-worthy'. Don't get me wrong, I will be happy for Bassett if she wins, because she's an overall great actress who hasn't yet won an Oscar. It just feels a bit odd if she wins it for this one, instead of her more authentic and impressive performances in films like Boyz-N-the-Hood (1991) or Malcolm X (1992).

Best Actor in a Leading Role - The Whale (Brendan Fraser as Charlie)

The Whale took forever to hit cinemas in Jyväskylä, and when it finally did earlier this week, I was too busy to go and see it before the Oscars. Word seems to be that the Best Actor category is a tough race between dual frontrunners Austin Butler (who played Elvis in Elvis), and Brendan Fraser (who plays the protagonist in The Whale). Fraser was considered to be the frontrunner, until Butler swept up the Golden Globes and other award shows, and now the hype seems to be turning to his side. Colin Farrell can't be ruled out either.

But, I'm trusting the word of my Uncle Dan, who sent me this Facebook message a few months ago: "Man, go see Brendan Fraser in The Whale!!! If he doesn't win the best-actor Oscar, they might as well burn Hollywood down!"

Best Actress in a Leading Role - Tár (Cate Blanchett as Lydia Tár)

This one is a tough race between Cate Blanchett and Michelle Yeoh. Looking at Golden Globe precedent doesn't help either, because of that gala's silly system of splitting movies into 'dramas' and 'comedies and musicals', as Blanchett won their award for Best Lead Actress in a Motion Picture, Drama, while Yeoh won Best Lead Actress in a Motion Picture, Musical or Comedy.

Still, I'm guessing that Blanchett will be taking home her third Academy Award - many have called Tár the #1 best performance of her incredible career, and even without having seen the film, her performance just feels like an Oscar-winner based on the trailer and the hype and the reviews. Michelle Yeoh is very good in Everything Everywhere All at Once, but I can see her performance not being the year's best - and if Blanchett really is even better here than she was in The Aviator (2004) or I'm Not There (2007), then I reckon there's a gold statuette waiting with her name on it.

Best Writing, Adapted Screenplay - Women Talking (Sarah Polley)

I haven't seen Women Talking, but there are two things I know: one, based on the title I'm willing to bet anything that this film passes the Bechdel test with flying colors, and two, every review of this film seems to be focused on the script being its strongest suit. It's all about the dialogue and writing here, so much so that I'm guessing it'll take the win even though it's been lowly nominated in other categories.

It's also a good hint that it was the only one out of these five nominees to be nominated for Best Screenplay in the Golden Globes! The Globes have only one category for writing, and four of their nominees were original screenplays while this lone script from the adapted category made it.

Best Writing, Original Screenplay - The Banshees of Inisherin (Martin McDonagh)

Martin McDonagh's The Banshees of Inisherin really fecking should win this fecking award, because the great writing is the very backbone of what makes this 9-nominations masterpiece so fecking good. The concept of "bored and lonely people talking to each other on an Irish island for two hours" could easily be boring, but the dialogue keeps the viewer extremely engaged for the whole fecking runtime, so they better win a fecking Oscar for that. Fecking hell.

Best Directing - Everything Everywhere All at Once (Dan Kwan and Daniel Scheinert)

Using the Golden Globes as a roadmap for Oscar predictions is always a double-edged sword - they're a good reference as there's always a lot of overlap in who wins which category, but the two never go exactly hand in hand. And I'm betting that Best Director will be one of those categories, where the Globe and the Oscar go to different directors - this year's GG winner Steven Spielberg definitely has a fair shot in the Oscars for his work on The Fabelmans, but I'm guessing that 'The Daniels' will barely beat the maestro this time around.

Best Picture - Everything Everywhere All at Once

While The Banshees of Inisherin and The Fabelmans have somewhat of a shot, I'm still going with the speculated frontrunner here. The Best Picture race is never a sure one, but a big night for Everything Everywhere All at Once just seems to be in the cards - even if it missed out on the similar category in the Globes, the overall award season hype is on this wacky film's side. The Best Picture race will have some real suspense to it until the last moments, but my gut says that this one is taking it.

Thank you for reading! Tune in next week for my ranking of the episodes in the newly-finished first season of HBO's The Last of Us (as well as a recap on how I did with my Oscar predictions).

