Most of the time though she could barely contain her laughing onscreen during scenes. Always smirking, never came off as a focused, serious agent. She better still as an ingenue, not a lead.

"Theese eese not my buhrd. I want my buhrd."

Aw, Sookie, Sookie.

I would be remiss not to mention that if you want more into Omundson's take on acting, check out the documentary "That Guy…Who Was In That Thing"—he's one of the sixteen actors interviewed about their roles and just not "making it" to the big-time. Xander Berkeley is also featured, who, I admired as a CTU…

As I recall, McGavin played a precursor to Mulder, as an agent in the 50's who essentially created the X-Files program (and later mentored him briefly, albeit reluctantly) which was a nod to the real-world inspiration of Kolchak, the Night Stalker giving life to the X-Files.

Shooting outdoors often is prohibitively expensive—in addition to usual production costs, you've got to transport entire casts and crew out into the middle of nowhere like Galavant's settings often called for, bad weather can shut down production for days on end, you have to shoot when the light is best; heat, cold,…

"…despite wearing practically the same outfit for the past two years…"

It really is. If you love Galavant's self-effacing, genre-shattering and self-realizing humor, you'd like The Neighbors taking on sitcom family stereotypes. The last few episodes when the writing was on the wall for it are just balls-out "fuck it, let's go crazy with bashing the ratings format and do what we want and…

D'dewness!

Was that happening a lot during the production? I was only passively watching the second half of the first hour—I saw real sets at that time (inside the high school, bedroom, the USO number). The effect was still happening all that time.

As someone who doesn't like musicals at all—people breaking out into synchronized dance numbers all singing the same tune? What madness is this?—I absolutely love Galavant's both seasons. The meta-humor, the fourth wall constantly hammered, all of it. I too genuinely hope ABC/Disney reads these comments. This was a…

Can someone tell me though why the footage looked like it was filmed live on tape from a third-world European TV signal? Little things like that make it hard to watch. Killed the whole "this is happening right now" as I watched (albeit briefly) until Galavant came on.

Best gag: Road to Bali.
Guy steps out of the jungle in front Crosby.
Fella says hi to Bing, Bing says hi back, tells him to "go ahead".
Fella takes a shot with a rifle, nods his pith helmet at Bing, thanking him, walks off.
Dorothy asks, "Who was that?"
"That was my brother Bob. I promised him a shot in the picture."

I'm moreso on Hatred. Dermot(t?) actually grew on me. At least the kid 'fesses up when he's caught in a lie or someone gets the better of him.

OPERATION:
RUSTY'S
BLANKET.

Ow! My earballs!

At the same time, Bourne 3 was a nightmare of handheld close-ups. Fight scenes were nearly incomprehensible to understand because Director Greengrass used the same cinematographer Wood for both this and its predcessors, refusing to understand that the viewer via the camera should not be the third person in a…

Totally! If not for the fact that everyone would be staring at Peg and Wilkes (and likely be talking under their breath about them dancing so close) how did she not notice THE ONLY WHITE GUY IN A BLACK NIGHTCLUB?!

It was prominently featured over the doorway of the meeting of the council. It was deliberate, given how AOS pointed out the symbol went back centuries and subtly changed over time.

It already showed up in season one of AOS. Hopefully it didn't swallow up Wilkes like it did the other fella on that show.
Also, the Hydra "hiding in the open" metamorphosized symbol that was the focus of the first half of this season's AOS was above the doorway of the evil secret society.