“The Rocky Horror Glee Show”
October 26th, 2010
The test of an episode so heavily based around a specific musical property is how it is integrated into the series as a whole. While Rocky Horror superfans are likely to judge the episode based on its relationship to the musical, I’m more interested in the musical’s relationship to the characters. I watched the movie for the first time over the weekend, and while the music is obviously the main reasons for this crossover it’s also easy to see how various characters could fit into particular roles. Finn and Rachel are a logical Brad and Janet, Sam might as well be Rocky 2.0, and the other roles all have enough meaning and interest that whoever fits into them could gain a new level of interest as a result (especially if the show is interested in the musical’s more subversive qualities).
At a few points, I think “The Rocky Horror Glee Show” succeeds in this area, albeit with some missteps. By admitting that the musical is inappropriate for this setting (small town Ohio), both through the actual storyline and how a variety of characters respond to the material, the show doesn’t pretend that it is entirely natural for these two properties to come together. In those moments, the episode is fairly grounded, problematizing the staging of the musical in ways which have potential to speak to the show’s characters.
The problem is that the central reason this connection is being made is the part of the show that simply doesn’t work, something that was entirely absent two weeks ago where the show was at its best in a long while. By grounding the musical in Will and Emma’s relationship, and in Sue’s efforts to destroy the Glee club, the small character moments are ultimately complicated and often undermined by the sense that tying this into one of the series’ weakest ongoing storylines takes leaps in logic that limits the potential impact of the musical’s presence in the episode.
Season 7’s Top 4: With Great Power Comes Blatant Posturing
August 4th, 2010
Well, America, the power is finally in your hands.
I’ve written briefly in the past about how So You Think You Can Dance represents a strange sort of mediated democracy, in that the judges maintain control over who goes home (albeit out of a Bottom Three selected by America) for a large portion of the competition – while it purports to awarding the title of “America’s Favourite Dancer,” America isn’t involved in the process until the finals begin, and even then their influence is limited up until a certain point.
While Season Seven has seen a lot of changes for the series, the one I find most interesting is that Nigel Lythgoe and his producers chose to wait until the final week before the finals to turn things over to America – instead of taking control halfway through the competition, as we’ve seen in previous years, America gets to make one single un-aided decision regarding an elimination.
I’m intensely curious to know whether this was something they had planned in advance, or whether it was – like most of the season – an on-the-fly decision which resulted from the producers’ access to each week’s voting results. I raise this point not to suggest that there was some kind of conspiracy, but rather to emphasize how there was something about tonight’s show which felt decidedly manufactured, as if America was being expressly sold these contestants as a result of their newfound power. This usually happens at this late stage in the competition, but part of what has made the last few weeks so engaging was the sense of looseness about it – without the injuries, I think this could have been a really exciting season, and I felt like I was being sold the idea of that excitement tonight rather than actually allowing it to come through in the performances.
Instead, it seems like the show was more focused than ever on selling us this particular set of contestants, which made for a less enjoyable show than in previous weeks.
When Art Meets Structure: Stacey Tookey’s Carefully Designed “Mad World”
July 29th, 2010
I’ve spent a lot of time during So You Think You Can Dance’s seventh season discussing the non-dancing parts of the show, primarily in terms of the producers’ decisions in regards to the changes to the series’ format. I think this is ultimately because I don’t actually know anything more about dancing than what the show tells me, and because this season has (for better or for worse) been defined my competition elements other than dancing – injuries, All-Stars and choreographer conflict have been key topics of discussion, and frankly all of that takes away from the fact that I actually think there are four legitimate contenders for this year’s title of “America’s Favorite Dancer.”
This week, it’s tempting to go down the same path: we have Adam Shankman dropping a “Balls Out,” we’ve got Nigel Lythgoe showing just how much attention he’s paying to this competition as he accidentally drops an “American Idol” in there (which he chalks up to his mind being elsewhere, as he’s returning to Idol as its executive producer for Season 10), and you’ve even got yet another injury, with Lauren being attended to by the medics following her Foxtrot with Adechike (and making for a woeful final sendoff where Cat Deeley has to inform America that the judges, minutes after cheering about the lack of injuries, that they had jinxed it.
And yet, for once I want to focus on the dancing, and one dance in particular. Stacey Tookey’s societal piece with Billy and Ade was perhaps not the most emotional dance of the season, but it by far (for me) the most impressive conceptually. And while I think that part of this has to do with its artistic value, which I don’t entirely feel comfortable discussing what I do want to briefly analyze is how the dance is the perfect mediation of the choreographer’s artistic image and this season’s structural challenges, delivering something which is capable of standing as a piece of art while also being something which seems to absolutely capture not just the vague “spirit of dance” but instead the show’s competitive elements.