Top 10 Episodes of F.R.I.E.N.D.S. (1994-2004)

How you doin', reader?

Could I be making a more requested post? After all, it's over a year from the first time a friend of mine asked me to post my favorite F.R.I.E.N.D.S. episodes - looking at how long it took, I suppose we were on a break or something. But it's never too late to pivot to discussing one of the most celebrated sitcoms of our time - a series that always cheers you up if it hasn't been your day, your week, your month or even your year. I'm hoping my readers will like it - otherwise it's just a moo point.

(If you didn't catch all six references, you're not a true fan).

And a spoiler alert is in order, if there still remains a soul alive who hasn't seen F.R.I.E.N.D.S.?

Here are my honorable mentions: The One where Rachel Finds Out (Season 1 Episode 24), The One with the Flashback (Season 3 Episode 6), The One where Ross Got High (Season 6 Episode 9), The One with Monica & Chandler's Wedding (Season 7 Episodes 23-24), The One where the Stripper Cries (Season 10 Episode 11).

10. The One with the Princess Leia Fantasy (Season 3 Episode 1)

"Oh, and by the way, THERE IS NO COUNT RUSHMORE!"

"Yeah? Then who's the guy that painted the faces on the mountain?"

Premise-wise, there are tens and tens of more memorable and legendary F.R.I.E.N.D.S. episodes than this season 3 premiere. The One with the Princess Leia Fantasy still makes into my top 10, due to its endless amount of individual jokes and gags that are top-tier comedy gold - every time you re-watch it, you realize you've forgotten just how many amazing bits are from the same episode.

From the cold open where the group arrives in Central Perk to find a different group sitting on their couch (to which Chandler (Matthew Perry) replies with a brilliantly delivered "Huh"), through Phoebe (Lisa Kudrow) thinking that the lyric in Elton John's Tiny Dancer is "Hold me close, young Tony Danza", all the way to Chandler's "You know...you know... ...YOU DON'T KNOW!", the laughter caused by this episode is off the charts. Matthew Perry's facial expression at the end of the 'Count Rushmore' scene, as he's leaving the room and looks at Joey (Matt LeBlanc) in a bewildered manner, is some of the best comedy acting in television.

Sidenote: notice how three of the episode's four highlights were Chandler moments? One of the many reasons for Boss Man Bing being the show's best character by a country mile.

9. The One with the Two Parties (Season 2 Episode 22)

"How was your sister's graduation?"

"It was the graduation ceremony from Hell"

"You know, my cousin attended Hell on a football scolarship"

There's a big and warm place in my heart for classic sitcom hijinks. From mistaken identities, through escalating misunderstanding -situations, all the way to elaborates ruses, hijinks-based plotlines make for some of the best comedy television out there. And while many of these tropes found their footing in the 60's, 70's and 80's, many seem to agree that F.R.I.E.N.D.S. perfected the concept, with the show's brand of hijinks becoming massively influential in the comedy world. When Abed (Danny Pudi) juggles between having two dates to the same event on Community (2009-2015), he's channeling F.R.I.E.N.D.S.. When I was working in a high school for my civil service, and found myself in a situation where I had to substitute-teach two simultaneous classes in two seperate rooms, my life felt like a F.R.I.E.N.D.S. episode.

And perhaps the greatest instance of pure hijinks in F.R.I.E.N.D.S. is The One with the Two Parties. With both of Rachel's (Jennifer Aniston) divorced parents about to show up to her birthday party, the gang decides to keep the two from fighting by splitting the party into two factions, taking place in the two iconic apartments across the hall from each other. This leads to some fantastic close calls and comedic payoffs, with all of the main characters bringing their A-game to the unfolding shenanigans.

8. The One with the Embryos (Season 4 Episode 12)

"Every week, the TV Guide comes to Chandler and Joey's apartment. What name appears on the address label?"

"Oh! Chandler gets it. It's Chandler Bing"

"NO!"

"I'm afraid the TV guide comes...to Chanandler Bong"

"I knew that, Rachel, use your head!"

