I've been watching the delightful little souffle on television called Galavant. It's a tongue-in-cheek musical farce about a knight rescuing his maiden from an evil king with all the accoutrements pertaining thereto.
But it takes a lot of those conventions and plays around with them. Not with the aggressive, mean-spirited blunt snarkiness of Shrek (which I never really cared for, actually) and, sadly, not with the inspired lunatic zaniness of Monty Python, either.
Where the show shines the most brightly is the music. First, the sheer volume of musical numbers (several in a mere half-hour episode, which once advertisements are taken in to account, is something like 22 minutes of airtime) and second their cleverness, their melodic addictiveness, and the production value.
The performances have all the appearances of actors thoroughly enjoying the silliness of the roles and situations into which they have been placed. Timothy Omundson, playing the childishly wicked King Richard (whose character arc and redemption is so far MUCH more fascinating than the title character's) is the high point of every episode.
I was wondering why I liked the series so much, and during a midseason number involving landlocked pirates (their Pirate King (Hugh Bonneville) in their introductory song feels it is incumbent upon him to remind the listeners they are "technically NEXT to the sea" and "not on the ACTUAL sea") it came to me.
This is as close as I have seen to a modern Gilbert and Sullivan operetta.
Sure, it's missing the subtle (and sometimes not so subtle) social commentary (Galavant mostly restricts its barbs for the convention of epic tales itself) but for lighthearted fun, catchy music and a general sense of jubilation at the ENTERTAINMENT of the piece, it's hard to beat Galavant.