Mom (2013– )

Benito Poppins and a Warm Pumpkin 

When Christy gets promoted to manager of the restaurant, she discovers that being the boss comes with its own set of problems. Meanwhile, Bonnie encounters a nemesis in the building who wants to have her fired.


Ted Wass


Chuck Lorre (created by), Eddie Gorodetsky (created by) | 6 more credits »

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Episode cast overview, first billed only:
Anna Faris ... Christy
Allison Janney ... Bonnie
Sadie Calvano ... Violet
Nate Corddry ... Gabriel
Matt Jones ... Baxter (credit only)
French Stewart ... Rudy
Spencer Daniels ... Luke (credit only)
Blake Garrett Rosenthal ... Roscoe
Courtney Henggeler ... Claudia
Amy Hill ... Beverly
Charles Robinson ... Mr. Munson (as Charlie Robinson)
Meg Steedle ... Shelly
David Barrera ... Gary
Julie Dretzin ... Wendy
Reggie De Leon ... Paul


Christy's boss and ex Gabriel. is told by his wife, she wants a divorce and is firing him from his job. When he says she can't just find someone else to replace him and she does with Christy. She does her best and thinks she's over her head. So she turns to Gabriel for help. Bonnie's not exactly doing a good job as building manager that one of the tenants decides to have her removed. Written by

Plot Summary | Add Synopsis


Comedy | Drama | Romance






Release Date:

12 February 2015 (USA) See more »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:




Aspect Ratio:

16:9 HD
See full technical specs »

Did You Know?


First appearance of Beverly, played by Amy Hill. See more »

Crazy Credits


I start most of my vanity cards without knowing how to end them. I purposely write myself into a corner and then try to wriggle out of it. Which, I now realize, is the story of my life. Over and over, I have consciously entrapped myself in difficult situations and relationships and then struggled to get free. Which leads me to wonder, is this cycle the very essence of existence? Are we destined to live out an endless, self- imposed drama entitled "stuck, free, stuck, free"? Or, with a bit more flourish, "woe is me, hallelujah, woe is me, hallelujah"? And if this is the case, is life and death just one more variation on the theme? And is it the last? Does the pendulum swinging between entrapment and freedom continue beyond the grave? (Perhaps on a quantum level?) Which poses a new question. If we exist in an eternal loop of suffering and escape, why bother escaping? Why not just embrace the prison we're in? The answer, of course, is that surrender is its own form of freedom. Which is why I've given up on writing my way out of this vanity card. I intend to remain here, happily trapped in a weak premise. See more »


References Mary Poppins (1964) See more »

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