Anybody else catch the "Kiss the Girl" musical quotation after Sid's line to Galavant?

I never thought about that angle. The music sales, passionate fantasy, and generally positive word of mouth just might save it. I wouldn't be surprised if they renewed it for the same timeframe next year.

I loved the gag where they interrupted the song to sneak-pose their way past two guards, even if it was kind of expected.

RE: Joel, I'm sure Sarah didn't want to get in the way of whatever was going on with him and Julia. Also, it wouldn't have had anywhere near the emotional payoff of Hank building it.

That's kinda what happens when you're 11, 12, 13 years old. Physically, you grow up like THAT.

There's always the distinct possibility Katims is screwing with us, knowing exactly how we'll react. He probably watched the episode like, "Okay, they're probably thinking, Zeek's gonna die right about now… and now… And now they're thinking, OH, it's Crosby… now they're back to Zeek… and fade to black in three, two,…

This really was laid out like a classic Parenthood episode, albeit with more FGMM (feel-good moments per minute). That scene with Zeek and Camille in front of their old house in particular may have made me all misty-eyed. And Hank and Sarah in Amber's apartment. And Zeek and Drew. And — pretty much every other scene,…

Speaking of, have I been missing something or has Natalie hardly been there at all? I mean, you know she drives. Even if she couldn't take Drew to the hospital, shouldn't she at least have shown up later?

ABC is really beating the "Galavant" song into the ground. It's not a bad song, just not one you'd want to listen to every single time you feel like watching an episode. Part of the problem could be the singer; it's pretty clear they're going for a fairy-tale narrator vibe, but the guy's voice sounds really forced. If…

I thought episode 2 had by far the best song so far, with King Richard doing a soft shoe while gleefully describing how he's going to torture & kill Galavant.

Since it was a Disney film, they naturally removed most of the sexuality from the Wolf/Riding Hood plot. I'm starting to think Depp was Marshall's and Lapine's way of working around that by accentuating his facial structure, which is very streamlined and angular. When that's combined with the costume design, lighting,…

Welcome to Sweden came pre-renewed, since it's a co-production with a Swedish network (where it's a huge success) and costs NBC practically nothing. And it's not that bad of a show: its sense of humor is simply much more low-key than Americans are used to.

I would argue that the film musical pretty much petered out in the late eighties and nineties before Chicago resurrected it. I'll leave the reasons for that to the professionals, but I think that Little Shop was the last culturally relevant movie musical of the 20th century. Because if you're talking financial and…

Dammit. Now I'll have to go to the imdB boards to get my critical analysis for both SaB and The Fosters, and it's a pain in the rear to slog through all the posts about how much they hate the series and yada yada yada.

The 1980s were actually fairly productive for movie musicals: Annie, Labyrinth, Little Shop of Horrors, Best Little Whorehouse in Texas, Xanadu, Hairspray, Starstruck, Yentl, The Pirates of Penzance, The Muppets Take Manhattan, Carmen, Monty Python's The Meaning of Life, Pink Floyd: The Wall, Victor Victoria, and…

This article seems to forget that musicals continue to not only exist but thrive in the 21st century. Also, it seems to suggest that Broadway isn't actually music, despite the presence of, um, music.
An oversight, surely.

Thing is that the ending could work as "next time Eliza comes onto me" or "when I meet the next Eliza, I'll be ready." Since this was a series finale, I got the impression it was the latter (which was probably unintentional on the show's part).

Off the top of my head, Brooklyn Nine-Nine and Welcome to Sweden are coming back, and Mom has Alison Janney in top form on a weekly basis. While not technically a comedy, Jane the Virgin is frequently hilarious, thanks to Latin Lover Narrator. Point being, things aren't nearly as bad as you think.

It should be noted how Selfie's last scene and line ever is about how Eliza helped Henry grow and mature, and not just versa. Not only that, but it's explicit about it (unlike in its source material).

That's the acting coming through. Streep's voice, while perfect fine, isn't nearly as flat-out mesmerizing and haunting as Bernadette Peters'.