Cops rock (along with the rest of the Lucifer fam) in “Bloody Celestial Karaoke Jam”
TV Reviews Lucifer
At this point, musical episodes of shows are more a matter of “when” than “if.” But as I’ve surely noted before, Lucifer’s gimmick episodes tend to be as integral to the series’ stories and arcs as any other episode. Of course, a musical episode should be even more integral when done right. The purpose of a musical episode is to reveal through song what can’t be revealed simply via dialogue, as the characters refuse to talk about. That’s obviously the key to an episode like “Once More With Feeling” (Buffy The Vampire Slayer); whereas, the failure to do so is one of the reasons I’ve never vibed with “My Musical” (Scrubs). “Bloody Celestial Karaoke Jam” falls into the former camp.
Additionally, another major reason for a musical episode is to dunk on Cop Rock, a failed show that’s become such a joke that people think it was a musical comedy. It was not.
Surprisingly, there is no direct Cop Rock reference in this episode, even after the huge crime scene number (with a dancing corpse, which is… spectacular to witness) or the moment of singing The Police at the police precinct or even Ella/Maze’s precinct duet. Instead, co-showrunner Ildy Modrovich’s script keeps things singularly focused on the story at hand, for all of these characters. Unlike many shows, where I find myself screaming for the characters to get therapy, Lucifer is a show where characters do get therapy—and that’s still not enough to tackle all of their issues. So “Bloody Celestial Karaoke Jam” comes at just the right time.
It also comes when there is a logical reason for it to happen: God is on Earth, and God can do whatever He wants. Before the ultimate reveal about why God is doing this happens, it’s so easy to believe and accept that if God were around, He’d want to have as much fun with humans (and His kids) as He could—just because He could. Seeing everyone sing and dance for God’s enjoyment has to be much better up close than it does from the view in the Silver City. Plus, the parameters of the bit are set instantly: It’s only those in God’s vicinity who are getting the whammy, He’s not doing it to the whole world. That suggests control, right? That He ultimately can’t control it then also makes sense as to why it’s only those in God’s vicinity.
Director Sherwin Shilati returns for this episode, which should come as no surprise, as Shilati is the one the show goes to for epic directorial choices, especially in terms of movement. The go-to example is always “God Johnson,” with Lucifer and Earl Johnson’s beautiful escape from the mental facility, but there’s also the bar fight scene in “All About Eve” that always gets me. Both are exceptional, brilliantly-timed, choreographed scenes, which explains putting Shilati at the helm of an episode that ultimately lives and dies on those types of scenes. Even before the song and dance begin, just the choice for the episode to open upsidedown, immediately signaling that everything from this point forward will be topsy-turvy, is so simple but so effective.
In terms of the musical language of the episode, the choice to use covers over original songs isn’t surprising. “Karaoke” is in the title, after all.
“Wicked Game” (Chris Isaak)
In general, the lyrics to “Wicked Game” are perfect for the Lucifer/Chloe relationship: “The world was on fire and no one could save me but you / It’s strange what desire will make foolish people do / I never dreamed that I’d meet somebody like you / And I never dreamed that I’d lose somebody like you.” Lucifer then tweaks the lyrics in a small but still major way. The original, iconic lyrics to the chorus are “No, I don’t wanna fall in love” (with the backing vocals “this world is only gonna break your heart”). Lucifer changes them to “I wanna fall in love,” as this isn’t a matter of Lucifer trying to deny his feelings for Chloe at this point: All he wants to do is embrace them, but he considers himself absolutely incapable, based on what we learn in “Family Dinner.”
This opening number could easily be in any “normal” episode of Lucifer, which is why it doesn’t immediately tip its hand that it’s happening because God is there. And speaking of, as Dad then informs Lucifer he’s staying awhile—and that He sent Michael home—Lucifer tells Him that “in the short time [He’s] been here, [He’s] managed to screw up [his] one chance of happiness” and to stay away from him. Obviously, He does not stay away.
