I like Kate and Ricki, but the show never quite found the sweet spot, or at least a consistent comedic tone, despite some funny stuff going on. The problem wasn't the aggressive quirkiness in and of itself, but that it would go jarringly from quirky to edgy to twee to sexual constantly. Shifts like these are good for…

Who knows, since they only take care of the place while the master's away.

Yep. They were first and foremost cast as actors. They all had varying degrees of musical talent, but their interests were very disparate: Jones was the showtune guy, Tork was the dyed in the wool folkie, Nesmith had his Tex-Mex leanings (although he could write a pop tune if needed, which is how he got a couple songs…

Great song. Written by none other than Harry Nilsson.

A Moog synthesizer specifically. Dolenz bought one of the first handful that were made.

As a young fan watching the show in syndication, I loved the song "Papa Gene's Blues," but it took me years to find the song on an album because I had no idea what the name of it was. (I wasn't smart enough to check the end credits of the episodes.) Nesmith was tricky with some of his titles. Some of my other…

Well, that was kind of the point. Also, I doubt any of the principles read more than just their own bit so I'm not sure any of them had any idea of what it was going to look like in the end. Maybe it was enough to know that, "hey, Hugh Jackman's doing it."

Boat Trip was supposed to launch Horatio Sanz's film career! Now we are left with bittersweet thoughts of "what if?"

It wasn't that it was a bad idea. An all-star sketch/comedy/anthology movie could work. Just with better material.

Well stated. Also, I never believed the Cohen/Coen story (I doubt I'm the only one) as it's just to pat and absurd, as well as being nicely self-depricating (it's like he knew some people would give him shit, so he had a perfectly disarming joke at the ready). The man is a strange bird, but he's not dumb. My guess is…

Actors, even Oscar winners (gasp!) are still working actors and will sometimes do a film for a paycheck. Got it.

"I'll yell 'rape'"
"Why don't you yell 'Bigfoot', it'll be slightly more believable."

Wow, that's another possible level of subversion I didn't even consider. Is Smigel doing an intentionally "cheesy and lazy" show the joke by itself, or did Smigel somehow sell the show and is now all "you may think this is shitty, but I got NBC Universal to pay me do this!" Or is it both? (My brain just cramped)

I liked it more than a bit, and I hope to see where they go with this. The intentionally meta-ness and cheapness of it all is part of the concept which can clearly be taken anywhere.

Amy thought she had it all, but she's about to find out

"What are you doing in my home taking care of our son if you're not going to straight up lap up on my star hole."

Dinklage does stoic to great effect, not an easy job for any actor. It makes the moments he slightly cracks a smile all the more meaningful.

I agree, I know the idea was that Finbar had to eventually explode, but the big drunk rant was a little too neatly orchestrated.

I would recommend Tiptoes. Nathan did a MYOF on it: http://www.avclub.com/artic…

As is young Raven Goodwin, who is delightful in her role. McCarthy just let the kid be a kid. Her scenes with Dinklage are great,