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In Season 2 Galavant Comes Into Its Own

  It’s funny how much a series can change in a season. When Galavant first came out, it was a filler show placed in the gap Once Upon A Time […]

 

It’s funny how much a series can change in a season. When Galavant first came out, it was a filler show placed in the gap Once Upon A Time left that month and outside of some golden musical numbers, the show seemed to have been given about that amount of thought. It seemed to be directly paralleling itself to The Princess Bride and Monty Python and The Holy Grail by parodying a story so rote I’m not sure it ever actually existed. Even so, I found myself drawn to it. It was amusing enough and Alan Menken’s score was darn good, especially the opening number (which season 2’s opening song bitter points out did not win an Emmy) and there seemed to be some real gold there. The ending for the first season struck me as particularly bold, daring ABC to give it a second season while also acknowledging the unlikelihood of that.

It’s so unlikely that the first song of the second season seems to be simply bragging about the fact that the show was renewed at all. One of the fascinating things about this second season was how deliberately it broke up the structure of the first season. The hero Galavant (Joshua Sasse) was separated from his squire Sid (Luke Youngblood) and love interest Isabella(Karen David) to be trapped with the former evil king Richard(Timothy Odmundson) on a pirate ship, Sid is stuck attending to evil queen Madalena(Mallory Jansen) and her bodyguard/fellow king Gareth (Vinnie Jones) Isabella is trapped in her home kingdom to be betrothed to a ten-year-old. It’s such a defiance of the previous season that this season almost feels like a reinvention of the show. The new Galavant feels less like a parody of some adventure story that doesn’t exist and more like a low-budget adventure show that happens to be really funny.

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