“Another One Bites The Dust” (Queen)
This number has mostly been out in the ether for a while, as behind-the-scenes footage has been used to promote the musical almost as soon as 5A ended. But it’s still extremely fun to watch. Where “Wicked Game” is simple, intimate—and arguably no different from any other sad Lucifer piano scene—“Another One Bites The Dust” is big. It’s the kind of thing you’d think Lucifer would be all about—and he would, if not for the reason it’s happening. Tom Ellis’ performance in this number is so fun, as he goes from confused to somewhat annoyed to somewhat into it (because he can’t fight this) and then back to confused (and “kind of dusty”), before finally settling on frustration with Dad as soon as the number ends and he realizes what’s going on.
In terms of the “rules” of this musical, this number seems to be the only one where anyone (well, Lucifer) reacts as though time was lost, even though nothing changed at all.
“Every Breath You Take” (The Police)
Everyone’s favorite stalker anthem that’s too often misconstrued as romantic gets a new angle. Here, it’s from the perspective of a helicopter parent (played by Debbie Gibson) and Lucifer lashing out against Dad, who manages to simultaneously hover and be absent. In Lucifer’s case, that means changing the lyrics to “every breath I take” (and so on) and “He’ll be watching me” (with Dad literally watching him from behind the interrogation room’s two-way mirror) Like “Wicked Game,” it’s easy to imagine that “Every Breath You Take” was a song the writers had in their head for the show (and God’s presence, even if He weren’t actually here) almost immediately. And like “Another One Bites The Dust,” a highlight is Ellis playing Lucifer’s reaction to realizing he’s in a musical number, even if no one else does.
“Bad To The Bone” (George Thorogood & The Destroyers) / ”No Scrubs” (TLC)
Naturally, after being told by God that she’s “perfect just the way [she is],” Maze decides to remind everyone that she’s super bad. This is not the first time Maze has tried to do something like this—just earlier this season, she tried to recreate her sexy Season One love-hate relationship with Amenadiel to try to feel something—and as usual, it’s quite transparently performative. Meanwhile, Ella is still reeling from how her taste in bad guys led her to date a serial killer. She’s cracking self-deprecating jokes at crime scenes about how the killer is whoever she’s most attracted to (“Family Dinner”), throwing herself into her work—you know how it is. The frenemy vibe of the Maze/Ella (she stopped calling her “Ellen”) relationship is key to this number, as even separate from her lashing out at God, Maze loves to have fun at Ella’s expense—especially when it comes to this whole bad guy thing.
And honestly, this number is just sexy as hell. Lesley-Ann Brandt really goes for it here, and Aimee Garcia gets to show off her physical comedy in this number.
“Hell” (Squirrel Nut Zippers)
Admittedly, this is the one song I was unfamiliar with prior to this episode. But this is is a showcase for Kevin Alejandro’s apparent dance skills and also an insight into just how well Dan is doing in a post-Devil reveal. Like Ella, “Family Dinner” showed he was also focusing on work, but now, he has to deal with things. And he’s being thrown right into the deep end by meeting God here. Even though there was quite a break between 5A and 5B, things are still fresh for Dan and his knowledge of the celestial—to the point where this is his first interaction with Amenadiel since, and Amenadiel just wants to talk about that. But, again, since Dan already met God, he is on the fast track. And in his mind, that fast track is straight to Hell (since he slept with God’s wife and that whole Old Testament depiction wasn’t an exaggeration).
Again, the episode doesn’t tip its hand that this isn’t necessarily something God can control, as He ends up having the time of His life dancing along with His “children” (and seeing Dan suffer).
“Just The Two Of Us” (Bill Withers) / “Just The Two Of Us” (Will Smith)
This number is necessary for both Linda and Amenadiel, as it allows the show not to drag out the “human vs. angel” argument for any longer than it has to. Because the audience has known for a while why Amenadiel is so adamant about Charlie being an angel over a human, and it doesn’t just boil down to him immaturely thinking angels are “better.” (Although it is quite fun to see him “prove” it with a petty show of strength that Maze will have to end up fixing.) “Just The Two Of Us” ultimately ends up becoming “Just The Three Of Us,” and while Linda/Amenadiel’s relationship outside of co-parenting is still quite… undefined, they’re still very much in this together.
