Amy Adams has a slightly bigger part (emphasis on slightly) in the 2006 comedy The Ex, where she plays crunchy granola mom Abby. We're joined by Hey, That's Me! And The George Lucas Talk Show co-host Patrick Cotnoir to talk about the star power that convinced Amy to take this role, and why the more offensive unrated cut might be a better movie. Plus: the dying art of commentary tracks, men who quote The Office on dating apps, and the homophobia of underutilizing Mia Farrow.

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Given Amy Adams' low level of fame at the time, it's hard to even call her brief, wordless appearance in the 2006 musical comedy Tenacious D in The Pick of Destiny a cameo—but that won't stop us from covering it. We're joined by Roger & Me and New Flesh host Brett Arnold to talk about how Amy ended up playing Gorgeous Woman, and why this movie had to bomb for the sake of the bit. Plus: the prank call soundboards that raised us, trying to make sense of straight culture, and Meat Loaf's thoughts on climate change.

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Instead of following up Junebug with Oscar bait, Amy Adams returned to studio comedy in 2006's Talladega Nights: The Ballad of Ricky Bobby, where she plays Ricky's assistant-turned-love interest, Susan. We're joined by Emmy-winning reporter and Screen Rant host Ash Crossan to talk about Amy's iconic monologue, and whether or not this movie is funnier than Anchorman. Plus: Will Ferrell's kissing skills, the charm of aughts homophobia, and how the Netflix sheen is ruining comedies.

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Amy Adams received her first of six Academy Award nominations for the 2005 dramedy Junebug, where she plays the very sweet (and very chatty) Ashley. We're joined by writer and This Had Oscar Buzz co-host Chris Feil to talk about how close Amy came to taking home the gold, and why movies like this don't get made anymore. Plus: running away from Mike Nichols, Ben McKenzie's second act as an anti-crypto crusader, and getting death threats over Letterboxd reviews.

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As we approach Amy Adams' first Oscar nomination, we're forced to endure one more misguided indie. In the 2005 comedy Standing Still, she plays another bride-to-be, Elise, who is celebrating her upcoming nuptials with her friends, the worst people you've ever met. We're joined by writer and Podcast Like It's... co-host Phil Iscove to talk about Amy standing out in an ensemble, and how this movie defied our low expectations—in a bad way. Plus: the impact of the Crying Dawson meme, the most nonsensical way to prepare salad, and how Hollywood did Mena Suvari dirty.

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In the no man's land between Catch Me If You Can and Junebug, Amy Adams did make one studio film: the 2005 romantic comedy The Wedding Date, in which she plays Amy, the bride whose titular wedding inspires her half-sister to hire a sex worker. We're joined by podcaster and digital strategist Wynter Mitchell to talk about Amy's fixation on English breakfast, and why Debra Messing's movie star era was over before it began. Plus: Richard Curtis ruining British romcoms for the rest of us, Dermot Mulroney's cello career, and the pleasure of schadenfreude.

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It's not entirely clear when Amy Adams filmed the 2004 romantic dramedy The Last Run, where she takes on the thankless role of shrewish fiancée Alexis. By the time it was released, however, she got top billing to capitalize on her recent success. We're joined by Sporked writer and taste tester Gwynedd Stuart to talk about Amy phoning it in for a paycheck, and how a misogynistic sex comedy can also be a harrowing drama about addiction. Plus: why Fred Savage's cancellation has been memory holed, the best flavors of Olipop, and all the things you can learn from Lifetime movies.

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Working with Steven Spielberg and Leonardo DiCaprio on the 2002 crime dramedy Catch Me If You Can could have been Amy Adams' breakthrough, but that's not what ended up happening. We're joined by Variety senior entertainment writer Adam B. Vary to talk about Amy's transition from mean girl roles to tender vulnerability, and the somewhat muted reception to Spielberg's then-most personal film. Plus: the deleted scene that may or may not exist, the actor's code of not using tongue, and what Amy and Chloe Sevigny have in common.

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