Ha, true. But that movie still has a lot of influence on fantasy-comedy, even though it also played a lot of its tropes straight. And I expect Galavant to turn more towards it in the end when they want to start playing by the rules more, like Galavant and Isabelle's inevitable romance.

Because…….

In the case of …ish and some others I find it more like a fun puzzle to figure out how it's going down. Omega is great IMO because it makes you re-examine everything you were visualizing. But yeah, things like Jubilee's ending get on my nerves. Generic lasers and explosions designed to be placeholders for big battles…

Oh yeah, that also seems to have a good impact on the humor here.

Ha, funny you mentioned Wyldstyle, cause I was also thinking of her, which lead me to also start remembering Tasha Robinson's great essay on those kinds of characters from earlier this year. The one thing Isabella does have going for her though is the betrayal arc has the potential to give her some depth, but it won't…

Maybe two, two hour Galavant reruns to give the show more signal boost? It's clear they want the show to be a hit.

Yeah, I can totally see that. And it went over my head because by then I was paying more attention to the connections to the White side than the world building.

One thing that struck me is how desperately the score wants to be the score to the Princess Bride, the soft, medievaly guitar sound is eerily similar. Actually, the whole show wants to be Princess Bride, with a dash of Spamalot's crudeness thrown in. That's a super noble goal that I'm all for, but the show won't reach…

Yeah, after the concept peaked with that Revenge promo I started fast forwarding through them.

I love parodies of romantic showstopper numbers. It reminded me fondly of "Song That Goes Like This".

This is how I feel too. The cinematography is bland, Fogleman's phoning it in with some of the jokes, Menken's fully in Greatest Hits Rehash mode. Yet the bones of the series are so good, and the cast is so game. Hey, I'm a big fan of fantasy comedies like Princess Bride/Shrek/Spamalot, so even a knockoff that hasn't…

Yeah, I guess, but the fact that they never come out and say it or focus on it at all has me perplexed. Unless I missed something, very possible. Still, that was the first time the TARDIS had ever been given voice, a still rare occurrence, so doing such a momentous thing for such a tawdry reason will still rankle.

Yeah, only good part about the politics is it's such a minor part of the story. You have a good point about the Doctor's ineffectiveness though. Usually I hate stories like that.

Ugh ugh ugh. I kept waiting for the explanation of why it was acting so awful and out of character, the idea that was supposedly in character was insulting.

Another big advantage Day has is it actually takes place and isn't entirely in some incomprehensible simulation bullshit.

I love "five people in a room" stories too, and Master was a great example of the form.

Master gets a lot in my esteem for just trying something completely different. Though the plot is ridiculous, yes, I loved being drawn into the tone and feel of the story, and thought McCoy and Beevers' performances were sublime at doing this. So that's my two cents.

The emptiness I recognized, and while it kept it from the A, I still am willing to overlook a lot for cleverness.

Maybe it's because I just finished watching it, but hateful dialog between characters who distrust and despise each other resembled Clue.

Wish I saw this before 2:46 am, LOL. But I think I'm good.