“Smile” (Charlie Chaplin/Nat King Cole)
I feel like it was pretty obvious from “Another One Bites The Dust” that if there were going to be one cast member who wouldn’t be singing, it would be Lauren German. But instead of making a joke out of that, Lucifer decides to pull at the heartstrings instead. While this number obviously shows how much Chloe is hurting—as Chloe remembers the good times of her partnership (both professionally and personally) with Lucifer—it also shows that Trixie is very aware of just how much her mother is hurting.
As Lucifer has his issues with Dad, Debbie Gibson plays a helicopter parent who doesn’t listen to a word her kid says, and Linda and Amenadiel have a very unique parenting argument, “Bloody Celestial Karaoke Jam” also provides a whole other child-parent perspective in this number.
“I Dreamed A Dream” (Les Miserables)
What should be a cathartic final number. Just Lucifer and Dad, singing about how they wished things could be so different. Another minimalist, simplistic set-up for a musical number, bringing the episode full circle. It should be a breakthrough. By the end of it, Lucifer is even sobbing. As Dad (who also ends up crying) says, “My son, the Lightbringer. So full of light that it blinds even you sometimes.” It’s true that Lucifer often can’t see what’s right in front of him. Which is why he just wants his Dad to finally fix him. But much like Dad can’t offer a good enough apology—He apologizes for Lucifer being angry at Him—He also can’t “fix” Lucifer.
Lucifer has always become a petulant child when it comes to Dad, but his reaction here is different. His “But you’re God.” is a fair point. But it’s also a point that isn’t addressed, which is why Lucifer moves back to his default setting, which is to tell Dad not to control him if he can’t fix him. As God asks how He controls Lucifer, that leads to the escalation of an already emotionally charged scene, with Lucifer’s heartbreaking “You just made me sing again!” It’s a dynamic “God Johnson” even introduced: Dad’s aloofness always seems to deflect any blame. He always seems to have no idea why Lucifer would be upset, even though it tends to be pretty clear. It’s the cryptic, “mysterious way” aspect of God that Lucifer can’t stand. So here, as He makes Lucifer sing again (despite Lucifer telling Him multiple times to stop)—to be even more emotionally vulnerable—of course Lucifer is fed up. But then, none of that matters once Dad reveals to Lucifer that He’s losing control of His powers. Back to just being His Father’s kid Lucifer goes in that moment. The musical number plus the final confrontation makes for the perfect cap to this episode, especially when you think of it in terms of the opening number and Lucifer/Dad scene.
As for the full plot of the episode, it’s strong, even separate from the musical itself. “Bloody Celestial Karaoke Jam” becomes “Bring Your Dad To Work Day,” as Dad decides that since he’s staying on Earth for the time being, He should become more invested in what Lucifer does every day as a police “assistant.” After years of Lucifer telling everyone he’s the Devil and talking about his daddy issues with God, to finally have his colleagues react to the real deal being in front of them… That’s cathartic. Chloe “respectfully” going off on God for his crappy parenting is a moment we should all be proud we got to see; as is Dan’s slow realization of who Lucifer’s Dad is and subsequent bow.
The case-of-the-week also works largely because God is also around the whole time, being an embarrassing (and then too supportive) dad. With every scene, it’s clear: Dennis Haysbert just belongs on this show. And even though Lucifer doesn’t realize the motive was all about “control” until the end, “control” is actually the throughline of the whole case and episode. This is why, even though Lucifer’s furious with Dad for controlling him (throughout the years and now), the reveal that He has no control over this at all hits so hard. Especially after Lucifer was so adamant that “people don’t change.” Because, apparently, even God does.
Stray observations
- I did not tell my mother that this would be a musical because I wanted her raw, honest reactions. She didn’t flinch when the episode opened with Lucifer sadly singing at his piano because Lucifer sadly sings at his piano all the time; she just wanted to make sure he didn’t screw up the song. Now, when “Another One Bites The Dust” hit, her reaction was, and I quote: “What the hell?” She was then very excited for Debbie Gibson and said, “Netflix gave them so much money” when “No Scrubs” kicked in.
