13 Lines from Friends That You Should Be Quoting More Often

Happy 25th birthday to Friends! This show first aired a full quarter-century ago, and yet given how often it seems to be quoted in pop culture, it easily could’ve been yesterday. “He’s a TRANSPONSTER!” “We were on a break!” “How you doin’?”

And sure, those lines are classics. But Keets, Janes, and I have watched Friends waaaaay too many times, and there are some lines that no one ever quotes that still make us laugh every freaking time.

Here are the top Friends quotes that we think should live on for the next 25 years…

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Veronica stands behind police tape, wearing a blazer and a white T-shirt, and looking intrigued by something.

Veronica Mars 4×01: “Spring Break Forever”

Welcome to Veronica Mars Season 4! Fair warning: this is not going to be some objective critique-y recap. Your recapper, who Was Watching Veronica Mars Before It Was Cool, is basically just a big old fangirl who’s excited for her favorite show to come back.

Anyway, I’m getting started on this a bit late because I decided at the last minute to marathon the entire show before watching Season 4, which I’m very glad I did: it made me realize that all the fandom complaints about season 3 were honestly kind of unfounded. The mystery was twisty, the jokes were still great, and Veronica was an ever-more-layered and interesting character. Yeah, Piz was a drag, but Veronica was in college: most people have a Piz in college. (And most people, at one point or another, are the Piz.)

And with that brief apologia for Season 3, we’re off to season 4!

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“Handmaid’s Tale” is good sometimes

I’m aware that this isn’t the hottest possible take, given that Alexis Bledel already won an Emmy for her role in the first season of The Handmaid’s Tale—but her performance in Season 3 Episode 2, “Mary and Martha”, was incredibly acute and powerful. Too many (ok, yes, fine, not enough) rewatchings of Gilmore Girls have contributed to making this more surprising for me than it perhaps should be, but, wow:

The entire emotional arc of the episode is carried by the camera lingering on the tension and anticipated grief and implied, learned suffering that she carries in her face. One loooong shot after another, unrelieved by overbearing soundtrack or the other devices prestige TV uses when it can’t trust its actors to carry their weight, she builds up the self-doubt and uncertainty that stand in the way of an otherwise obvious denouement, one which probably seemed like a foregone conclusion at the end of the previous season.

Her performance lets do the show do what it does at its best, imbuing completely banal interactions with painfully expressive weight, letting an overhead shot of a car blocking traffic become a heart-breaking emblem of connection.

I cried, ok? The car made me cry.