But then again, maybe there’s another way to view The Monkees phenomenon — as a clever, self-referential parody that may have been as much of a road map to “Spinal Tap” and Sascha Baron Cohen as “A Hard Day’s Night” was to The Monkees. After all, it wasn’t just a show about a rock band. It was a show about a rock band trying to make it as a rock band. If you look closely enough, you can see little, veiled digs at the music industry’s shallowness, the glam world of Hollywood, and the hypocrisy of society — all artfully buried in the silly, comedic plots. […]
Daring escapes and rescues are the linchpin of the series; the boundless imagination of children inspires the animators and screenwriters to expand the possibilities of play. The organic extension of pretend and our willingness to suspend any disbelief provide endless delights. As a child, I believed my toys shared a completely full and separate life that occurred in my absence or during my sleep. Perhaps the film’s true magic lies not in suspending disbelief but rather in the extending that simple and universal childhood belief that our toys are alive, that the toys we call our own love us back.