- It’s been quite the sight gag, but now we must say farewell to the bubble wrap in Linda’s house.
- As we’ve seen in just these two episodes, God/Dad is a calm, soothing presence… but again, He’s still the God from the Bible. Both testaments. While Dennis Haysbert definitely brings levity to the character, I would not say that He has a sense of humor—which means He’s not joking when He interacts with Dan.
- A refresher course: It was in Season Two when Dan had his relationship with Mom. She then went to her own universe, and the real Charlotte Richards’ soul was returned to her body (from Hell) for Season Three. He and the real Charlotte then fell in love. While Mom enjoyed Dan and vice versa, the actual love story was between Dan and the real Charlotte. Still: Dan slept with God’s wife. A lot!
- Lucifer: “Dad, what are you doing? You’re embarrassing me!”. The Lucifer/Dad coffee scene is almost too close to home, in terms of even the littlest thing not being good enough for a parent. But you know what is good? The cut from the precinct (after Lucifer has tried to get poor Chloe to drink the terrible police coffee) to Dr. Linda’s office, with Lucifer still holding the full coffee mug. The fact that the show has Dad come to therapy with Lucifer this soon is also a case of not dragging things out.
- Dad (being too supportive): “Speaking of, go deep, son.
Lucifer (bounces a football off his chest)
Dad: “Nice… block! - At the end of the case, when the chemistry teacher uses the flamethrower and it doesn’t affect Lucifer, both he and Chloe both seem to have an issue with that. The issue is clearly that Lucifer is still no longer (physically) vulnerable around her. The (emotional) wall is still up. While Chloe tells Lucifer up top that she refuses to believe he’s incapable of love—and thank you to the show for not having her wallow in that—this is still a major problem for them.
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The Lucifer/Dad coffee scene is almost too close to home, in terms of even the littlest thing not being good enough for a parent. Phrasing!Butt-naked Tom Ellis on the couch.Just sayin’…
After the laundry list of places God has seen naked people on in Lucifer’s apartment, I remarked aloud “What a way to find out your dad has been spying on all your orgies.”
First of all, I’m so happy AV club is reviewing Lucifer. Its definitely in my top 5 shows, a list that includes The X-Files, Buffy, and Star Trek(s). And second, its fantastic that YOU’RE reviewing it. (I’m an AoT and Buffering listener!)I loved this musical episode, and after it ended I breathed a sign of relief. Getting to see Kevin Alejandro and Aimee Garcia dance and sing were highlights, since we got a taste of that in last season’s dance number. Chloe’s “respectful” chat with God felt cathartic. Given almost everyone else’s reaction to Him, seeing her on Lucifer’s side spoke volumes.
I’m so happy these reviews are back.
Yeah, pretty much agree. Dan freaking out about his new reality, dismissing Amendiel as no big deal because he’d met God, Lucifer taking the coffee all the way to the therapist, all cracked me up. And yes, God’s cryptic non-answers and feigned obliviousness is very annoying. But I guess that part is necessary.
I adored this one and it’s gone down as one of the best musical episodes period for me. I love organic reasons for musicals; the demon from Once More, With Feeling remains the best, as does that episode in general because of the fantastic original songs. Scrubs is another great example. And this one was wonderful. I teared up during Trixie’s number and the Les Mis number. Adored everything.
This episode was great. It was fun and heartbreaking at the same time. Shame that Lauren German was the only one to not get a musical number but I guess she’s the only one who can’t sing at all.
I genuinely wonder if it will be like Allison Hannigan in Buffy, who got two or three lines but thought herself too bad to actually sing, and regretted it heavily later. The Trixie thing worked incredibly well though
I was genuinely like “Oh Lauren German must really not be able to sing. Like Alyson Hannigan in Buffy can’t sing” when she didn’t get a song.
She got in on the Another One Bites the Dust but that was it.
Her being part of the ensemble on that was how I knew that was going to be her only musical contribution.
