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Or that the writers admitted up front that they made up each episode as it came, asking themselves what they felt the cast would do next based on their characters rather than shoving for some huge plot that pulled the characters along. It doesn’t hurt, either, that the show’s episodes were kept short and tight, clocking in at only 22 minutes a pop. They’re simply having too much fun together, especially by the second season. I couldn’t even guess how many times the cast broke down laughing on set, but it couldn’t have been an insignificant number. This is a show where you can tell the cast had fun. You can tell they’re having fun, and whether it’s King Richard getting drunk and enacting a drunken “secret mission” through his own castle which his guards just pretend to ignore, or the protagonists of season two being captured by an “evil queen” who runs a gay bar in the enchanted forest and chains the hero up shirtless behind her bar to sell more drinks, you’re always snorting and laughing along with the characters as one funny event hits after another. It’s almost impossible to guess where the next episode will go until it actually hits, but you never feel like the characters are meandering or floundering thanks to the infectious energy the actors infuse them with. The plot and characters are nothing to sneeze at either, especially as the writers seem to gleefully subvert every single cliche and trope they come across-if they don’t play it straight just to make it all the funnier. You’ll see a large variety of styles of musical theatre shown off, such as a dwarves VS giants rendition of a West-Side Story snap-off. They feature guest stars in plentiful numbers, from ‘Weird Al’ Yankovic to Ricky Gervais and Nick Frost, but they’re also from a wide range of show and stage. The songs are easily some of the best highlights, especially by season two where the writers really hit their stride. No, instead they’re woven into a fount of clever dialogue, goofy characters, and-of course-the songs. They’re nodded at, joked at, poked fun at, but Galavant isn’t a show where all the jokes come from those meta, fourth-wall moments and nothing else. Sometimes they’re even aware that there’s been a commercial break, or that most viewers only Tivo the show for later and aren’t watching it live (fourth-wall what?). And they’re aware they do it (see the “meta” tag).
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And yes, I mean musical in the sense that everyone breaks out into song and dance with astonishing regularity. *Inhales* A musical, meta, fourth-wall aware, fantasy comedy. What is Galavant? Well … are you ready? Galavant, as I would describe, is: But for a more traditional, status-quo seeking cable network audience? It’s kind of a hard sell. It’s a show that would stand out perfectly on Netflix or Amazon as a show that’s made for an audience that’s always looking forward. Why? Well, personally, I’m not sure execs knew what to make of Galavant. I suspect that had Galavant shown up on some other network, like Amazon or Netflix, right off of the bat, we might have seen three, four, or even five seasons rather than the meager two it ran on ABC.
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Premiering on a cable network that likely had no idea what to make of it, it seemed a hard sell on an audience that is shrinking by the year (cable TV). Personally, I think it had somewhat to do with the medium. Mine is a site dedicated first and foremost to writing and fiction.īut … sands and storms did this show never get the credit it deserved. Now look, I promise I won’t do this often. The title, admittedly, gives that away, but I’ve been around long enough to know that sometimes even I skim over a title in my haste to read the article (and surely, I can’t be the only one?) so … Yeah, today’s post isn’t about a book. Today’s post doesn’t have much to do with reading.