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  • Development Hell: In the first "Ask the Archive", Ben said he wanted to do a second volume of the Emergency Broadcast Salute episode, but he didn't have enough footage of foreign civil defense broadcasting systems. The video eventually came out as the 2018 Halloween Special.
  • In Memoriam: Parodied in "Duck and Cover" for (the fictional) Bert the Turtle.
    • Played straight several times:
      • in "TV Sign-Offs" for Dan Peek, of the soft rock group America, who passed away in 2011;
      • in "Local TV Special" for Russell "Blinky" Scott, a TV clown from Ben's childhood, who passed away in 2012.
      • In two of the "Record Ripoffs" episodes: Jim Croce in Vol. 3 and Three Dog Night's Jimmy Greenspoon in Vol. 4.
  • Old Shame:
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    • The entirety of episode 1 is this to Ben, even if it's the series' most-viewed. For what it's worth, it does get jokingly mentioned on occasion.
    • As of "Oddity Archive's Greatest Misses", Ben considers "Captain Midnight/Vrillon" to be this.
    • Ben did an entire episode of the show focusing on his 2002 album Around the Silent and Golden Sun, and his first two (unreleased) albums Silence is Golden and Around the Sun. Throughout the episode, Ben obviously feels like he has nothing good to say about the albums. To push this trope even further, the end of the episode includes a review of one of his tracks (which includes zingers like "Ed Wood called and he would like to use this on his next movie,") and to top it all off, Ben refers to himself as "The Ed Wood of Rock and Roll" in the credits.
    • Ben holds a special distaste towards his album Anything Can Happen, which he has dubbed his candidate for the worst album ever made by anyone. During its recording, he had a major Creator Breakdown due to his attempts at promoting his music on forums leading to years of receiving periodic bullying and death threats through e-mail.
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    • Ben finds Episode 23, "Scary Logos (and Other Nostalgic Video Terrors)", to be one of his worst, finding it "a scattershot mess even by Archive standards" despite having "its little moments here and there". This, and the fact that logos just don't scare him, were the issues he had with certain fans having requested a sequel for years; he made Episode 203, "Cheesy Logos", as a compromise.
  • Real Song Theme Tune:
    • Episodes 1-6 use XTC's '"Senses Working Overtime". Perhaps to avoid YouTube's notoriously broken copyright system, all episodes afterwards have the tune replaced by Ben's original composition "Pavanned".
    • For Episode 80, the opening theme is changed to a recording of "Sidewalks of New York" taken from a Stereo Test Record (which is the subject of that day's episode)
    • Occasionally the theme song is replaced to match the topic of the episode, such as "Analog Man" by Joe Walsh for "Format Wars", or "The Danse" by Kemper Crabb for "Hell's Bells".
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  • Talking to Himself: Ed the Editor is just Ben adding text to clips, so when they interact, it's this.
  • Troubled Production: Episode 191 detailed the production of his 2006 album Greetings from Elderbush Gulch, "a comedy — or tragedy — of epic proportions":
    • The idea of the album was to have some sort of product to sell as a musician as part of his plan to get into the group of talented, successful musicians at his university. He knew that his previous albums, done by himself on two four-track cassette recorders, would not cut it and he wanted to record something in a real studio with hired musicians. After trying to get the "Ben and Brenden" duo together again (Brenden wasn't interested), he worked odd jobs and sold off parts of his collections and gear to raise money for the album.
    • By September 2005, Ben thought he had his musicians (a bassist and a drummer to augment himself on guitar and keyboards) and studio lined up, but by November/December the musicians flaked out on him and the studio went belly up. "I've should probably taken it as a sign," but it only "pissed me off into redoubling my efforts." By January 2006, he pinned down another bassist and two drummers (in case one flaked out) and the bassist found a rehearsal space with a Yamaha digital workstation which Ben hoped would save him studio costs by recording as they went along. The rehearsal space turned out to be a cramped, acoustically deficient basement with, besides the workstation, an ancient drum kit, a stolen grocery cart filled with old rock LPs and lots of dog hair.
    • Ben planned for work on the basic tracks to be done on two days, one for rehearsal and one for recording. On both days, both drummers didn't show up, so no recording could be done. The third day, the first drummer finally showed up but refused to rehearse, so they were forced to roll tape and hope for the best. Ben had planned to record nine songs with the musicians, but the drummer quit after five songs due to his gout making it too painful to keep playing. Fortunately, the second drummer also showed up, but as he was a slow learner, they only recorded two more songs. As a last-ditch effort, the bassist played the drums for one more track, but the results were rather unsatisfactory. The remaining planned song had to be rearranged as a solo acoustic number to be recorded later.
    • Getting the tracks out of the workstation was supposed to be the bassist's responsibility, but he only got around to doing it after weeks of nagging from Ben and the CD-Rs he produced were unreadable. Ben had to enlist the help of an engineer acquaintance to get the tracks, which involved the engineer "borrowing" the workstation.
    • The multitracks turned out to be in absolute shambles, with some tracks out of sync, some tracks clipping, some tracks with very low levels and at least one bass track being just a wash of low-pitched feedback. Even with Ben playing the most simple rhythms possible, the musicians kept drifting off-tempo. Nevertheless, Ben still felt he could salvage the album with some cleanup and a lot of overdubs.
    • Ben then booked some time in April at a small studio to record the remaining songs, do the required overdubs and mix the album. Despite the engineer, Jaromy, being somewhat inexperienced, the sessions went relatively smoothly. The cover art creation also went smoothly, mostly because Ben merely recycled the cover from his unreleased album West of Elderbush Gulch.
    • In the end, Ben sank $1100 into the making of the album, and despite getting it into a few record stores in the Denver area (and at least one outside Denver) and sending it out for review, it got no reviews and sold zero copies. It only began selling when Ben remastered and rereleased the album in 2011 and curious Oddity Archive viewers checked it out.
  • What Could Have Been: According to the first "Ask The Archive", Ben considered doing an episode about outsider music until the "Conservative Folk" episode led him to believe there wouldn't be much of a demand for it.
    • As revealed in its commentary episode (134.5), the 2016 Halloween Special on CONELRAD was originally going to break the usual video naming format of "Oddity Archive: Episode X — Title" in favor of using "Project 111" (this being the 111th regular episode) for that "government conspiracy" vibe, but Ben eventually decided against it to avoid "upsetting [his] OCD and probably some of [his] viewers' as well".
  • Why Fandom Can't Have Nice Things: Ben used to skype with Archive viewers, but stopped due to two separate incidents with a stalker and a troll.
  • The Wiki Rule: Why of course..
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