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  • Episode 15: Robo-C.H.I.C, Alien Seed, Yor: The Hunter from the Future
    • The episode description, which relates the blatantly untrue reactions of all but one of the hosts to having to watch a failed comedy movie:
      Description: Jay commits suicide live in the video. Rich Evans dies of a heart attack. Mike survives the viewing with mild PTSD and a hangover and Josh learns the magic of Christmas.
    • The crew is made more miserable by Robo-C.H.I.C.'s failed attempt at comedy than any previous film, to the point where most of them simply walk out of the room halfway through and Rich intentionally lies down and falls asleep. Rich speculates during the panel discussion that it is entirely possible that no human has successfully watched the whole movie start-to-finish in a single sitting.
      • Jack is the only viewer who pays enough attention to the movie that he notices the multiple changes of Robo-C.H.I.C.'s actress mid-film.
      • Josh's in-depth dissection of how practically every part of the film's cover and box description has nothing to do with the movie.
      • The "mob" scene, which the panel remarks has so few extras that it looks more like five guys having a circle-jerk.
      • Rich claims that the movie was so bad it made him feel sorry for Burt Ward for being in it, speculating that he was forced to be there in order to pay his month's rent.
      • Mike is so mentally scarred (and drunk) from watching Robo-C.H.I.C. that he continually mis-remembers scenes from the failed comedy as being from the other two movies. The group jokes that Mike's brain is so desperate to save its necessary functions that it has started to shut down his ability to remember bad movies.
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    • The panel notes how truly sad it is that the creators of Alien Seed were proud enough of their mediocre action scenes that they filmed sequences of "motorcycle lifts two inches off the ground" and "cars drive around in circles in a parking lot" in dramatic Slow Motion.
    • The overly long and repetitive description for Yor: The Hunter From the Future almost kills Josh and Jay, who decided to read the boxes for the movies outside next to the dumpster they found them in during the freezing Wisconsin winter. It's so poorly written and slapped together that the description of Yor's medallion changes from "gold" to "bronze" in the same sentence, leading the pair to unceremoniously call "Fuck this!" and go inside.
      • When Jay remarks that everyone in the movie wants to fuck Yor, Rich Evans jumps in with an enthusiastic "YES!" Cue awkward silence.
  • Episode 16: Wheel of the Worst #4 note 
    • The first spin lands on Kitten Kommotion. Jessi is so against it that she spins the wheel again, ignoring Rich and Jay's protests. It lands right back on Kitten Kommotion.
      • Kitten Kommotion starts with an obnoxious (and obviously human) meow, leading Mike to call for the video to be shut down immediately. His rejection of the video on grounds of saccharine cuteness quickly shifts to horror when the video proper starts, as its mostly just footage of cats trying to escape being placed in small places filmed in a quality and style they find evocative of snuff films.
      • Jay speculates that the person who made the video probably looks like a sex pervert while the episode cuts to unrelated footage of Rich.
      • The Hurricane of Puns involving cats:
      Rich: Well, Mike, I think you could call that video a real cat-astrophe.
      Mike: You ain't kitten.
      Rich: You could even say that video was a real piece of shit.
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    • Jay wonders whether the bored looking executive featured on the first Dunkin' Donuts tape was happy. Rich seriously responds that he was probably just disinterested in the video and probably would have been happy once he went home to count his dollars. However, a typical Rich flub leads this line to come out as "count his donuts".
      • Jay ends up warmly thanking Bob Rosenthal at the end of video because it was only five minutes long.
      • The crew discover that the label on the tape is covering the original title of the first video: Finishing With Bob Rosenthal.
      • The panel question why the second video, made for store managers about the company uniforms, bothers to have "fun" song and dance numbers that would normally be used to keep the attention of lower-level employees.
      Jay: You have to give them some reason not to kill themselves.
      • Jay finds the second video depressing, as it is revealed at the end that the store manager has been dreaming about new uniforms to make his employees respect him. Not only is that truly pathetic, he doesn't even get the uniforms.
      • Rich declares that he gives the Dunkin' tapes "four stars... out of fifty." The combination of his overly serious delivery and general drunkenness leads the panel into an uncontrollable giggle fit.