I mean, after this I question the ability of Dennis Haysbert, but he got a number.
That’s why I think Lauren German must REALLY not be able to sing because they were all just passable besides Tom Ellis and Lesley-Ann Brandt and they were still like “NOPE” to Lauren.
She must be truly tone-deaf.
So….I love Dan in the first few episodes. They’ve really made this character so important, especially after all of his shenanigans in Season 1. Just…well, that was awful. Now, he’s low key the MVP for me. Also…”But, you’re God?”. Let’s not undersell how well Tom Ellis just crushed that line.
“I Dreamed A Dream” is maybe the most perfect song for Lucifer to sing that ever did exist.My wife and I were plotzing during the whole thing, but especially the male harmonizing between Ellis and Haysbert.And I was here for the Ellis/Debbie Gibson duet!
Haysbert on his own was a bit meh (I genuinely think it’s just a difficult song) but the whole thing really came together in the harmony.
Exactly! Even Ellis on his own was great (of course) but even better with the harmonizing!
I very much get the sense over this whole season that the whole crew was told “The show’s on its way out, so if anyone has any really weird ideas you’ve been afraid to pitch, now’s the time.”
I’m not mad at the narrative, the premise, or any of the character interactions in this episode. But the musical composition and flow feels like it was orchestrated by people who can’t tell that they are clapping on the 1s and the 3s. The flow is off and the mashup was not smooth. I love most of the characters on this show but after hearing Another One Bites The Dust, I needed to watch the Glee version to clear my mind. I wasn’t expecting a Tony or Grammy winning performance, but the sound mixing and tempo could have been a lot better. Not everyone can pull of Once More, With Feeling, but it seems like nearly every show will try.
I think it’s also just that original songs sung passably to badly vs. songs you know how they’re meant to sound. The quality of the singing was no worse really than Once More with Feeling, but you had new songs that you can only hear those people sing.
I hear what you are saying but outside of actors who have sung before on this show I wasn’t expecting perfect pitch. I wasn’t bothered by them understandably lipsyncing. My biggest issues were about the heavy missteps in rhythm and flow.In karaoke, you can hit a high note poorly but you are still aiming for it. And rapping doesn’t require much pitch at all but in karaoke rapping you are still attempting to emulate the original and getting the rhythm of a rapped verse is the main part of the fun of performing it. The point of karaoke is to emulate the original.Yes, Once More, with Feeling had original songs. But on the whole, every television show from the past 20 years that has a musical episode, new or covered songs, is only in that space in the first place because of Buffy, regardless of how they carry it out.Fun was had! I mean look at those dance sequences! And this was a truly creative use of Dennis Haysbert that I had not seen before. I feel like the reason that they came up with for everyone singing was better than most musical television shows. They just needed a different team to help put the music together. The mashups from Pitch Perfect were blended together better. And they needed maybe one or two more cuts of the performances to get the flow right.
Two random thoughts after this episode:Since the Goddess got to have sex while she was on Earth, why not God? It would be mind-blowing if the most devout (non-celestial) character (Ella, obvs) got down and dirty with him without knowing who he was.Thematically, if not musically, this would have been the perfect episode to include Ben Sollee’s lovely song Panning for Gold. I hope it makes an appearance this season.I saw God on the mountain
With tears in his eyes
He said; ‘Son,
I used to know where I put things,
I used to know…
I could have shown you all the beauty in the world
but now I need you to show me’
I’m honestly surprised it took five seasons for Squirrel Nut Zippers to be used for the show.
“Hell” was a highlight on this episode. It came right after my wife said “well, I guess Dan isn’t going to be doing any singing.”Perfect placement, and a gem of a song.
For me, Lauren German has seemed to be the odd one out in the cast from the very beginning because, as Chloe Decker, she’s always so serious. I can’t recall a single scene of her ever laughing with delight, can you? Even Dan, our beloved schlimazl constantly getting hot soup dumped in his lap from all directions, has been allowed to cut loose a few times. Or take Amenadiel — he used to be the gang’s resident stick-in-the-mud, but has quietly become the funniest character on the show since he settled down and started a family. Lately Chloe has only had three gears: working hard on cases to distract herself, worried about her relationship with Lucifer, or worried about the other people she cares about. Even if they had to dub her, I kinda wish she’d gotten a song in this one just to shake things up a little.
