I think Miss Saigon is underrated myself; the music is compelling and more interesting than it's given credit for (though it's probably not *really* deep), Madama Butterfly works really well transposed to the Vietnam War, and the Engineer is a very good part. In fact, I may have slightly more affection for that score…

Miss Saigon: The show that lost the Tony to a show no one really likes because everyone was fucking sick of fucking British Musicals and how fucking popular they were.

Best comment, from a previous AV Club story about this: "IMMACULATELY CONCEIVABLE!!!"

Who'll give the induction speech?

Don't bother, nobody makes money off toys. Can't believe we actually got the director to take the toy rights instead of a salary.

I saw that bit live, and to be fair, there is more to it: it's basically about how "the struggle" has been redefined between two generations of gay people - and about how he deals with the fact that, eventually, he'll be the old, annoying fogey that the younger generation will sweep away.

I was looking through a paperback copy of SILVER SCREEN FIEND today, and in the back there was an essay listing Patton's 100 favorite moments in film. One of them was, "Ben Stiller in HEAVYWEIGHTS."

George also has a song on one of his solo albums called "Here Comes the Moon," and it's surprisingly decent.

"Oh, girls. Yesterday our problems seemed so far away: now, it seems they're here to stay. Sitting here eight days a week: everybody seems to think you're lazy! (I don't mind, I think they're crazy!) But you used to run around at such a speed. Now you think there's no need! What will Townsville do when they look for…

His "interview" with Weird Al is great - because I can imagine him being that much of a grump in real life :)

IT'S A STUPID METAPHOR AND IT DOESN'T HOLD UP!!!

"You really Smash Mouth'd my heart.

…WHAT?!

Rhett Butler, singing about marriage: "But sometimes it's so miracle, full of strange and wonderful…"

If the story is right that HAMILTON's investors "reportedly already have been made whole," than it's fucking ASTOUNDING that the producers have kept that news to themselves.

Isn't it great how you know the Witch wants her beauty back from the very START of the story? WASN'T THAT SUCH A GREAT CHANGE?

I'll give INTO THE WOODS this: For reasons I still haven't quite figured out, the last twenty-five minutes work - in a way I haven't seen them work before. And the movie blends its "fairy tale" and "deconstructionist lecture" sides better than the original production (as I saw it on DVD.)

I like Smash Mouth's "Seventh Grade Dance." It's mellow, and it has a great groove.

Eh, call me when Frank Wildhorn's DEATH NOTE musical hits Broadway.

"Oh, yeah? If you're so great, what did you do with the other fifteen chapels, huh??"