    • The third spin lands on Florence Henderson's Looking Good, Feeling Great, a makeup tutorial that gives the panel so little to work with that its section is composed only of the group watching a scene in complete silence and a hard cut to them dejectedly giving the wheel a fourth spin.
    • The panel is at a complete loss in assessing Shoji Tobuchi and his show, comparing him to Tommy Wiseau in how his lack of charisma becomes its own kind of charisma. Mike goes a step further and speculates that his success in spite of a lack of charm or exceptional talent, like with Wiseau, could only be attributed to independent wealth. The idea of a man aiming to buy his way to stardom by setting up an elaborate theater and stage-show in Branson, Missouri is insane, hilarious, and, best of all, potentially true.
      • The wheel spin is accompanied by Shoji's incredibly hyped-up intro music, which causes Jay and Rich to perk up with childlike hope.
      • The noticeable lack of Shoji for the first half of the tape leads Mike to call it "The No-Shoji Tabuchi Show" to a chorus of accompanying groans.
      • Shoji's intro is so incredibly over-the-top, with an epic theme song, dramatic announcer, and laser projections displaying his fiddle and name in bold capital letters, that it actually wins enthusiastic cheers from the group. The subsequent Anti-Climax of a smiling middle-aged Japanese man hopping on to the stage and singing out of key through his strong accent drives everyone to hysterics.
      • Shoji's delivery is so one-note that the panel is unable to discern if he was joking when he dramatically introduces his "top-secret violin from NASA."
      • Rich jokes that the show is so long and the clientele is so old that there had to be a crew dedicated to removing corpses from the audience following the show. Furthermore, he suggests that each concert ends with an "In Memoriam" segment for those who passed away over the last three hours.
      • The crew notice that the featured accordion player from Milwaukee shares a noticeable resemblance to Jeffrey Dahmer, joking that it's possible he joined The Shoji Tobuchi Show for a season before becoming a serial killer.
    • After a debate about which tape was the worst without a conclusive agreement, Rich cuts in and says he knows exactly what they need to destroy. Hard cut to the Wheel sitting in a dumpster.
  • Episode 17: Supergirl, Captain America (1990), The Fantastic Four
    • Rich points out that Jack is wearing a superhero outfit for their superhero episode. Jack says that he's wearing it because he has difficulty connecting with people on an emotional level.
    • The panel is incredulous at Supergirl's excuse for a plot, with Josh going so far as to say that the film is essentially nothing a series of random "shenanigans" and Rich calling it "a sexually-fueled cat fight". Jack says that there is a plot, but everyone involved in the movie just forgot about it halfway through.
      Jay: The last forty-five minutes of this movie- the driving force of the movie- has been Faye Dunaway wanting to fuck a younger dude. Why is this a movie? This is awful... It looks like a movie, but it doesn't operate like a movie.
      Rich: Because the script is batshit insane!
      Rich: This movie has done for feminism what Birth of a Nation did for equal rights!
      • Jack tries to defend his love for Supergirl:
      Jack: Listen, I grew up on a farm... *general laughter*
      Jay: You could end it right there. "I like Supergirl because I grew up on a farm."
    • Jay jokes that Captain America's technique of stealing cars by pretending to be sick was the greatest superpower provided by the Super Soldier Serum.
    • The panel is utterly flabbergasted that The Fantastic Four, a film with zero budget that was never even meant to be released in any capacity, tried harder to tell a story, develop its characters, and feature simple but effective action sequences than either of the other two "real" movies.
      Jack: Every scene has a purpose. Every single little thing moves the story or characterization along, almost like a movie should do.
      • Jay jokes that the film's glowing crystal MacGuffin is the same prop used in the Leonard Nimoy LaserDisc ads. Rich responds that it's hard for sentient rocks to find work in Hollywood.
      • Jay's Brooklyn accents for some New York pedestrians seeing The Thing cross the street.
      Jay: Get out of the road, rock monster!
    • The final summation of the three movies and their quality in regards to their budget somehow becomes an elaborate food metaphor.
      Rich: The Fantastic Four is like a high quality chef took shit ingredients and made an appetizing meal [...] It's like Iron Chef with Cheetos. [Supergirl] is like someone taking filet mignon and somehow making ramen noodles.
      Josh: And what's [Captain America]?