It’s a trap a lot of shows fall into, where the guy is the wacky one and the female lead is the “straight man” to the comedy. Coupled with Chloe being the love interest, and the series never gave her a lot to work with beyond basic mom/friend stuff. Bringing her in on the secret (at least after she came to terms with it) loosened her up somewhat.The quick twerking during “Another One Bites the Dust” was apparently her improv if that’s any indication of her untapped performance potential.
I think she could have also had more of a comedy run in this one if she had been aware everyone else was singing or something.She felt sidelined in these episodes to me, but I also wonder if Covid played a role at all in terms of less sexy times and intimacy in general.
Season 5B was almost entirely filmed before the lockdown with the exception of half of the final episode so there was no limit to human interaction at this point. But at the time they thought it was the last season so I bet this season will look like endgame kind of stuff that the final episode might try to rewrite to accommodate Season 6.
“I can’t recall a single scene of her ever laughing with delight, can you?”Undercover Chloe is one of my favorite aspects of this entire show.
As much as I love this show, for the entirety of its run I don’t think it has ever remotely showed me why Decker would be such an appealing match for Lucifer.
Stripped down, it’s a trope of rich, powerful man who can charm anyone has no effect on a no-nonsense serious woman who is initially repulsed which intrigues him but after time they grow closer to each other and fall in love, with pitfalls of course to delay all the will-they/won’t they stuff.
So, as I’ve said all along — it’s CASTLE, only he’s not a horny mystery writer, he’s the literal Devil!Or it’s J.D. Robb’s IN DEATH mysteries, with Roarke coming from much further South than Ireland…
Which is interesting because I always see how all the cast posts on SM how German is the most hilarious one on the set. I think she’s just a great “straight man” and could probably be the female Leslie Nielson if she wanted to(if someone were ever interested in making those kinds of films again which I would love btw).
Have you watched Angie Tribeca? Rashida Jones ain’t too shabby herself. It’s on Hulu if you haven’t had the pleasure.
I think your assessment is completely unfair here. Lauren German is an excellent comedic foil to Tom Ellis and others, and her reactions are often hilarious in their own right. She’s not always in worried/angsty mode.Also, there were several instances of Happy Smiling Chloe in that montage, weren’t there?
Just FYI this recap doesn’t show up linked on the main recap page for the show/season.
I see the reviews fine here: https://www.avclub.com/tv/reviews/luciferAnd typically, these would be filed by season, but I was informed that a new fun Kinja feature means we’re currently not doing that anymore (or at least for now).
Dropping filed by season… sigh. This makes as much sense as the io9 redesign which removes chronological articles.Thanks for the heads up on the fun, LaToya 🙁
I meant the “AV Club is recapping Lucifer” page, sorry, should’ve clarified.https://www.avclub.com/the-a-v-club-is-recapping-lucifer-1846952855
True, Cop Rock wasn’t a comedy, but it didn’t take itself all that seriously either. A bunch of the songs were obviously meant to be light fun, and the idea that it was a dead serious cop drama with songs simply isn’t accurate.
A drug addict sells her baby for drug money in the pilot (and sings about it).
And a jury sings their verdict in a joyful gospel song in the same episode, I believe. If you want to cherry pick the serious stuff, go ahead, but the tone was all over the place, with as much light as dark.
I’m… not? I was just pointing out how people seem to think the show was a musical comedy, full stop (because they never saw it, just know of it)— the baby thing is the bit I always point to, because it’s shocking when you know nothing of the show but the reputation.
IceHippo73 — here’s that Generic Cola-Flavored Beverage I owe you….