Invasion of the Fan Perspective: SYTYCD’s Top 8
July 7th, 2010
You could argue that tonight’s episode of So You Think You Can Dance is, in itself, fan service: after some have complained that the series’ switch to an All-Star format has taken away from the audience’s engagement with the dancers, the series took an opportunity with the Top 8 in order to bring back the old format as dancers performed two dances (one with an All-Star, and one with one of their fellow competitors). As someone who has been underwhelmed by the supposed benefits of the All-Star format, I was pleased to see the series return to its roots, and I actually quite liked the balance between the individual and paired performances – it was a twist of sorts on the “Paired Dance + Solo” structure the show has worked with in the past, and I preferred it to those episodes as I’ve always found the solos to be pretty uniformly boring.
However, fan response to the show’s seventh season invaded the series in another, less formal, fashion in this week’s episodes, as the fans were acknowledged within both the rehearsal packages and critiques for a number of the dancers. The series has acknowledged its fans before, but I’ve rarely seen them viewed as such a force within the competition in both explicit and implicit fashions, which is contributing to what has been a very intriguing (if not necessarily even) season for the series.
SYTYCD (For the Cameras) & SYTYCD (with Another Dude)
June 30th, 2010
I was going to discuss some of the ways in which the All-Stars format continues to wreak havoc with some of the important qualities of So You Think You Can Dance, in relation to the judges comments that Billy Bell needs to work on his partnering skills, but since Nigel Lythgoe is apparently plugging his ears to any such criticism I won’t bother – if he’s not willing to accept the fact that there are trade-offs in his particular plan, and that some viewers don’t believe they come down in his favour, then that’s his prerogative and I won’t beat a dead horse.
However, there’s two things that I do want to discuss from tonight’s episode, which continues to provide plenty of fascinating insight into just how this competition works. Say what I will about the All-Star format, but it has revealed many of the contradictions inherent within the series’ structure, which gives me something to write about each week. In particular, I want to focus on Adam Shankman’s comment that Kent Boyd is one of the most “hireable” dancers the show has ever had, as well as the episode-ending, “gender-bending” hip-hop number performance by Alex and Twitch – while the former is predicated on a fairly rigid view of how dancers are judged by the audience (arbitrarily defined by the judges), the latter is a conscious (and hyped) effort to break away from that rigidity for the sake of memorability.
…and yes, it sort of comes back to the All-Star format, whether Nigel is listening or not.
All-Stars, No Story: SYTYCD Season 7
June 16th, 2010
When it was announced that So You Think You Can Dance would be changing its structure for its seventh season, in theory there shouldn’t be any complaints: after all, many of the show’s fans were frustrated by the sixth season, where the series felt stale for the first time. However, that staleness wasn’t really the result of the show’s structure so much as the decision to schedule the series in the fall (only weeks after the fifth season ended) and an unfortunate new stage which sucked some of the life out of the series. We were suffering from fatigue more than anything else, and while some small changes could bring us back to the franchise it seems as if Nigel Lythgoe decided to throw the baby out with the bathwater.
While we’ve known for a while that the series was throwing out its Top 20 structure and going with a Top 10 (in fact a Top 11) and teaming up the individual competitors with All-Stars from previous seasons, it wasn’t entirely clear just how that would work. The show is still a collection of 11 dance routines as it was before, but there are newfound conflicts in who we’re supposed to be paying attention to (the competitor or the All-Stars), and with Mia Michaels sitting in for Mary Murphy there is simply something different in the air.
And it’s proving to be, at least right now, a diversion from what used to make the show so engaging – while my choice of title may make it seem like the problem is that the show is focusing too much on the All-Stars (I couldn’t resist the play on No Guts, No Glory), the truth is that they didn’t focus on the all-stars at all, which is even more distracting and confusing for audiences and judges alike.
David vs. Goliath vs. Laziness
March 8th, 2010
If you were going to watch a television show where two characters reach for the ultimate goal in their chosen field, one as the popular frontrunner and one as the almost-forgotten underdog, I think there’s a lot of dramatic potential there. There is something about the battle between David and Goliath that should automatically draw us in, and while Avatar and The Hurt Locker are not multi-dimensional characters (cue 3-D joke) they are fairly compelling award show narratives.
And while normal people, according to lore, only watch award shows to see things they like be liked by stuffshirts, people like me watch them because of the politics, because of the predictions, and because of the sense of surprise and anticipation. We watch them because we see a narrative in their story, able to chart momentum as the show goes on, moving towards the big award of the night with the pulse of a great year in film…ideally.
The 2010 Oscars will go down in the books as a rather colossal failure, the polar opposite of the simple and understated Oscars that followed the year before. In some ways, the show took risks not that dissimilar from last year’s show, but a few major missteps combined with some absolutely disappointing material from hosts Steve Martin and Alec Baldwin resulted in an infinitely cynical response that, unfortunately, became the pulse of this show.
What was supposed to be thrilling and exciting, the story of two films in an epic fight for victory, became the story of how the show’s producers chose interpretive dance over cinematic integrity, and the predictable winners in most categories did little to keep this Oscars from being tepid, uninteresting and, perhaps worst of all, uneventful. A show like this should be an event, and this…this was just sad.