      Jay: That's just ramen noodles.
      Rich: That's rice crackers.
      Jack: That's McDonalds, it's cheap, but it's still food.
  • Episode 18: Ninja Moviesnote 
    • In this installment, the gang allow the guest star, B-movie director Len Kabasinski, to choose the three movies by punching a picture of someone's face and taking out the DVD in the box covered by said picture. He chooses to "punch" a member of the cast (over people like Adolf Hitler or Kim Jong-il) each and every time.
    • Outside of the skit, Len comes across as a very normal guy that fits right in with the panel, save for a few times his Cloud Cuckoo Lander nature comes through. At one point, without prompting, he reveals the three things he finds funny: groin attacks, karate chops, and farts
    • When opening the discussion on Ninja III: The Domination:
      Jay: Mike, can you explain Ninja III?
      Mike: I think Ninja III should explain itself.
      Jack: White people.
      Mike: [in a Valley Girl accent] "See how easy it was?"
      Jessi: "I'm just gonna dance my problems away!"
      • The sight of a sex scene that features a woman pouring V8 over herself for her partner to lick off causes the crew (particularly Jessi) to scream in abject horror.
    • The opening title sequence for Ninja Warriors starts with white text over a brilliant white sky. The gang immediately knows the kind of movie they're in for.
      Jessi: Can't we just know that they drove there?
    • Amidst a great ocean of crappy film-making, Lethal Ninja features some scenes of almost transcendent awfulness that drive the group into goodhearted hysterics, from a scene of one of the ninja's friends blowing away a girl's cocaine and running away and a Mook wildly shooting his handgun in all directions (including the floor).
      • The panel agree that the film's last ten minutes, which features an assassin dressed as an elderly woman knocking over a man in a wheelchair and pulling out a handgun from under his dress at a funeral, is a So Bad, It's Good sequence that briefly brings the movie to the level of films like The Room and Troll 2.
      • All of Mike drunkenly trying to piece together the film's Anachronic Order, "helped" by the rest of the panel. Besides Mike's usual inability to keep the movies straight and remember character names, the film also features a Big, Screwed-Up Family whose relationships are almost impossible to discern from the film itself, which even the captions can't keep track of.
      • The panel gives a variety of nicknames for the movie's characters, including "Perm Ninja", "Milli Vanilli", "Ringo Starr and Gene Simmons's love child", and "Dave Coulier in drag.
      • The group notes that the film utterly fails at creating sets, notably using the same tiny loft space for six different settings, including a "night" club scene shot during the day with barely ten clubgoers and a musical act performing in a random corner without a stage or any equipment. Additionally, a later scene in a graveyard was obviously just shot on a clean lawn with no prop tombstones, no six-feet deep hole, just a closed casket and some flowers on the grass.
      • Jay tries to come up with a unique positive for Lethal Ninja beyond the climax.
      • Rich's closing argument is that Lethal Ninja was both the best and worst film because its climax was the best part of the night while the rest of it was clearly just the worst. The panel reacts as though the fabric of reality had been shaken by Rich's rejection of the show's standard format.
      • Len Kabasinski calls Lethal Ninja's director's efforts to make a good movie "fucking pathetic, dude."
  • Episode 19: Wheel of the Worst #5note 
    • Rich is so sick of the wheel that he doesn't even bother to put creative effort into the opening, devolving into just repeating "Insert joke here."
    • Jack almost destroys the wheel by knocking it over.
    Everyone: Ooooh fuck!
    Jack: I have no regrets! Ahahaha! [runs away]
    • Rich Evans' prank voice mail. "Hi, I'm stuck here on a 747, and the pilot just had a heart attack. I've got a copy of your video 'Cleared for Takeoff', but we don't have a VCR to play it in!"
      • How they react to finding out that Fred Levine's number is still in service.
        Rich: Somewhere in a dresser drawer, his beeper is going off.
    • Mike says that the creator of Tales From Genesis Space looks exactly how he pictured...
      Mike: Except he doesn't weigh 400 pounds, and we can't tell if he smells because it's a video.
      • Jay describes the black void of space in one short as "the room of a serial killer" because it is clearly just a room lined in black garbage bags.
      • The gang's reaction to CGI gremlins breaking into a truly painful and Gratuitous Rap is neither laughter nor annoyance, but sheer disbelief.
      Jack: This... is actually happening?
    • The slow burn realization of exactly what the "SOS" video is: it's a Japanese version of a tape put out by the Christian cult called the Family International, featuring music videos with anti-evolution, anti-abortion, rapture and "barcodes are the mark of Satan" themes. The entire segment is astonishing.
      • The shot of Jesus nailed on the cross ascending into the sky during the Rapture was Narmy enough, but when he gives a resigned smile and shrug to the camera, the crew go nuts with laughter.
      • The reason why the panel is so surprised by the tape in the first place is because they can't read the box and don't even know what script it is written in.note  Jay sarcastically asks the audience if anyone knows how to read "Asian".
      • On the style sense of the young religious teens:
      Mike: They look like they fell through a thrift store.
  • Episode 20: Ghetto Blaster, Terror in Beverly Hills, Killing American Style
    • The supercut of Ghetto Blaster's characters complaining about how "the neighborhood has changed," which almost takes up more of the runtime than the protagonist actually fighting crime.
      • The panel bemoans that the movie found a way to make a clown on a motorcycle killing gang members boring.
      • Mike gets excited at the prospect of a bad dummy shot when a Mook is thrown off a ledge, only to be disappointed when the scene is actually performed by a competent stuntman.
    • Terror in Beverly Hills is one of RLM's favorite bad movies; between the strange absence of the movie's "star" Frank Stallone, plenty of strange line-readings, and one of the greatest Large Ham performances ever delivered by the show's drunk grandfather, Cameron Mitchell, it's not hard to see why.
      • The panel's discussion of the "old bean factory" that the terrorists take the hostages to. How do the police know this location without an address? Are there any new bean factories? Is this the only one? And what is a bean factory?
      • The "Oval Office" set is obviously just set up in the corner of someone's basement and is full of strange design choices, including a giant presidential seal, a desk covered in at least four different telephones, and a ceramic seagull that Rich surmises is there because they couldn't find a bald eagle in time. Jessi jokes that any moment the camera will pull back and reveal it to be in a psych ward.
    • Canadian guest Jim describes Killing American Style as like something "filmed on another planet." He's not wrong.
    • When asked to explain the film:
      Jay: Rich Evans, explain what happens in Killing American Style
      Rich: Colin?
      Colin: Plays a 3-second long fart noise
      Rich: There you go.
      Jay: Wait, what was that?
      Colin: Plays another 3-second long fart noise
      Rich: I'm not sure I caught all of that.
      Colin: Plays a third brief fart noise
      Jay and Rich: Oooooh, okay.
    • The back of the box strangely credits a character it describes as a "sexual sadist" As Himself. Confusion over this and a dozen other grammar and style errors in the description leaves Jay feeling physically exhausted by the end of it, before they've even started watching the movie.
    • Rich and Mike destroy the worst tape with the power of breakdancing, featuring some spot-on 80s editing, camerawork, and costumes juxtaposed with their complete lack of talent or athleticism. Predictably, it ends with Rich breaking his back and Mike and the cameraman running away from his cries of pain.
  • Episode 21: High Voltage, Death Spa, Space Mutiny
    • The panel notes an impressive and painful-looking stunt in High Voltage, with Rich off-handedly claiming that he would use that shot twenty times if he captured it for his movie. Guess what happens.
      • While Josh goes on about the technical details of the movie, the camera zooms in Mike's face contorting, apparently from his usual boredom... until he unleashes a Sneeze of Doom that knocks over one of the movies on their table, which he declares to be the Best of the Worst.
      • Rich raises many questions about the Gambit Pileup in the movie, only for Mike to prematurely end his attempts twice by shifting the discussion towards Death Spa.
  • Episode 22: Shakma, Python 2, Beaks: The Movie
    • The panel's speculate about whether the concept for Shakma originated either with a man who had a pet baboon he wanted to put in a movie or with a script about a great ape that had to be adapted to a baboon for budget reasons.
      • As Mike is discussing various primate species, images of them are overlaid on top of Jay in the video with each one progressively cropped until the final image is that of a head of a chimpanzee superimposed over Jay's head.
      • At the "horrific" climax of the film, Shakma runs through a room on two legs. The crew let out a rare genuine "awwww" at the cute monkey, the film having utterly failed to make the small primate scary.
      • The overly long supercut of the characters saying "Over!" when communicating over their walkie-talkies.
      • A "Best of the Worst Fun Fact" points out that the baboon was made to try to get through a door by placing a female in heat on the other side. The camera then dramatically zooms in on the primate's huge erection.
    • The highlight of Python 2 for the panel is a strange-looking Russian soldier with a distinctive voice they name Tommy Wiseau.
      Rich: I don't know if he's a Russian actor who has a speech impediment or if he's an American who's putting on the world's worst Russian accent.
    • Jack's review of Beaks is as follows:
      Jack: I'm just saying that, if Alfred Hitchcock were a skinnier man, he'd be rolling over in his grave.
      • The back cover describes the film's protagonists as "vain" and "horny". Mike and Jay point out that these characteristics will definitely make the film unpleasant to watch as images of Padme and Anakin appear.
    • Jay's argument for Shakma as his favorite of the night is that, while it was the most boring of the animal attack films they watched, something about it stuck with him. He then goes a little far and starts comparing it to an art film, specifically Gus Van Sant's Gerry, while the rest of the panel's eyes glaze over and comic book thought bubbles appear above their heads.
      Jack: Gerry? What's Gerry?
      Rich: What the fuck is he talking about?
      Mike: Seinfeld? I love that show!
    • Rich's reaction to Jay picking Shakma as Best of the Worst.
      Rich: I am Shock-ma'd.
  • Episode 23: Wheel of the Worst #6note 
    • The crew are baffled by the strange editing choices in How Do I Know If I'm Really In Love, which include interrupting speakers mid-sentence with the sound of gunshots, random placement of 80s graphics, leaving in outtakes, repeating scenes, and randomly adding Thought Bubble Speech in the middle of speeches. The strangeness of it all builds to the point where the group collectively screams in bewilderment on more than one occasion and leads them to speculate how the editor must have been driven insane by the equally unfocused content.
      Mike: This was edited by Salvador Dalí.
      • When a teen girl starts singing about the reasons she broke up with her ex, Jessi immediately requests that she fall down the stairs she's standing next to. Rich escalates and says he hopes Robert Z'dar's brutal home invader from Killing American Style is waiting at the bottom.
      • Josh immediately yelling "STOP IT!" as the song begins.
      • Ted Danson (apparently As Himself and fresh off of Cheers) says a number of strangely pervy things in a video that's apparently marketed for teenagers, much to the group's confusion, as many of them seem totally unscripted and unsupported by the video itself. Mike assumes that he was forced to be in the video from a court order for community service.
      Ted Danson: But it's pretty obvious, I think, that the one thing the guy wants is sex- and rightly so! *laughs*
      Justine Bateman: *appears in a cartoon bubble next to Danson's head* Come on!
      Josh: *amidst general laughter* Holy balls!
    • The entire Osteoporosis Dance segment turns crossing lines into an art form and consists mainly of Mike cracking jokes at the expense of the elderly while Jessie and Colin nearly wet themselves laughing; Colin actually barely speaks at all because he's too busy laughing at Mike's relentless barrage. Jim the whole time keeps a straight face until he finally cracks with one of his own jokes.
      Mike: Ironically, they're nothing but bones at this point.
      • Jessi compares the video to The Dance of Birth and gives it a new name reflecting this: The Dance of Death.
      • The group gets a lot of mileage out of anticipating one of the elderly dancers tripping over a plant or knocking over the set. When this doesn't happen, they lay into one of the dancers (who they name "Linda") for her poor form.
      Jessi: Linda kept fucking up! She was the worst! She was seriously the worst osteoporosis dancer I've ever seen.
      Mike: And there's only two of them, so that's pretty fucking bad.
      • The panel speculates that the video had a Troubled Production due to a number of subtle changes in the set between shots. They attribute it to health problems interrupting the schedule and "Betty" and "Linda" being drama queens and terrible dancers.
      Mike: It was like the filming of Apocalypse Now with even more heart attacks!
    • American Flatulators is so bad that Rich Evans, out of nowhere, flips the table and screams at the end of the viewing.