"Actually, it's Miss Chanandler Bong"

The One with the Embryos is one of the most generally beloved F.R.I.E.N.D.S. episodes, and with good reason. The iconic game show -style quiz, hosted by Ross (David Schwimmer), becomes very high-stakes when Chandler and Joey agree to get rid of their chick and duck if they lose, with the catch that they get Monica (Courtney Cox) and Rachel's apartment if they win.

The trivia questions, as well as the gang's answers, make for some grade-A comedy gold, culminating in the sequence where after knowing all sorts of next-level obscure factoids, Monica and Rachel can't remember what Chandler Bing (or should I say, good ol' Ms. Chanandler Bong) does for a living. Rachel's panicked "Transponster" answer is outdone only by Monica's reaction, as Cox's delivery of the line "THAT'S NOT EVEN A WORD" channels the exact desparation of someone who knows they're about to lose their apartment.

7. The One with the Proposal, Parts 1&2 (Season 6 Episodes 24-25)

"Hi, I'm Chandler, and I make jokes when I'm uncomfortable"

With the two-part finale of the show's sixth season, we have a prime example of combining humor with heart. The path to Chandler and Monica's inevitable engagement is all but straightforward, with multiple versions of the plan being interrupted due to unforeseen circumstances.

After the writers have had their share of fun toying with such situations, we are presented with the ultimate payoff, as the actual proposal is one of the most romantic and authentic moments in the series - both Cox and Perry knock it out of the park with their heartfelt acting. One of my favorite details is Joey's approving nod, after he has successfully helped Monica 'trick' Chandler into the situation so that he'd be surprised. Beautiful stuff.

6. The One with Ross's Wedding, Parts 1&2 (Season 4 Episodes 23-24)

"Well, that went well...yeah..."

"Yeah it could've been worse - he could have shot her"

From a proposal gone right to a wedding gone very, very wrong. After this two-parter has entertained us with a multitude of hijinks relating to the episode's London setting, the season 4 finale eventually culminates in the marriage ceremony of Ross and Emily. And in a scene that psychology teachers use as a prime example of the 'Freudian slip' concept, Ross says the wrong name at the altar - a moment so dramatically surprising that it always makes me think about the millions who simultaneously saw it unfold on TV in the episode's first broadcast.

But "Take thee, Rachel" isn't the only thing the episode has going on for it - The One with Ross's Wedding is also the point where Monica and Chandler, who would go on to be the show's best couple, first hook up. I remember watching F.R.I.E.N.D.S. reruns on TV as a kid, having seen episodes from here and there and distinctly dividing the show into "before Monica&Chandler" and "after Monica&Chandler" in my mind. For a long time, I never knew how it was that they end up together and thus kick off this new era, and when I finally saw this episode, it was quite the payoff.

5. The One on the Morning After (Season 3 Episode 16)

"You think I need a new walk?"

"...What?"

"Well you know, I've been walking the same way since high school. You know how some guys walk into a room and everyone takes notice? I think I need a take-notice walk"

"Are you actually saying these words?"

Ah, even in a very Ross-and-Rachel -centric episode, the best line comes from good old Chauncey. This episode is probably the hardest to watch out of all F.R.I.E.N.D.S. episodes, which admittedly isn't the highest bar as none of the show's instalments are exactly Schindler's List (1993). The legendary Big Argument between Ross and Rachel is quite gripping, as Schwimmer and Aniston play their parts so well (and their break-up actually feels pretty sad, because in season 3 there was still some magic in their love story, before later seasons would take things to quite a ridiculous level).

But as a nice comedic contrast to the heart-wrenching fight, the episode's B-story follows the rest of the main gang as they're stuck in the adjacent room, listening to the argument play out. This makes for lots of hilarity, neatly toning down the more upsetting parts of the episode, making for a perfect balance of drama and comedy.

...But were they on a break, though?

4. The One where Ross Finds Out (Season 2 Episode 7)

"What? You're over me? When were you...under me?"

Once again, this episode's greatness is largely justified by the argument that Ross and Rachel's love story was pretty engaging and powerful, before it, y'know, wasn't. There's a lot to be said for the rom-com feel of their budding romance in the first seasons, and this season 2 episode is the high point of the show's most notorious love story.

