History Awesome / BlackFriday

* Gen. [=McNamara=], who didn't actually accomplish much during his appearance in ''Theatre/TheGuyWhoDidntLikeMusicals'' but became a MemeticBadass among the fandom, gets to live up to that reputation in this show with some extreme moments of {{Fanservice}}:

* On a meta-level, the fact that Team Starkid, who started out doing NoBudget goofy parody musicals with an ExcusePlot held together by Creator/DarrenCriss' uncanny skill with hastily written musical numbers, has come this far and done a play with this much thematic depth and this much backstory. Even looking at the controversial reception it's gotten on the YMMV page, the fact that they were in a position to do something this ambitious and this different is very impressive.
** Whatever your opinion is on the nature of the show's filming, it's still impressive that they were basically able to create a movie of their show, complete with close-ups and camera angles besides a standard 3 or 4 camera setup around the theatre, especially when some professionally filmed Broadway shows don't get more than the standard setup.

* The musical ends with the mall survivors, Paul, Emma, and Tim planning to go to Professor Hidgens's house to wait out a potential nuclear war; if anyone is paranoid enough to build a radiation-proof bunker, it's Professor Hidgens. (One can hope he's more ethical in this world.) First, however, they're going to wait for midnight to strike, to see if tomorrow will come, and huddle together while Tom looks at his watch. Hannah then sings that she can see a possible tomorrow, that it may or may not come, so what now? What are they supposed to do with a possibility? Tom asserts that he believes there will be a tomorrow because he has his friends and family with him. They all start counting down the minutes...and the show ends with the sound of a plane and a cut to black. Not on a despairing note like its predecessor, but one of hope, that they can handle whatever happens after surviving one hell of a day.

** Stopping the Oval Office from devolving into BrainwashedAndCrazy chaos and being the first human being we see able to defy Wiggly's will, shooting the Wiggly doll ''right out of Bob Morris' hand'' with a casual one-handed pistol shot, and having the biggest applause for his entrance a Starkid show has had in ages.
** Bursting into the Black and White at President Goodman's DarkestHour and being able to somehow use the "Blade of Truth" to psychically break Wiggly's power on his home turf.

* How Lex gets through to Tom just as he's about to leave the mall with a Wiggly doll; she holds him at gunpoint and asks him an ArmorPiercingQuestion: "Did Tim [Tom's son] ever say that he wanted the doll?" This makes him start to question it; Lex then reveals that she's been working at Toy Zone for several years, and ''no'' kid said they wanted a Wiggly. Even on Thanksgiving break, only adults showed up in line. Lex proceeds to say that she knows Tom is trying to make up for killing Jane by accident, but a toy won't solve the problems with him and his son.

* The sheer power and eloquence of Uncle Wiley's BreakingSpeech against President Goodman hits with overwhelming force -- every moment of Joey Richter's performance here is everything it needs to be.

* "You're not that cute, are you? In fact, you're ''real fuckin' ugly''."
* It's ''very'' satisfying, after all the abuse Becky has taken from Linda, for her to give a casual BondOneLiner before tagging her with a BoomHeadshot.

** Appearing to give Lex Foster her EleventhHourSuperpower awakening. He manages to give her a gun and tells her how to use the Black and White to teleport it into her hand. Then the General

* On a meta level, the fact that Team Starkid, who started out doing NoBudget goofy parody musicals with an ExcusePlot held together by Creator/DarrenCriss' uncanny skill with hastily written musical numbers, has come this far and done a play with this much thematic depth and this much backstory. Even looking at the controversial reception it's gotten on the YMMV page, the fact that they were in a position to do something this ambitious and this different is very impressive.

** Appearing to give Lex Foster her EleventhHourSuperpower awakening.

* Linda Monroe is awesome just for being so [[RefugeInAudacity unapologetically narcissistic and sadistic]] of a MagnificentBastard, but we do have to give her credit for being ''so'' unused to ever not getting her way that she out-wrestles a military veteran three times her size and wrenches the gun right out of his hand.

** "I've met God. He had nothing good to say about you."

* The sheer power and eloquence of Uncle Wiley's BreakingSpeech against President Goodman hits with overwhelming force -- every moment of Joey Richter's performance here is everything it needs to be, and completely shows up people who've thought of him as mostly a goofball in previous shows.

* Dylan Saunders as Tom and Kim Whalen as Becky absolutely crush their big scene "Take Me Back" with the raw emotion of their characters melding with ''nailing'' the powerful high notes Jeff Blim gave them to sing.

* The choreography is ''really'' impressive on another level for this show, especially "Feast or Famine" capturing the chaotic violence of a riot, or the intricate abstract dances that characterize "Monsters and Men", "Made In America" (especially the DreamBallet sequence) and "What If Tomorrow Comes?" And there's a special ShoutOut to "Deck the Halls (Of Northville High)" for going ''absurdly'' hard and having a dead-on impersonation of Film/HighSchoolMusical's feel-good massive dancing crowd scenes that ends up being one of the most memorable scenes in the show, just for what amounts to a silly throwaway gag.

* Gen. McNamara, who didn't actually accomplish much during his appearance in ''Theatre/TheGuyWhoDidntLikeMusicals'' but became a MemeticBadass among the fandom, gets to live up to that reputation in this show with some extreme moments of {{Fanservice}}: