Wednesday, December 2, 2020

We've Got Mail #57 | What Are Our Favorite Musicals?

It's an all-new episode of WE'VE GOT MAIL, the podcast where film critics William Bibbiani and Witney Seibold answer YOUR letters!

This week, Bibbs and Witney talk about what films and shows would have worked on QUIBI, the rules for the ALL OUR YESTERDAYS drinking game, the best movies about coming home, the ongoing issue with fat-shaming in movies and television, the parodies and references that accidentally introduced them to classic movies and music, and their favorite movie musicals and orchestral scores!

Give it a listen!

Email us at, so we can read your correspondence and answer YOUR questions in future episodes!

Follow your hosts on Twitter at @WilliamBibbiani and @WitneySeibold! And subscribe to the Critically Acclaimed Patreon for more, exclusive podcasts! 

Head on over to the Critically Acclaimed/Canceled Too Soon Facebook to interact with other fans, and follow us on Twitter at @CriticAcclaim!

Photo: 20th Century Fox

1 comment:

  1. Crowds today have become accustomed to musicals that know (and concede) that they're musicals. For the entirety of the fervor around Broadway's impending melodic parody, Something Rotten! beginning reviews on March 23, individuals barely notice the idiosyncrasy that this melodic is about the making of the main melodic. Meta-musicals, as this mindful sort has come to be known, are currently a typical thing. In view of the Greek word "meta" (which means past), the term is utilized to portray theater which by one way or another perceives or remarks on its own exacting conditions as a bit of execution, customarily regarding some affirmation of the presence of a live crowd. This is a fairly elusive idea as all theater, from multiple points of view, innately points out its own performative nature. The entertainers may imagine there is a "fourth divider" astronomically isolating them from the crowd, however we realize they know we're there. Take My Online Courses