Omigod, please, if you can't hire a copy editor, at least find someone who will volunteer. It's not like this is a time-pegged story or anything.

"…a stand-up film about a comedian played by Cliff Gorman (likely reflecting Lenny, the Lenny Bruce biopic Fosse directed…)"

Yes, absolutely the opening "On Broadway" scene is a classic. When my kids were little, I showed that to them (but not the rest of the movie). I have the DVD with Scheider's sparse but worthwhile commentary track, done in 2001.

Two more excellent ones:

The Another Monty Python Record version of "Spam" is also terrific - you don't get anyone lowered into the scene on cables, but this is made up for by the glorious full-orchestra-and-chorus ending.

Speaking of Bethlehem: It's long past time that another Bethlehem native, Daniel Roebuck, was a Random Roles subject. (Or did I miss it?)

Agreed. (The play is "Death" in Without Feathers, published some 20 years earlier.) I think he just had a fallow period and cooked this script up from the play, but it doesn't have much good reason to exist other than to use Kurt Weill music on the soundtrack.

It should be noted that this story is appearing just as the first reviews for RED 2 have started to come out. (It would seem that everything good about the first one is lacking in the sequel.) As for me, I liked her fine in RED.

Absolutely: A great track, a true evergreen, never unwelcome when it comes on the radio, and stronger than any song mentioned in the main article: Chrissie Hynde's "Back on the Chain Gang."

At a very tender age I purchased Allan Sherman's My Son the Nut (1963), which included not only the famous "Hello Mudduh" but also the great "One Hippopotami" and two SF-ish songs. One was an uptempo number based on "Five Foot Two, Eyes of Blue":

If only Richie Brockelman, Private Eye had been a success, we might have been spared this. It would have carried on when The Rockford Files (from which it spun off) ended.

Pleasance is always good - he was just as perfect as the U.S. president in Escape from New York, despite not using an American accent. For me his creepiest moment was probably just before he's digested by a white blood cell in Fantastic Voyage: "Get me out!… Get me out!…"

Not a particular fan of Crichton, but heard him interviewed in the mid- to late 1990s - he said that after the second season of ER (1995-96) they stopped taking his suggestions.

Bryan Cranston and Jane Kaczmarek both had so many great moments as Hal and Lois in Malcolm - even if the writing for the other characters hadn't also been excellent, it was those two who gave me the most pleasure watching the show.

Kurt Vonnegut (Jr.) has earned the right, by virtue of the excellence of his best work, to have minor stories published posthumously. What great artist hasn't occasionally produced lesser work?

Then there's the case of the "uncut" Robert Heinlein novels The Puppet Masters and Stranger in a Strange Land issued a few years after his death, at the behest of his widow. (Both the shorter 1961 version and the longer version of Stranger have been in print ever since.) In both cases, the cuts were made by Heinlein…

Yes, they count, although they belong to a special category because the three people who brought those tracks into zombie-like existence (McCartney, Harrison, Starr) were still alive.

Even while still alive, Nabokov wrote and published what I'd count as a "sad facsimile" of his earlier work: Look at the Harlequins.

It's called "Nanny," an extremely early PKD story - written in 1952 and first published 1955.

The best Gumby is to be found on Another Monty Python Record, which was my first exposure to M.P., a few years before I ever saw a TV episode. You've got "Gumby Theatre" featuring The Cherry Orchard, followed by "Book at Bedtime," both ostensibly BBC radio programs. Both are the quintessence of Gumby, and neither…