Did I say “The Pauline Phoenix Experience” was my favorite episode? I have to amend that statement because “The Phantom of the Theme Park” intercepts that title, runs all the way across the field, and then spikes it into the ground before doing a dance.
As always, spoilers ahead.
1. Po Ly Land
As you can tell from me doing a full five thoughts on this penultimate episode, I’m absolutely jazzed about “The Phantom of the Theme Park.” It’s so good and I definitely cried at least three times. Don’t judge me. I cry at the end of most musicals.
Did your ears just perk up? I hope they did because you heard right: Dead End’s longest episode of the season is also a musical. When the first bars started, I thought it’d be a one-off gag. Maybe a short single song scene. But no. The entire episode is a musical. It is structured like a musical. It is a cogent and coherent whole. Even when characters aren’t able to sing – Pauline’s VA, Miss Coco Peru, struggles during many of her parts – it either fits the song OR is thematically appropriate.
After months, nay, YEARS of lackluster, dull, and structurally gelatinous “musical” episodes from The CW, it fills my heart with such joy to see one done this well. It’s clear Hamish and crew love the genre and while the songs never quite hit the heights of Buffy’s “They Got the Mustard Out,” they’re all a true treat.
We hit all the greats. There’s the goofy chaotic ensemble intro song (“A Spell Too Far,”) “I want” song (“Courtney’s Lament,”) the awkward “finding love” duet (“Logs, Can I Tell You Something?,”) the “self-expression” song (“I’m Your Monster”/“Frankenstein and Monster,”) the big villain number (“Phantom of the Theme Park”) the temptation song (“Doggy Woggy’s Song,”) and then the act 1 ensemble finale comprised of an overlapping of previous numbers over a new theme (“Dead End.”)
Did I miss any? I don’t think so. Also, all titles are my guesses and I look forward to getting official corrections OR these becoming the official versions.
Oh, and can I say that getting a rock opera reimagining of the Phantom’s Theme from “Phantom of the Opera” was not even in the top 10 homages I thought we’d get? I mean I should’ve. It is one of my favorite musicals – “Hadestown” being #1, hands down – and the episode shares its title with the show. I was too excited by the prospect of a real, good musical that I simply forgot to think.
2. Little Stage of Anxiety
OK. I said none quite reach those heights but “Frankenstein and Monster” comes close. I got chills. The staging, the direction, the singing! This is where the crew got to let loose and get really creative. I love the ways the Pauline spell waxes and wanes as Norma sings, a literalizing of the ways she’s breaking through the shell of fandom she’d created for herself via the song. It’s a powerful moment of self-actualization for Norma and I especially love how Badiyah is there to witness it.
Of all the singers in the episode, Kavitha’s is on the stronger end and it shows in a solo like this. In fact, Kody Kavitha’s singing is the glue that holds the scene together. It’s raw and angry and powerful, sucking you into the multi-layered emotions and roller coaster of feelings Norma’s experiencing. An excellent melding of theme, performance, and plot. You love to see it.
3. A Courtney on the Roof
If Norma’s arc this episode is a continuation and culmination of what began in “The Pauline Phoenix Experience,” then Courtney’s journey in “The Phantom of the Theme Park” is one of regression, then redemption. Sure her heel then face turn is a bit quick but she was only ever seduced to the dark side because she wanted to go home and was promised that. Her connections to her friends were damaged but not severed and she hadn’t really done anything she couldn’t walk back.
Unlike, say, a Catra like character, Courtney is lonely and insecure and wants to be home. Her “fall” isn’t a far one and so it doesn’t take much to get her to change sides again. It does take more effort than most shows would have. To Dead End’s credit, I was never frustrated with Courtney’s actions or refusals at first to listen to Pugsly, Norma and Barney. The hurt she felt, and the hurt she caused/was/pretended to be indifferent to, was conveyed well and carried her arc.
Continued belowCourtney has slowly become my favorite character in the show, which is impressive since the whole main and secondary cast is very strong, and this episode clinched it. She’s kooky, she’s funny, she’s petulant, and I love every second she spends on screen, be it moping, cackling, trying to scoop Pugsly’s eyeballs, or having a genuine moment of connection with a group of unlikely friends.
4. In the (Crown) Heights
This is now a Jewish character appreciation post. Anti-semites: do not interact.
My heart SWELLED when Barney was having his fantasy about Logs & him getting married on a unicorn. Not only were they wearing yarmulkes but they even broke the glass and AHHHHHHH. I know it’s, like, kinda the bare minimum people know about (Askenazi) Jewish culture but also, for a secular Jew like Barney is, those signifiers are representative of his upbringing and the way he conceives of big life events in his head.
Moreover, it’s a touch that lets him be Jewish canonically and clearly without leaning on stereotypes or constant reminders. It lets him be a person. It also lets me get excited about maybe one day seeing Barney in a tallis under a chuppah with Logs smashing that glass for real.
The song itself is also wonderful and thank god Barney and Logs cleared the air between them because, much as I love a good will-they/won’t-they awkward miscommunication, 99% of the time it’s just frustrating.
5. My Terrible Temaluchus
All you other Netflix shows out there, take note: THIS is how you do a penultimate episode. The heroes are at their lowest, tensions are high and expectations are higher, and there’s a palpable sense of “I need to know how they’ll save the day.” Temaluchus’ return has been foreshadowed, hinted, and developed since the end of episode one and I love the way it comes about: Pugsly making a deal with the devil to save Norma from Pauline’s ghost.
There’s almost an inevitability to it. As the audience, you’re screaming at Pugsly not to take the deal but he has to. He can’t not take it. The tragedy is baked in and all we can do is watch as it all falls apart. And fall apart it does. WOW.
I know that they’re not going to kill everyone who was petrified off – this is a kids show, after all. Still, it’s a good set of stakes and the perfect place to be going into the finale. While I hope it too is a musical, I trust the team to do what’s right for the story and deliver a truly powerful end to the season.
That about does it for now! What did you all think of the musical episode? Let me know in the comments and I’ll see you in a week for the season one finale. Until then, be careful what you wish for, Dead end-ians.
