Top 10 Over the Top Singing Performances in TV Shows
#10: “I’ve Got the Music in Me” “Zoey’s Extraordinary Playlist” (2020-21)
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When an MRI and playlist cross circuits, Zoey’s life becomes a musical. This quirky premise naturally amounts to some bangers, a series highlight being this rendition of Kiki Dee’s 70s pop hit. The music is literally inside Zoey, whipping her out of bed like a puppet master. Zoey resists this groovy sensation at first, but the music proves so infectious that she soon gives in. The world is her stage and everyone else is merely a backup dancer. Choreographer Mandy Moore received an Emmy for the episode, hitting the ground running with this number. It throws in everything, including a piano from out of the sky. And with that, Zoey awakens from her colorful dream to her living nightmare.
#9: “Two Shots” “The Afterparty” (2022-)
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Although a murder mystery at its core, this Rashomon-styled show changes genres with each new perspective. Ben Schwartz’s Yasper, by far the most eccentric party guest, recounts the night as a lavish musical. Aniq is convinced that he blew his shot with his dreamgirl years ago. Yasper tries to build up his high school buddy’s confidence, insisting that we all get one shot… twice. Yasper’s philosophy is a hilarious contradiction, paving the way for an equally hilarious number. Co-written by Jack Dolgen and Jon Lajoie, “Two Shots” combines the theatrics of “My Shot” from “Hamilton” with the hip-hop sound of “Lose Yourself” from “8 Mile.” As the song teaches, we can’t go back in time like Marty McFly, but we can rebound like Eric Stoltz.
#8: “Galavant” “Galavant” (2015-16)
What happens when you combine the tones of “Monty Python” and “Princess Bride” with the musical expertise of Alan Menken and Glenn Slater? You kick things off with a number that effortlessly juggles camp, self-awareness, and all-around catchy vibes. Menken and Slater’s background with musical fairytales is on full display, although they’re allowed to go more risque here. The song perfectly encapsulates the titular swashbuckler, whose debonair charm is only matched by his inflated ego. In addition to capturing the hero’s spirit, the song makes exposition fun as we learn of Galavant’s acrobatic love life and the kidnapping that commences his quest. We can’t believe it wasn’t nominated for an Emmy. Apparently neither could the songwriters, who call out the TV Academy the following season.
#7: “It’s Not Unusual” “The Fresh Prince of Bel-Air” (1990-96)
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Some people may associate “It’s Not Unusual” more with Carlton Banks than its singer, Tom Jones. We frequently see Carlton dance to the invigorating song in one of the show’s best running gags. It was only a matter of time until Jones himself made an appearance, fittingly playing Calrton’s Guardian Angel. Jones puts Carlton’s life into perspective, which is of course accomplished through a duet. While even Jones rolls his eyes as Carlton breaks out his mic, he inevitably joins in a number that washes away all worries. Just when you think Mr. Jones has taken his final bow, he delivers an encore before departing. It’s not unusual to have this song living in your head rent-free, sending you onto the dancefloor one, two, three.
#6: “Everything Comes Down to Poo” “Scrubs” (2001-10)
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Before Robert Lopez was picking up Oscars, he was co-writing Emmy-nominated songs about poo. This episode reteamed Lopez will fellow “Avenue Q” alumni Stephanie D'Abruzzo and Jeff Marx. With “Scrubs” regular Debra Fordham also working on the lyrics, the episode finds just the right balance between smart and immature. Nowhere is this better exemplified than in the toe-tapping “Everything Comes Down to Poo.” The premise derived from medical advisor Jonathan Doris, who told Fordham that hospitals will request stool samples for virtually anything. The song takes this idea to ludicrous lengths, envisioning several bizarre scenarios necessitating the checking of poo. Disguising the disgusting subject matter with a delightful melody, the song will have you dancing along by the end, unless you’re listening on the toilet.
