Tag Archives: Finn

Glee – “The Sue Sylvester Shuffle”

“The Sue Sylvester Shuffle”

February 6th, 2011

Culturally, the Super Bowl is largely considered a spectacle: it is about the commercials, the pre-game festivities littered with celebrity cameos, and the idea of the entire nation tuning into the same event. Culturally, the game is insignificant: the majority of people who watched the Super Bowl tonight probably had no idea what individual journeys the two teams had taken to get to that point, making the FOX-produced context at the start of the game (featuring the dulcet tones of Sam Elliot) the extent of the narrative they received (especially considering that Troy Aikman and Joe Buck are too incompetent to provide much more information).

However, there was a narrative to be found, and it played out in the game itself. It is the game that drives viewership, more than the ads: an exciting football game keeps people watching, creating the actual story which engages those of us who may not consider ourselves diehard sports fans. It can be a story about underdogs, a story about vindication, or even a simple story of an accused rapist being denied another championship ring: a single football play could become part of any number of narratives, and the thrill of the game was in seeing those stories play out within the larger tale of two teams battling for football supremacy. Down to the final play, in what was a tightly contested game worthy of the hype surrounding the event, it never felt like it was just Green Bay vs. Pittsburgh – that might be what you see on the scoreboard, but the true story was multi-dimensional and the real reason the game was as exciting as it was.

“The Sue Sylvester Shuffle” was not multi-dimensional, or at least it didn’t want us to believe it was. There were brief moments of honesty, but every one was followed with broad moralizing. There were smaller stories, but every one was overshadowed by an aggressive straw man the likes of which we have never seen. There was spectacle, but beneath that spectacle was a fundamental lack of logical plot progression, filled with specious reasoning that was only called into question by the characters we were meant to despise.

Perhaps most importantly, though, “The Sue Sylvester Shuffle” never felt spontaneous or thrilling: at every turn, it veered towards the predictable, finding precious few moments to truly become something that would capture the spirit (rather than the basic form) of the game it followed. While far from the worst episode the show has produced, it had the unfortunate distinction of having the most problematic lead-in: not because football and Glee are incompatible, but because the Super Bowl was thrilling in a way that Glee only dreams it could be.

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Glee – “A Very Glee Christmas”

“A Very Glee Christmas”

December 7th, 2010

Generally speaking, the most difficult question for Glee to answer is “Why?” So many of its stories seem to have no connection with ongoing events that if you keep asking why precisely it’s happening, and so you sort of have to just sit back and enjoy the ride.

But “A Very Glee Christmas” offers an answer to this question at every turn: every time I imagine someone questioning the various hurried and forced story developments in the episode, the show screams back “BECAUSE IT’S CHRISTMAS.”

It’s a pretty good excuse, honestly: while sometimes the show risks losing its heart amidst the broadness of Sue’s cartoon villainy, and it sometimes struggles with how theme episodes deal with ongoing storylines, Christmas gives them something cheerful and magical to bring it all together. We expect Christmas to overwhelm all other emotions, as holidays are all about coming together regardless of our differences and celebrating peace on Earth.

And for a show that is always most comfortable, in my eyes, when it merges its sense of celebration with a sense of sadness, “A Very Glee Christmas” at times hits the sweet spot: it uses the broad comedy to fuel the sadness, but follows through on the consequences with an investigation of the limitations of Christmas rather than simply a celebration of the holiday. The result is an episode which seemed charmingly celebratory and yet still felt like it could indulge in “Sue the Grinch” when it so desired.

And it’s pretty emotionally honest until it ends up with nowhere to go but sap, positing Christmas as collective rather than connective and losing its momentum and its charm in the process.

Bah humbug.

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Glee – “Special Education”

“Special Education”

November 30th, 2010

The performance episodes of Glee have been pretty universally strong: both “Sectionals” and “Journey” avoided relying purely on spectacle, delivering episodes which consolidate season-long developments. The first episode confirmed that New Directions could survive without Will and come together as a team, while “Journey” brought both Sue’s relationship with New Directions and Rachel’s relationship to Finn to a triumphant close.

“Special Education” is notable in that it is the first performance episode that doesn’t serve as any sort of ending. With “Sectionals” positioned as the closing hour of the show’s original 13-episode order (and filmed before the show became an established hit), and with “Journey” as the first season finale, there was always a sense of closure. By comparison, “Special Education” isn’t even closing out the first part of the season (the Christmas episode airs next week), which means that the event is going to be considerably less climactic than what we’ve seen before.

