Tarantino's movies used to be set in a real place: the gritty urban wastelands of Southern California. But since Kill Bill, he's been stuck inside a garish Hollywood theme park of his own making.

I agree this was a solid episode with all the things I love about the show, but I do think we're starting to see the same issues that bogged down Community in later (Harmon-helmed) seasons: a) Harmon is so interested in toying with genre parody and meta storytelling mechanics that he guarantees diminishing returns,…

I really liked how Rick pronounced his name "Jag-wire."

Team Second Mom.

Sentient Morty also felt like a callback to the sentient and existentially-troubled butter-passing robot. Like Rick regularly produces AI that becomes self-aware and just does not give a fuck.

That was more a gag about the greed of some in the divorce business: Jerry said, IF he got more money, his lawyer would push for full custody (the most aggressive and expensive and likely to lose strategy).

The Mexican. And I like Brad Pitt and LOVE James Gandolfini. But I had to walk out. What a piece of shit.

Bullshit. McKinnon nailed Mika Brezinski's voice and her whole slinky-slouchy-pouty-flirty-whiny routine in the cold open. What else did she have to prove?

Counterpoint: Cecily Strong and Kate McKinnon are Radner/Murray/Belushi/Murphy/Fey/Hartman/Hader level first-ballot hall of famers.

You know, here I was thinking I was one of the few who remembered (and loved) the self-serious and earnest 1994 urban drama FRESH, so I was quite pleased to see it parodied so unnecessarily but expertly as YOUNGBLOOD 23 years later.

Yeah I like it and her flat, dry delivery. Sort of like a bizarro Victoria Jackson with a deep voice instead.

Agreed. As someone who's enjoyed a lot of YouTube clips of Warren mercilessly tearing CEOs a new asshole in Senate hearings, I think she's totally nailed Warren's slightly warbling but tenacious tone. I also think she doesn't get enough credit for her uncanny take on Kellyanne Conway's baby-doll-gone-bad voice.

Oh yes, Horatio Sanz is an example of someone who’s done an amazing job and is being recognized more and more, I noticed.

SNL had CHRIS FARLEY portray Chelsea Clinton as a young teen. There was a minor controversy but no one was fired. So much worse than a tasteless single tweet.

I think that's possible that Perkins meant "another" sketch, but more to the point: the meta-joke of their over-reliance on using Leslie Jones like some sort of loud Kool-Aid man/deus ex machina wasn't even a good joke the first time, and the first callback was so obvious it barely got a chuckle from the studio…

"It’s a shame the show didn’t end a sketch just that way to carry the joke along."

The return of the lovely and bitchy Audra Levine was a delight; I briefly got my hopes up for a "JAP Rap Battle" remix/reprise. I also love Naomi Bunch's pathological need to stuff everyone full of smoked fish.

Ok, here's my list so far, from this week's and the last one. Can anyone help fill it out?

"Meet! Your! Next! Wife!" is an instant classic.

It's almost like he just wants the show to be a long series of achingly woke and unfunny Hari Kondabolu jokes. Because we all know how we'll only resist Trump with the help of a forty-year-old creaky comedy franchise put on by NBCUniversal/Comcast/Sheinhardt Wig Corp., LLC.