#5: “Hell No” “Unbreakable Kimmy Schmidt” (2015-20)
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Think you’ve seen Titus Andromedon at his most extreme? This number responds with a resounding “Hell nah!” There’s a saying that when life gives you lemons, make lemonade. Titus takes another approach, drawing inspiration from Beyoncé’s “Lemonade” album, specifically “Hold Up.” Titus tries to resolve his relationship troubles with a bat, letting Mikey know that he’s not playing around… although he is playing with Barbie dolls. The nearly cinematic production values lovingly recreate Beyoncé’s music video while also cleverly sending it up. While the lyrics by Tina Fey and Sam Means are pure Titus, Jeff Richmond’s music and Tristram Shapeero’s direction scream, “Queen Bey.” The result is half parody, half homage, and 100% Titus, which translates to 100% over-the-top.
#4: “Corn Puddin’” “Schmigadoon!” (2021-)
The first season of this series sees a couple wander into a small town right out of a Golden Age musical. As is the case with many musicals from this era, the catchy songs beam with enthusiasm, although the subject matter can feel dated. Sitting down to a meal, Melissa and Josh learn about the joy of corn puddin’, which may serve a double meaning. Actually, there’s definitely a double entendre here, as nobody gets this excited about maize-based treats. Meanwhile, Melissa and Josh reflect the two sides of every Broadway audience: the half that really gets into it and the visibly uncomfortable half. Putting the corn in cony, this show tune is extra. Or perhaps we should say, “extry.”
#3: “Something to Sing About” “Buffy the Vampire Slayer” (1997-2003)
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“Once More, with Feeling” is generally considered the gold standard for musical episodes, even peaking at #3 on the U.S. Billboard Top Soundtracks. While the soundtrack works as a standalone entity, it also tells a larger story that expands upon several ongoing character arcs. In this song, Buffy drops a truth bomb that she’s been keeping bottled up, questioning her place in this world. As deep as its themes are, the song is also playfully over-the-top, blurring the line between dance and fight choreography. At one point, it appears Buffy may spontaneously combust. With some encouragement from Spike, though, she finds that the only path to healing is living. The number manages to be absurd and meaningful, a balance that “Buffy” often mastered.
#2: “West Covina” “Crazy Ex-Girlfriend” (2015-19)
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“Crazy Ex-Girlfriend” explored a wide range of complex emotions. With its first showstopper, Rebecca Bunch finds herself in a state of blissful denial. The New York lawyer has deluded herself into believing that she didn’t move across the country for an ex-boyfriend and that West Covina is the most magical city under the sun. Kind of ironic that Rebecca’s life becomes a musical after she leaves Broadway. As uplifting as the music is, the lyrics and imagery paint a much more disturbing portrait of a woman suffering from a nervous breakdown, among other unaddressed issues. Rebecca’s diagnosis will have to wait, however. For now, she can bask in the glory of tacky architecture, sleazy advertisements, and giant pretzels that ascend into the sky. Before we unveil our top pick, here are a few honorable mentions. “A Different Kind of Love Song,” “Will & Grace” (1998-2006; 2017-20) Cher & Scantily-Clad Angels Make For a Heavenly Number “Hopelessly Devoted to You,” “Pushing Daisies” (2007-09) Kristin Chenoweth Does “Grease,” Of Course It’s Over-the-Top “My Heart, My Universe,” “The Big Bang Theory” (2007-19) Big Bang Meets Bollywood “He’s Guilty!,” “Cop Rock” (1990) Law & Order: Symphonic Victims Unit “The Best Things in Life Are Free,” “Mad Men” (2007-15) Wow, This Was Not on Our Bingo Card for Season 7
#1: “Nothing Suits Me Like a Suit” “How I Met Your Mother” (2005-14)
To commemorate the show’s 100th episode, we’re treated to a musical number that comes out of nowhere, but it’s hard to complain when NPH is the headliner. Torn between getting laid and a classy wardrobe, Barney envisions a world where suits reign supreme. At first, you might assume that this is going to be a brief solo. The number keeps building momentum, though, as the rest of the cast gets in on the action along with an ensemble of more than 60 dancers. Everything about this number goes to 11, from the vocals, to the orchestration, to the sweeping final shot that closes out Barney’s suit-filled fantasy. Considering that Barney chooses sex, this song could’ve been cut, but that only makes its existence more over-the-top.