Once again, I can't help but think of the TV audiences who saw this episode simultaneously when it first aired - I can just imagine the collective gasps when that beyond-legendary kiss, following one and a half seasons of build-up, finally happened in the most glorious manner. This episode still hits hard, and remains one of my big favorites.

3. The One on the Last Night (Season 6 Episode 6)

"OK, here's the last of your boxes, I'm just going to label it 'What were you thinking?'"

"Funny, I was going to go across the hall and write that on Chandler"

The first episode to be directed by David Schwimmer himself, The One on the Last Night is without a shadow of a doubt the show's most underrated episode. While most of my top 10 (especially the two ahead of this one) are very generally appreciated episodes that often come up in conversation of the best F.R.I.E.N.D.S. episodes, this one rarely comes up with its average IMDB rating and not-especially-iconic status. But for me personally, this will always be in the top tier.

The main plot, where Rachel and Monica project their sentimentality of not living together anymore into arguing with one another, is quite heartfelt with the pair eventually making up in a sweet manner. But what makes this episode one of the best is the beyond-hilarious subplot, where Chandler tries to help Joey out with his financial situation - as he's too proud to accept money from Chandler, he gets tricked into winning a game of 'Cups', a game Chandler very much creates out of thin air on the spot. Everything relating to 'Cups' is comedy gold, making this episode hysterically laugh-worthy.

2. The One Where Everybody Finds Out (Season 5 Episode 14)

"They don't know that we know they know we know! And Joey - you can't say anything"

"Couldn't if I wanted to"

I must have seen this stone-cold classic ten or more times over the years, but it still makes me laugh. Season 5 is probably the show's best season, and a lot of that has to do with the writers having absolute field day (field year, really) with the storyline of Chandler & Monica's newfound relationship being a secret from the rest of the gang, and everyone stumbling upon the truth eventually in their own hilarious ways. While Joey's reaction ("IN LONDON??!!") as well as Rachel's were highlights of previous episodes, the narrative comes to its exquisite climax in this chain-of-events episode, that poetically begins with Phoebe finding out and ends with Ross doing the same.

The double-crossing shenanigans of the episode escalate into further and further tension, until it all unravels in an unexpectedly beautiful manner, with Chandler and Monica declaring their love for each other for the first time. After all that build-up, things get quite touching - until the final scene twists eveything on its head again, with Ross' iconic "GET OFF MY SISTER!". Classic stuff.

1. The Last One, Parts 1&2 (Season 10 Episodes 16&17)

"Do you guys have to go to the new house right away or do you have some time?"

"We've got some time"

"Ok, should we get some coffee?"

"Sure. Where?"

A cliché choice for first place, but a thoroughly deserving one. With Chandler and Monica's adopted twins being born, Chandler and Joey having to break their beloved foosball table in order to save the new chick and duck, and Ross and Rachel undergoing the most twists and turns I've ever seen in the "last-minute rush to the airport" rom-com trope, the series puts a nice bow on all of its characters and storylines that truly feels like F.R.I.E.N.D.S. at its most F.R.I.E.N.D.S.-y.

The hilarity of the foosball table B-plot is a delightfully humorous contrast to the more dramatic storylines (although they also feature their share of laughs - being the world's ultimate comfort series, F.R.I.E.N.D.S. never really gets too serious). And damn, that Ross & Rachel storyline is an impressive feat - after many seasons of the writers making their on/off relationship so over-the-top and toxic that we really shouldn't care anymore, the series finale pulls such an emotional gut punch that you forget all about the negatives and become invested all over again.

They pull out all the stops in the realm of efficient rom-com tropes, and the payoff is sweet - from the 'wrong airport' cliffhanger at the end of Part 1, through Phoebe's heroic moment as she delays the plane taking off with her "something wrong with the left phalange" phone call, all the way to Rachel's "I got off the plane" that will never not make me choke up, it all works quite magically.

And then there's the final lines of dialogue, quoted above. Of course the series had to end with Crazy Snake Man making one last sarcastic quip, arguably his best one, making the viewer laugh in the midst of wiping away tears. A fitting ending, that very much feels like the ultimate F.R.I.E.N.D.S. episode more than any other.

Thank you for reading! Next Thursday is the last Thursday before the Academy Awards, so I'll be posting my annual Oscar predictions. See you then!