Proud of the writers for carving out some space in the finale to throw in some reassurance that we're also supposed to find young people annoying, because Nick's teenage fiancee makes a goat-like bleating sound when talking about her wedding.

As bad this episode—and show—was, particularly with its refusal to wrap anything up, I did think it had some of the funnier individual moments in the run. The slow-motion "serious" MMMbop re-play, and the "you're gay" line reading, along with Max's assumption that the guy who inspired The Mentalist must be rich.

I've always had a morbid fascination with what a second season of Studio 60 would be like. The show, to me, was a perfect storm of misfires, but (not unlike this one, in my opinion) would every once in a while flash a glimmer of what it could have been.

Hogan can bankroll the campaign now.

Sure. And Faxon didn't write these scenes for himself.

Honestly, if they were actually written as Casanovas—meaning skilled at interacting with women—that would be a little more palatable for me. Instead, they essentially act like themselves—neurotic, self-destructive trainwrecks—and women seem inexplicably drawn to them. Marc Maron did a whole episode where his character…

The feeling—maybe it's just me, though—is that putting aside Gillian Jacobs being so into him, the fact that he had the actress on his show, the two sisters in college who want to have a threesome with him, and a couple of other random girls throughout the season all wanting to sleep with him was pushing it somewhat.…

Me too. Have you apologized for everything that's wrong with the world yet today? If I miss a day, I think I get banned from the internet.

Are you a straight cis male?

Sure. I'm actually curious what importance income demographic has for Netflix. Having affluent people watch your show on an advertiser-supported network was beneficial for obvious reasons (Jerry Seinfeld has said that it saved his show in the early years), but would it really matter for Netflix if a small but well-off…

Impressive that Nick managed to make the quantum leap from virtual non-factor on this show to biggest asshole in one episode, with zero recognition of why Lisa would feel remotely bad about cheating on her husband (even placing the soda can out of her reach like a fucking child), or just ditching this girl he's…

Both those shows, I'd bet anything, have much higher "ratings" (or whatever Netflix gets) than this. It was made for a niche audience by a big-name creator, got slammed critically, and generated virtually little buzz after the initial wave of negative reviews.

Dennis, you forgot to shoehorn in how SNL is no longer relevant, despite overwhelming evidence to the contrary in every way, because of an episode they did two years ago.

I've heard people describe that show this way, but I never saw the Love characters as "unlikeable." The two leads are obviously flawed, but a) it seems like they're ultimately trying to be decent people, and b) other characters are there to counterbalance and/or call out their bad behavior. It's not a world where…

I'm a fan of Love, but I think even someone less enthusiastic about it would probably feel that this is orders of magnitude worse.

Fair enough. Either way, to be the least likeable character on THIS show is, in its own way, an impressive achievement.

I guess that's fair, insofar as it's not any actor's "fault" that they don't have the natural charisma of another actor.

"Lisa has the unfair advantage of being played with the low-key charm of Cobie Smulders, while poor Annie Parisse is stuck trying to find something endearing about Sam."

Telling a jokes are a waste of time in the age of Trump.

Don't read David Sims' coverage on here. It's like reading someone who's unfamiliar with the concept of "jokes" as integral to a comedy's success.