and anxiety that has tormented her since childhood. The fact that
Josh is in a serious relationship with another woman doesn’t deter
her, and neither does the glaring reality that the two dated briefly,
nearly a decade ago during summer camp, while both were
Crazy-Ex Girlfriend joins a fairly small pool of musical
comedies on television, the likes of which include more recent
programs such as Garfunkel and Oats, Flight of the Conchords, and
Galavant. The format of the show differs fairly significantly from
many of the musical shows that preceded it decades before in that
the musical numbers serve as embellishments rather than the main
attraction of the series. Each episode of Crazy Ex-Girlfriend features
an average of two to three musical numbers, most of which are
written by Rachel Bloom as complements to the emotional high
points and low points of each episode. Rebecca Bunch is the main
focus of most (but not all) of the musical numbers, and they often
serve as commentary on her interactions with other characters.
The pilot episode, originally set to premiere on Showtime, was
picked up by the CW in early 2015 and reworked extensively to
both lengthen the show from a half hour to a full hour and also to
appeal to a larger audience of broadcast network consumers. The
musical nature of the show is fairly unique to the CW, and the
initially less-than-stellar ratings can perhaps be attributed to what
Richard Hornby describes as an audience’s tendency to view
musicals as “too obviously pleasurable, too much fun to be taken
seriously as drama” (1988). This is unfortunate, Hornby argues, as
the musical theatre genre has just as much potential to tackle some
of the most significant cultural mores of our time as any other
genre. Crazy Ex-Girlfriend does just that in ways that are equal parts
eloquent, insightful, and charmingly absurd. “The Sexy Getting
Ready Song” addresses the patriarchal nature of women’s
grooming customs (complete with references to Simone de
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