The 13 Most Uncomfortable Family Feud Moments Ever

On an episode of Family Feud this week, host Steve Harvey posed the following question: “We asked 100 married women, if you could change one part of your husband’s body, what would it be?” A contestant named Joyce quickly — very quickly — buzzed in to offer her response: “His penis.”

As you can imagine, things got real awkward, real fast. Her husband was standing just 10 feet behind her! Wearing a tie with a bunch of smiley faces on it! This weird little moment got us thinking: Wait, awkward things happen ALL THE TIME on this show. Let’s go back and watch ALL OF THEM.

And so here you go: the 13 most uncomfortable moments on Family Feud:

1. That other time things got really sexual because the question kind of prompted it:

2. That time a contestant thought Jose was a name that started with H:

3. The time a contestant stood there uncomfortably, trying to be polite, for a full two and a half minutes, while everyone else carried on:

4. The time Richard Dawson completely lost it because he was totally making fun of a contestant’s answer:

5. That time “white dudes” was an answer to the question “What has white balls?”:

6. That time one family was really horrible at geography:

7. That time it was funny because it was true:

8. That time somebody was way too trigger-happy with the buzzer and then things got weird:

9. That time a contestant confused the words “douche” and “tush”:

10. That time the Family Feud writers referred to a penis as a “trouser snake”:

11. That time this guy just totally and completely blew it:

12. That time a lady called Dracula “a good sucker”:

13. That time a guy screamed “naked grandma” as an answer:

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Mad Max: Fury Road

In a summer full of CGI dinosaurs and robots, Mad Max: Fury Road proves that action blockbusters can still be the sort of high art that gets a standing ovation at the prestigious Cannes Film Festival. Director George Miller not only perfected the form, building the rickety fire-shooting vehicles from scratch, but adds narrative heft, taking on serious issues like sex slavery in a nuanced way.

—Eliana Dockterman

It Follows

As a premise, “pretty teen girl running from certain doom” may not sound like the makings of an inventive horror film. Yet David Robert Mitchell’s indie sensibility makes the movie unlike any thriller you’ve seen before, while still paying homage to the best traditions of the form.

—Sarah Begley

Far From the Madding Crowd

The new adaptation of Thomas Hardy’s novel appeals to the Pride and Prejudice set, but with more subtlety and sadness than most Austen films, plus a hearty heaping of rustic drudgery. Carey Mulligan’s gutsy Bathsheba gets swept off her feet like the best of her 19th century romantic peers, but without their usual histrionics—somewhere between Lean In and Wuthering Heights.

—Sarah Begley

Love & Mercy

Paul Dano fulfills the promise of roles in Little Miss Sunshine and There Will Be Blood as a young Brian Wilson, the Beach Boy who’s going slowly mad while recording the group’s landmark album Pet Sounds. John Cusack shows us the older Wilson, now paralyzed by overmedication at the hands of a villain. It’s a gripping story of mental illness, which is sadly all too common, and true musical genius—which is extremely rare.

—Sarah Begley

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Furious 7

Each Fast & Furious movie has gleefully attempted to outdo the previous one. Brought down a plane in the last movie? How about making cars fly out of one in the next? While Furious 7 doubled down on its self-consciously corny lines and over-the-top stunts—crashing cars through not one, not two, but three high rises—it also took a moment to give a surprisingly moving send off to star Paul Walker, who died in 2013. While he will be missed, this increasingly diverse franchise has a bright future.

—Eliana Dockterman

Ex Machina

Alicia Vikander’s breakout year hinged on her spooky turn as a robot who may or may not have motives of her own. But this sci-fi thriller got its thrust from the creepy bond between the two men obsessed with Ava: tech billionaire Oscar Isaac and humble employee Domhnall Gleeson.

—Dan D’Addario

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Clouds of Sils Maria

Freed from Twilight, Kristen Stewart showed flashes of both savage intelligence and newfound sensitivity as the personal assistant to Juliette Binoche’s pampered, neurotic actress. The film works as both insider moviemaking satire and an enigmatic tribute to intergenerational bonds between women.

—Dan D’Addario

Welcome to Me

Kristen Wiig, at her best, has always had a far more barbed edge than her comedy contemporaries; there’s real bite, and pathos, to her most memorable characters. Add Alice Klieg to that pantheon. Wiig commits utterly to the story of an ill woman who spends her lottery winnings on a five-day-a-week talk show dedicated to praising herself and shaming her enemies. It works as comment on our media age, but soars as a portrait of suffering that only Wiig could make hilarious.

—Dan D’Addario

Dope

Writer-director Rick Famuyiwa’s tale about a nerdy black teen obsessed with ’90s hip hop culture rejects the trappings the typical coming-of-age flick, starting with its setting: Inglewood, Calif., otherwise known as “The Bottoms.” Newcomer Shameik Moore’s portrayal of Malcolm, who’s stuck between his ambition for a spot at Harvard and the whac-a-mole of obstacles that keep popping up to thwart him, thrusts the rising star into the well-deserved spotlight.

—Eliza Berman

Me and Earl and the Dying Girl

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—Eliza Berman

The Boy Next Door

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—Nolan Feeney