      • When examining the cover, Mike remarks that he doesn't understand why the logo is a gas mask, as people normally don't fart in toilets. Cue incredulous stares from Jim and Colin, and Jay asking "What!?" from behind the camera.note 
    • When they try to decide just how they're going to go about destroying American Flatulators.
      Mike: We could fart on it until it explodesnote .
  • Episode 24: Theodore Rex, Carnosaur, Tammy and the T-Rex
    • When discussing the impact of Jurassic Park on 90s B-movies:
      Jay: Hey, Jack, do you remember The '90s?
      Jack: *hums "Semi-Charmed Life" and dances awkwardly* Yeah, I do.
      Jay: More specifically, do you remember Jurassic Park?
      Jack: Oh, Jurassic Park is a great movie!
      Jay: Jurassic Park is a great movie, right? I'm going to say that Jurassic Park is the worst thing to ever happen to dinosaurs. And that includes when they all died. Because, in the wake of Jurassic Park, there was renewed interest in dinosaurs. We've got all these dinosaur movies, Jack. *pulls out a comically tall stack of tapes* I mean, there's three Prehysteria movies, Adventures in Dinosaur City...
      Jack: That sounds awesome, a whole city made of dino- *Jay holds up Super Mario Bros.* oh.
      Jay: And, of course, who could forget Dennis the Menace... Dinosaur Hunter?
    • The panel need to give a "Not Making This Up" Disclaimer in the middle of describing all three movies with "sentences these movies allow to be true": Theodore Rexnote , Carnosaurnote , and Tammy and the T-Rexnote .
    • Jack and Jay note that the back of Theodore Rex emphasizes that Whoopi Goldberg was a recent Academy Award winner and question how many other first-time Oscar winners turn to dinosaur movies for their next project. Jay jokes that Cuba Gooding, Jr., did that one movie where he ran a sled team of dinosaurs.
      • The group feels rather uncomfortable about the film's attempts at Fantastic Racism, particularly when Whoopi Goldberg refers to dinosaurs as "you people".
      Rich Evans: Was Whoopi Goldberg comfortable doing this? *in studio exec voice* "We're going to make a movie where you're playing a racist!"
      Josh: Was she dating Ted Danson at this point?note 
      • The panel's criticism of Whoopi Goldberg's annoying partner in the opening scene and their awkward dialogue. Rich's comment on the scene is the page quote for Chandler's Law.
      Josh: A truck explodes to stop them talking.
      Rich: That's the screenwriter saying, "We've got to stop this banter immediately! Abort! Abort!"
      Rich: "You have a Character Arc now."
      • Following this, the panel notes that Rex ultimately saves the day by the sheer luck of his tail accidentally hitting a button, meaning that his tail had more of an arc than he did.
    • Rich and the rest of the panel's childlike glee at the quality of the dinosaurs in Carnosaur.
      • Rich's deadpan imitation of the film's protagonist:
    • In the final discussion, Jay asks how anyone could compare these movies to Jurassic Park. Cut to a montage of the cringey comedy of Theodore Rex, the gory violence of Carnosaur, and the sheer clueless insanity of Tammy and the T-Rex set to the majestic John Williams score.
    • As Rich points out, Carnosaur came with a positive review from Gene Siskel.
      Rich: Gene Siskel had a good laugh after giving that a thumbs-up. He's like, "Fuck it, I'm dying; thumbs ups!"
    • Jack ultimately makes the "hipster" choice for Best of the Worst, claiming Carnosaur is too good for consideration and choosing the reviled Theodore Rex instead. When pressed for this choice, he offers this defense:
    • When the panel vote to destroy Theodore Rex, Jack actually squeals in protest.
      Jack: You can't kill Theodore Rex! It's a masterpiece!
  • Episode 25: The Item, The Crawlers, Blood Lock
    • Mike's characteristic greeting to Rich:
      Mike: Why, it looks like we're both wearing the same Halloween costume this year: horrible white trash that can't dress themselves. You even smell like a dumpster! Way to go fully in with the costume.
    • While discussing The Item, Jay begins to offer some praise for how pervertedly surreal the sex scene between the last survivor and the muppet-voiced alien slug puppet was, while the rest of the panel looks at him like he's mad. We are then treated to a portion of said scene, with an insert of Jay smiling appreciatively and even licking his lips during the screening.
