“What happened to this actor/why aren’t they in anything anymore?” and 75-80% of the time OP clearly hasn’t bothered to check IMDB because the actor in question has actually done a lot of indie/foreign/TV/stage/etc. stuff in the years since OP last saw them in something.

Aside from what others have said, Ophelia was also the counterpart to Coleman: both of them help the two main characters navigate the very different worlds they’ve been thrust into. They’re also the only ones who treat their respective charges with basic decency and respect - Ophelia shelters Louis when his fiancée and conceited friends have abandoned him, while Coleman offers actual encouragement and support to Billy Ray whom the racist Dukes see as just a pawn in their experiment.

>!Suzanne Pleshette’s deadpan “I’m happy for you.”!< kills me every time.

The whole history of how The Blues Brothers came to be is fascinating to me. Apparently, prior to that movie, there had been an informal ban on movie productions filming in (downtown) Chicago for decades under the Richard J. Daley administration, due to Daley hating a film produced there in the ‘50s that portrayed Chicago as a hive of mob activity. But by 1979, Daley was gone (“No, sir, Mayor Daley no longer dines here…he’s dead, sir.”) and The Blues Brothers was able to actually film on location with the cooperation of then-Mayor Jane Byrne, along with a few favors called in to Cook County Board of Commissioners President George Dunne, who was the father of Murphy Dunne (aka Murph of Murph & the Magic Tones).

Taxi Driver captures the essence of grimy, depressed late ‘70s New York City pretty well, I think.

Also, NYC’s reputation was still not great by the early ‘80s and productions generally declined to actually film there instead of places such as LA, but for Ghostbusters, Ivan Reitman was adamant about actually filming exterior shots in the city itself. And it was Dan Aykroyd’s suggestion to use a particular NYC firehouse (the still-active Hook & Ladder Company 8) for exterior shots of the Ghostbusters HQ.

One of my favorite scenes for sure.

“Southern Peru. ‘74, before the rains.”

I love how when Latka finally reunites with Simka (his wife, played by always wonderful Carol Kane) later on, she immediately knows that he “did it with another woman!!”, lol.

Fun fact: series composer Bob James originally wrote that theme (called “Angela”) as incidental music for the third episode of season 1, where Alex goes on a blind date with answering service operator Angela Matusa. The showrunners liked it so much that they decided to use it as the theme song for the entire series.

As it happens, James is a very accomplished jazz composer and keyboardist outside of the show; several of his non-Taxi works were even sampled by early hip hop artists.

This was covered in the film Man on the Moon as well.

Eh, depends on your local stations and why you’re watching, I guess. The local morning news shows in my area all pretty much follow the same formula, everything’s broken up into easily digestible ~10 minute chunks so that the average person heading out the door to work/school can get a couple of top headlines, today’s weather, and the traffic report in just a few minutes no matter when they tune in. If you actually want to sit down and watch all of the news or get the full weather forecast, this format can be annoying.

“Heeeeeyyyy, that’s ALSO David Warner!”

“Yeah, Crow.”

The Roseanne reboot/The Connors is another one.

The post-rural purge shift to shows with urban settings wasn't mutually exclusive with blue collar shows, though. Sitcoms like All In the Family, Sanford & Son, MASH, Laverne & Shirley, Welcome Back Kotter, Good Times, and Taxi were all blue collar shows that launched and flourished in the '70s, for example. In fact, sitcoms in general started to get edgier and more topical during that decade - All in the Family was fairly controversial in its time, especially to viewers who had become accustomed to the relatively tame and saccharine family comedies of the '50s and '60s.