I straight up loved "Your Highness" and don't understand the critical drubbing it got. It was bloody well directed (the action was really well done), had great special effects, was genuinely bizarre at times, and had a few good laughs. What's not to love?

Except Gilliam has been incredibly prolific. I don't know if his films are profitable, but they must be making someone, somewhere, money as he always seems to get money to make one every 3 years or so….even despite massive critical and box office flops (e.g. "Tideland," which despite not being a huge Gilliam fan I…

I don't think he was gleeful. He actually seemed shaken at times, especially during Brendan's trial, as it was clear the defense was bringing things to light that he had never heard before. You could actually see him trying to rationalize things for himself in the interviews during the trial. He stated at the…

Kratz is such a douchebag. Like, I try not to hate people based on edited documentaries, just because you don't know what is left in or left out. But then I read a bit more about why he had his licence suspended and….yeah, he's every bit as awful as the documentary makes him out to be.

I wonder if there's much from Brendan's trial that wasn't shown as I have no idea how a jury could have convicted him. Especially given that there was zero physical evidence….no blood, nothing. I don't know why the defense attorneys didn't hit that point harder.

It's an obvious stumble that probably would have been rapidly fixed were everyone not on vacation.

Yes. It's straight dickish. And doubly offensive when you consider many of the songs they picked as "good" examples aren't really pro-Jesus in a Christian sense. They just kind of mention Jesus.

I dislike it when real life stories like this become entertainment and people speculate on the murder like they are speculating on plot developments in "Breaking Bad." There's absolutely nothing that would suggest that her brother killed her, and no positive evidence that her boyfriend or roommate did….so I hope the…

I accidentally watched all 10 hours in a row (Christmas break will allow that). It was one of the most engrossing things I've seen all year, but it left me feeling drained, depressed, and completely demoralized.

And he was so young.

Holy shit, I've never read the Savage Love comments before. It's even worse than I thought it would be.

Yeah. I mean, Sinatra's culturally important, I guess, but I've never liked him. He's just way too polished, usually to the point of boredom. He became an institution too quickly, then coasted on that for the rest of his career. Garland hit it big even younger, but she had to fight to stay relevant in her career. …

I've never heard of small/medium/large underwear. Whenever I buy it it's always sized in terms of pant waists, and only in even numbers (i.e. 32, 34, 36, and etc).

I think a lot of that stuff could potentially be answered in sequels, though, especially the political stuff. If you think about it, we really new next to nothing about the empire and rebellion in Star Wars too.

"Caroline, or Change" is my favorite musical of the 2000s as well. It's just fucking solid theater on all levels. Usually with musicals you always end up saying, "Well the music was good, but the book sucked" or "It deflated in the second act," or what have you. But "Caroline, or Change" is the rare musical that…

"Urinetown" is awesome. I have a bootleg video of the orginal cast that I've watched more than I care to admit.

I loves me some LaChiusa (I have a giant collection of bootlegs of his unreleased shows), but the man really can't seem to write catchy tunes. His melodies are always oblique to the point that it takes a while to get them, which is probably why he's never had much financial success with his shows ("Maries Christine"…

Sondheim's shows rarely have songs that are immediately catchy, but listen to them 3 or 4 times and they stick with you forever. I could probably sing at least 3 or 4 of his shows from memory at the drop of a hat, if forced to.

I think it's more because they tend to be dependent on the context of the show. Which I think is the major reason why newer musicals tend to not generate many lasting standards. since the 1990s, it's much more in fashion to write songs that reference the specific events of the show (and all the up in coming…

I have no doubt that Hamilton is its own thing entirely, but it's the same basic elevator pitch as "Bloody, Bloody:" a historical musical about American politicians that uses the shock of seeing historical figures express themselves via contemporary music as one of its selling points.