      • Upon reading the back of the box's claims that The Item was "a Sundance groundbreaker."note 
      Mike: I don't think this ever played at Sundance. Maybe someone broke it on the ground outside of Sundance."
      • Mike correctly deduces from the synopsis that the film's setting in an apartment meant The Item was made by mediocre film students in their own house "with movie posters and empty pizza boxes everywhere". Mike then reads that the film characters "investigate their package", sending an already weakened Rich into hysterics. Rich can't help to slip in one last reference to "their package" himself, forcing even Mike to crack up in childish giggles.
      • Mike gets so frustrated at the film's hipster attempts to be quirky that he loudly declares mid-viewing that he wants to punch the movie.
      • Jack's "protective dad" characteristics come to the forefront at the alien sex scene.
      Jack: No, honey no! Oh no, not for this movie! Don't do it for this movie!
    • While the panel discusses the death of the town whore by the vines in The Crawlers, Mike jokingly wonders why the girl was so afraid of the vines when she could just use them to sexually satisfy herself. The camera then zooms in on Jessi, sporting an expression as if she's having second thoughts about Mike.
    • The panel ruthlessly tears into the terrible titular "blood lock", with Jessi suggesting it was children's artwork they stole from one of the crew's kids.
      • The panel tries to determine why the lock would have "an Amish symbol", as the Amish a) don't have their own alphabet and b) aren't renowned as vampire hunters. Jessi excitedly thinks she's figured it out, declaring that vampires hate the sun just like the Amish hate electricity. Mike doesn't miss a beat in pointing out that doesn't make a lick of sense.
      • The filmmakers obviously don't know the difference between "mortality" and "immortality", and the panel do not let it slide.
      • The panel, especially Jessi, are baffled by the specificity of the female protagonist's extended dream sequence, particularly her imaginary boyfriend and the bizarre and completely irrelevant details she attributed to him, including a "Mullets Rule" t-shirt and a jar sitting in his bedroom that, judging by the label, is full of farts.
  • Episode 26: Wheel of the Worst #7note 
    • Mike offhandedly comments that he hates the middle-aged Patch Adams-style nurse on the cover of one of the tapes on the wheel, despite not watching the video, and hopes she gets ebola. Quotes praising the nurse for her warmth and bedside manner immediately fill the screen, including "Patty is such a wonderful person. I hope no fatso neckbeard ever wishes her to get ebola."
    • When Ice Dams: Causes, Combats, and Cures shows the effects of ice buildup over time on a house:
      Mike: Look, this was shot over a year! This is like the Boyhood of ice dam videos, except much more emotional and I'm invested in it.
    • The crew talking about the possibility of a bear-shaped airbag. Especially when comic book artist Freddie Williams does pencil renderings of a decapitated kid being hugged by Air Bag Bear.
    • The seemingly unintentional Reaction Shot of the kids in How to Be a Teenage Ninja looking bored and disinterested at their sensei's elaborate sword kata sends the group into hysterics.
      Caption: Please do not update Frank Miller's Wikipedia page to include the fact that he wrote the lyrics to the "Ninja Rap" song in ''Teenage Mutant Ninja Turtles 2: The Secret of the Ooze''.
      Freddie was just joking. Please do not do this. note 
      • Rich's comment on the video's repetition and use of Stock Footage:
      Rich: The video's 35 minutes long and it took them 20 minutes to film it.
    • Rich prank calling the guys behind Dog Sitter as Don Wilson, a crazy guy who runs "Iowa's largest wildlife preserve!" who wants to make a video for giraffes involving parading them around New York City and shooting beams of radiation in the eyes of torrenters. note 
      • The crew's reaction to the scene of monkey riding a dog at a rodeo, which is just weird enough for Jay to declare it the best thing they watched that night.
  • The Star Wars Holiday Special video has the panel go out of its way NOT to discuss the the special itself, constantly going off-topic to discuss new movies, new trailers, and life stories.
    • Going with the Christmas theme, Rich Evans opens his presents, only to find out each is a different copy of the Holiday Special. His takeaway? "Baby Jesus is an asshole."