There was that, true, and several other serious songs, but it also broke up the darkness with some often-comedic up-tempo numbers like the jury turning into a Gospel choir singing “He’s Guil-ty!” and the convicted felon counterpunctually sang how he was the victim of a corrupt and racist system (a song that has a lot more punch now), or Larry Joshua’s Captain singing “Quitcher Bitchin’” about cops having to work overtime.
The undercurrent may have been serious, but the humor was also always there….
Say what you will about the decline of the AVClub comments after the takeover. However, this remains one of the few places on the internet for entertaining Cop Rock arguments.
I also watch this show with my mom! I introduced her to it during quarantine and we binged the whole thing. She goes into everything cold, which makes her reactions pretty fantastic.
I’ve always been hoping they could get Squirrel Nut Zipper’s “Hell” into the show somehow and glad they fit it in here, which is likely the most obscure song they performed unless you followed the 90’s sort of 40’s era swing revival. I was worrying that this could be some serious cringe with not-really-singers singing but it all clicked to me plus putting “Karaoke” in the title makes it easier to forgive plus this God-created mischief helps. Anyway, the story as a whole really worked and the music advance the plot in ways dialogue might not. I’m enjoying the season so far and trying to pace it but will be finished by the weekend for sure. It’s just too hard to stop watching.
When I looked up Squirrel Nut Zippers, I was surprised to find out they were part of the swing revival because then I was even more confused about how I’d apparently completely missed them.
They never quite got to any mainstream status but MTV did show the video to “Hell” on occasion. Other swing bands of the time were more popular but I thought SNZ were the most authentic.
I remember Squirrel Nut Zippers as being one of the bands that kicked off that mini-revival (along with the Old Navy ad that used ‘Jump, Jive & Wail) but they got leapfrogged by the other revivalist acts that were more into cosplaying as 30’s gangsters. SQZ were more of an oddball music collective than anything else. They were part of the same Chapel Hill scene that produced Ben Folds Five.
Yeah, so was I! I heard “Hell” so much in late Nineties around New York City I was sure it was huge everywhere.Between that, “Zoot Suit Riot”, the movie “Swingers” and “Hot, Hot, Hot” (which came out earlier), the whole NuSwing thing seemed to be everywhere.
I’d never heard of the band before this episode. I’ll have to look them up now.
LOVED this. Laughed with delight all the way through. That fake out with the beginning song was perfect, since it was indeed just Lucifer business as usual. I thought he was being a bit more dramatic about it than normal, and then when Chloe first began dancing on the football field I said out loud “Oh my god it’s a musical episode!” Such a great reveal. Loved all of the song choices. They seemed random at first, before revealing how perfect they were in the lyrics. “I Dreamed a Dream” was particularly inspired. Favorite moment for me was the corpse getting up and dancing, coupled with his collapse back down into the exact position he started in. The choreo in that entire number was fantastic.
“Nothing’s ever good enough for you. ‘Why don’t you have a desk?’ ‘Why doesn’t your car have a roof?’ ‘Why is your kitchen just a wall of scotch?’”
I enjoyed the hell out of this, especially the Dan/Amenaiel scene at the bar. So glad the show has evolved to let DB Woodside be funny.
Ugh. Waaaaay too much autotune.
Debbie Gibson singing Every Breath You Take is like watching a Michelin-starred chef prepare instant ramen.
Posting after rewatch:In Season 1, Chloe said how she wasn’t religious and up to this point she has never been awed by any celestial presence save for when she got freaked out after finding out Lucifer was really the devil and keeping Trixie away from Maze. Once she got over that, she still thought of their abilities and knowledge of them as a possible tactic (asking if Eve had any special powers). So, when she meets God, she tells him how she feels and is not awed at all but looks at him as her partners father whether he has special powers or not. To her the existence of celestials is just a reality she now accepts but has no thought of it as a religious experience. So even with this new reality, she has been consistent about her non-religiousness since the beginning.
No mention of the fact that “I’m the only one who can see people singing and dancing for supernatural reasons, and what they sing about is what they’re worried about” is straight out of Zoey’s Extraordinary Playlist?
So basically, God is developing Alzheimer’s and wants to make peace with his kids before it’s too late. Did not see that twist coming.