Sunday, January 16, 2022

Review: ‘Shmigadun!’ It has a song at its heart and somewhere else

Welcome to Schmigadune, “where men are men, and cows are cows,” a magical concert where Melissa and Josh (Sicily Strong and Keegan-Michael Key) find themselves stuck during a trip aimed at rehabilitating their romance. At first they think it’s like Colon colony Williamsburg, or a perverted Disney experience, but they’ll quickly buy it into their new reality: they’re stuck in this healthy, old-fashioned parallel universe until they learn about true love.

Melissa is in it. He loves musical instruments and is thrilled to discover that when he joins one of the suburbs, he instinctively knows what to sing. There is no Josh in it not he dislikes musical instruments and he refuses to sing along. She wants to be in love, get married and win every argument. He wants her to accept that love is flawed and marriage whatever it is, and he wants to win every argument.

I will not say that there are only two kinds of people in the field of musical instruments, but for our purposes: the josh of the world “less likely to warm up in Schmigadun!” To my colleague Melissa: Wash your character’s shoes. Our time is now.

Apple TV + Friday debuts “Schmigadun!” Who created Ken Daurio and Cinco Paul, the party behind the “Desperate Me” suffrage; Paul wrote all the songs. The most obvious references to the show are “Brigade,” “Carousel,” and “Oklahoma!” But there are plenty of “Annie Gunn Your Song”, as well as “Seven Weddings for Seven Brothers,” “Music Man,” “Sound of Music,” “South Pacific,” and “King and I.” Dozens of other musical instruments in separate numbers. A parody of certain songs – Melissa explains human reproduction in a deceptive medical detail. “Do-re-mi” – and others pass on the genre in general.

Residents of Schmigadun are also walking parody. Christine Chenoth is Gretch and the main villain in town, a dark lipstick nightmare that turns back to her fellow tutors asking, “Ladies, can I get a cake?” Alan Cumming Closed Mayor. Jaime Camille is a vicious, judicial doctor, Aaron Tweet is the bad boy in “Carousel” wire weaving, and Ariana DeBoss is a lovely school mom. Tveit and DeBose are particularly electronic, and when they sing – or better yet, sing and dance – it is impossible for them to raise the original. Everyone, go ahead and conquer the minds of those who value our plight.

“Shmigadun!” It has good honest fun moments but it also carries more risks towards satirical and satirical fun – it jokes its own jokes and regularly mocks its own corn. (There’s a song called “Korn Paddin”, which is pretty much the same as the other songs on the show.) The web works, especially in the inflexible sexuality of classic musicals. The show’s accomplished authors Boeing Young, Julie Klausner, Allison Silverman and Kate Garstein are best known for their work in sketch comedy and sitcom, so surprisingly the punch lines are clever and often acidic. But sometimes it feels like “Shmigadun!” There was only one real joke: musical instruments, especially the ’40s and’ 50s, resembled each other.

We love these musical instruments not because of these qualities but because of them and “I love Smygadun!” Why camouflage can be so appealing. The more the series focuses on Melissa and Josh’s conflicts, especially the break from Josh’s talk, the more stupid and aimless the jolt. Of course, the city is primitive and smiling, but wouldn’t you dance to your problems instead of going back to the pile of tedious self-help books that can save an obscene relationship?

The navigator can be a vice but can also be an obstacle. Is it really deeper for people to blow a trumpet than to fall in love? Isn’t it good to sing what you can’t say, especially when you can’t think of anything at all?

Melissa declared towards the end of the season, “No one likes the ballet of dreams,” a line that thrilled me because I really felt like the beginning of a moment that was scary. Dream ballets aren’t my favorite anyway, but “Schmigadun!” It would have broken under a weight because it was not built like a two-act musical instrument to gain a lot of pleasure and glory. It is built as a six-episode TV show. So it can’t build momentum in the same way, breathe in and out, lean itself towards 11 budget numbers. Hooray for Overture, but if you do the show Beijing, you’ll hear that Overtor six times, at the moment it’s just a theme song. (Apple TV + is releasing the first two episodes together, followed by the following four episodes weekly))

It doesn’t echo the feeling of Melissa and Josh being in the wrong story-it gives the slightest but unwavering feeling of not being absolutely-justified. It’s a show whose own protagonist complains, “I think it’s ‘The Walking Dead’ or ‘Glee.'” (I think it’s more like “Smash” or “Gallivant” because its songs are all real, but I I doubt Josh knows what “smash” or “gallivant” is))

Occasionally “Shmigadun!” It can feel like a “Simpsons” parody that has gone beyond its part, or a classic movie that has been cascaded for a commercial break sert. Fortunately, this is too much fun to become important in most cases.

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