"Is one with the Force."

Desmond Seedy became his family's financial windfall last night at the corner of Hollywood and Vine.

Sounds best with Geordie accents.

Not blunt enough! "Space Robot is now a hideous rotting corpse, food for rats, while the philosophers argue over any piece of his consciousness survives. I hope it doesn't, because I'd hate to think Space Robot could watch himself be eaten by rats."

The one with the Winkies, right? It's probably better as a song and as a piece of music, but less good at being what Maximilian Pegasus would have sounded like if he had a bondage-themed rock band. (That's the closest I can come to describing the sound of his glam rock years.)

Perhaps we should counteract this by adding the dance-party end credits to live-action films instead. I know "Silence" would have been moderately improved by watching Liam Neeson and Adam Driver jigging sullenly over Depeche Mode.

There's an especially insidious version of this popular in British musicals: the megamix. Or, in some cases (Joseph and the Amazing Technicolor Dreamcoat comes to mind), the megamixES, which repurpose every single song in the show in a quick and hyperactive medley.

There are shows where it works, but 8/10 times it's forced and unresponsive. Still, I'll take the "overly exuberant curtain call" over the now trendy "no music, stark lights, cast bows as one in silence and curtain falls," which seems to force a solemn resonance that the piece has usually not earned.

Or the infamous "smash cut to jug band" that ended an entire season. I wish more shows would do that. Imagine if Westworld ended with Maeve turning around, and… BOOM! Everyone's in a jug band!

I don't remember the boy-pig. I remember the shaved partially-evolved ape that a guy kills himself over.

The Cale version is the echt-Hallelujah as modern, malleable folk song, and most versions since then are covers of his and not of Cohen's original.
Nonetheless, Cale's version was replaced with the more marketable Rufus Wainwright on the best-selling soundtrack, leading to Cale's connection with the song never really…

"Jedi Rock" is at least somewhat generic, and no longer raises "Lapti Nek's" question of why Jabba is really, REALLY into Rick James in particular.

I'm imagining Constance Wu's deadpan here.

It had exactly one good, memorable joke: the main character insisting he knows what words mean, but constantly mispronouncing "puissant" as "piss-ant."

The reasoning for this isn't the "audiences are too dumb to know when to laugh if you don't cue them" meme that gets bounced around. The answer is that most people who watch single-cam, "modern style" sitcoms are watching them exclusively, while most people who watch multi-cam "stage style" sitcoms are likely to watch…

Nothing will ever beat the "fake guitar solo" in "Paw Paw Negro Blowtorch."

I prefer "Smokin'" by Boston for those purposes.

At least in that regard, it's a slight evolution from the otherwise more nuanced Dilbert, where what exactly these "geniuses" do is traditionally kept vague as "smart people things."

I saw Jim Parsons at a play this summer about a photographer with high-to-medium-functioning Aspergers. I don't know how much CBS actually lets him have input into his character and/or portrayal, but kudos to him for doing some field research and trying to bring some nuance to his character.

She was attached to one of the most anticipated Broadway events that never happened: the revival of "Funny Girl," a really mediocre musical that happened to launch Barbra Streisand to stardom in the 1960s and hadn't had a major revival since.