    • They talk about "Rich Evans Reacts to Star Wars: The Force Awakens Trailer", acting like they don't know who that was in the video, but talking about how embarrassing it must be to have a viral image of yourself simulating masturbation with a droid toy while wearing a Darth Vader mask. Rich nearly melts into the floor from resigned embarrassment, all while that particular scene plays on a loop while they talk about it.
    • Rich explains that the first time he saw the Holiday Special was in 2000, prompting Mike to point out that it was before 9/11.
    Rich: Yes, of course, that's a wonderful thing to bring up during this cheerful holiday discussion about Star Wars!
    Jay: Younger people, that's a pretty good way to approach it actually, pre-September 11th, post-September 11th.
    Jack: No!
    Jay: It was a different time, Jack.
    Jack: Not many people knew about the Star Wars Holiday Special, but some people knew about September 11th
    Rick: Well, it's just I think disaster was on my mind, so obviously that led to the Star Wars Holiday Special
    Jay: (to Jack) This is all staying in, by the way.
    • Rich gets a phone call while they're filming, and the rest of the panel tells him to answer it on camera as punishment.
      Rich: Hello? Oh, hey. What's going on?
      Mike: It's Lumpy.
      Rich: Oh, really? Was it depressing?
      Mike: Another funeral.
      Rich: Oh, that's good. That's good.
      Mike: [to Rich] Tell him about the video.
      Rich: [to Mike] Shut up, I'm trying to talk to eight people, this is... [to caller] No, we're filming a round table discussion of the Star Wars Holiday Special...[cracks up laughing]...and then you called, yeah.
      Jack: And someone forgot to turn off their ringer.
      Mike: Someone forgot to turn off their ringer. A true professional.
      Rich: I get one phone call every year, goddamnit! I will talk to you later, Terry, alright?
      Mike: [speaking directly into Rich's phone] Rich has been drinking!
      Rich: [sighs] Buh-bye. [hangs up]
      Mike: Now, back to 9/11.
    • Mike's story of a crappy horror movie convention he attended in 2004, which he brings up as "the Joe Pilato story" as a means to segue from a discussion of Day of the Dead (1985). He forgets nearly all the details of the convention, so that Jay ends up having to tell most of the story for him, and it turns out that he never even met Joe Pilato in person, just saw him wandering around drunk wearing nothing but a bathrobe. He did have wings with Michael Berryman, which makes the rest of the group wonder why it wasn't called "the Michael Berryman story".
    • The Running Gag of someone (usually Jack) pointing out that they've gone off-topic and returning to an earlier tangent, the special completely forgotten.
    • Mike mentions Ishtar, at which point the entire trailer of the film is played. This is not discussed again, but another mention of the film later on causes half the trailer to be played again. In The Stinger, the opening of the trailer is played a third time. An editor was really having fun with this episode.
    • The crew suggests that the real reason Robert Orci stepped down as director to Star Trek 3 was that he read his own script, forgot he wrote it, and thought it was terrible. They then suggest that since J. J. Abrams is directing The Force Awakens, George Lucas could potentially take the director's seat for Star Trek. Cue hysterical, sarcastic laughter.
    • The Jump Scare with Bruce Vilanch.
    • The passive-aggressive "fun facts":
      Fun Fact: Rich is asking a question Jack answered 30 seconds ago because he's not paying attention.
    • When Jay launches into an interesting spiel about Smokey and the Bandit Part III, they strike again:
      Fun Fact: Jay is mostly incorrect.
    • Part 2 does involve actual discussion of the movie. It all ends wonderfully with the group realizing that if they destroyed their copies they'd be doing George Lucas a favor. Cue a montage of the gang duplicating and shipping out the Holiday Special just to spite Lucas.
    • Mike spitting out an ice cube in the middle of a sentence, complete with a ricochet sound effect, which flies across the table and nearly lands in Jack's drink. Mike tries to continue the conversation like nothing happened, but everyone else is laughing and questioning why he did that.
      Mike: Oh fuck, it was my tooth.
      Jack: You spit it on my drink, dog!
      Josh: (Off-screen) The fuck just happened?
      Jay: (Laughs)
      Mike: We should mention that as seen on the back-
      Jack: That wasn't normal!

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