While not perfect, I quite like what Brad Falchuk and Paris Barclay did with this hour. A self-reflexive deconstruction of the balance between the individual and the group within the series, the episode lacks subtlety but resists the urge to smooth over its various conflicts. While the show doesn’t quite commit to the character drama to the point where it avoids the cheery group number at episode’s end, I thought it had some legitimately interesting insight into what that balance means to the series. The spirit of the show may not be broken, but there are enough cracks in the armor that “Special Education” successfully delivers spectacle and transition without resolving anything.

Allowing for the Christmas denouement next week.

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Glee – “Furt”

“Furt”

November 23rd, 2010

In what was generally considered to be the “end” of the series’ bullying arc, Glee becomes self-aware. Its characters realize that they are in an after school special about bullying, and that they need to do something about it. More than the two episodes which preceded it, “Furt” is about the reality of bullying, about the ways in which something serious and important can be undone by bureaucracy or the social structure that creates bullying in the first place.

At the same time, of course, the episode is a celebration of the wonders of wedded bliss, and the relationship between children and their parents. The congruity of these ideas is more than a bit suspect, but in defense of “Furt” I think this is part of the point. The problem with bullying is that it is chalked up to the realities of life, to the chaos that Glee often embodies to a fault, and the episode’s serious tone offers some introspective character moments that resist the simple morals we might have expected.

It becomes an episode about chain reactions, about the ways that one decision can inspire others to do something more about this; it is also an episode about how even every single character on a series banding together around someone being bullied isn’t enough to change the culture of high school bullying.

Which keeps even a character marrying themselves from upending the role of reality in this universe.

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Glee – “The Rocky Horror Glee Show”

“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.

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Glee – “Duets”

“Duets”

October 12th, 2010

I’ve talked a lot about the “Three Glees” theory in the past (TM Todd VanDerWerff), where each of the three co-creators have a different perspective on the series. However, in most instances we focus on the whiplash between the various different episodes, a sort of multiple personality disorder, but what I don’t think we’ve theorized on as much is the way in which these Glees comment on one another. I think this was because, before “Duets,” I don’t think there had ever been an episode of the show which so clearly commented on the work of one of the other writers.

Since the show is basically serialized, there is always an element of connection between the episodes, but “Duets” offers direct commentary on both long-term characterizations and specific events from “Theatricality,” an episode which I had some serious problems with earlier in the year. Ian Brennan, scripting his first episode since the premiere, has created an episode which adds unseen depth to previous storylines, makes pretty substantial strides with characters both old and new, and in the process convinces me that in a scenario where one writer is to take over the series, Brennan is without question the show’s white knight.

“Duets” is not the most daring episode of the series, but it is unquestionably the most consistent, and that alone makes this one of the series’ finest hours.

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Glee – “Grilled Cheesus”

“Grilled Cheesus”

October 5th, 2010

If you ever needed proof of a higher power, take the fact that “Grilled Cheesus” more or less works.

While problematic in a number of areas, there is an emotional core to this spirituality-themed episode which manages to ground what seems like a really terrible idea in theory. While the show has handled some bigger issues quite effectively, like Kurt’s sexuality, it has also botched numerous issues, like (at times) Kurt’s sexuality. For every moment of emotional honesty, there are situations (like Burt’s big speech admonishing Finn) which seem to undermine those moments; while inconsistency is problematic in almost any series, here those inconsistencies often write over previous developments of character, theme, and universe.

“Grilled Cheesus” does nothing to solve the series’ problems of consistency as a whole, wildly different from everything else this season, but by grounding a difficult subject with the series’ most proven recurring storyline Brad Falchuk has created a stand-alone take on religion that only rarely offends my sensibilities.

And that, my friends, is some sort of miracle.

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Glee – “Britney/Brittany”

“Britney/Brittany”

September 28th, 2010

A week after opening with an unquestionably meta opening, Ryan Murphy did not stray far from that example with “Britney/Brittany”: in the opening scenes, Will expresses how he wants New Directions to know when to show restraint, while Kurt and many other students express their desire to branch out into something more exciting, youthful. It picks up directly where last week’s opening left off, questioning the song choices the series makes, which I’d argue is an interesting question that this season does need to respond to.

Of course, how much you enjoy “Britney/Brittany” depends on both its framework (which has some issues in terms of balancing fantasy and reality) and how Britney Spears’ presence plays out throughout the course of the episode. As someone who admittedly enjoys Spears’ music on the level of cheesy pop fare, I thought choosing Britney was not in and of itself a mistake; however, the show was let down considerably by the way in which her music and its legacy were received by those both within and outside of New Directions.

While musically satisfying, at least for me personally, “Britney/Brittany” suffered from an inelegance which is likely to cause any future themed episodes to raise even more red flags than this hour.

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Season Premiere: Glee – “Audition”

“Audition”

September 21st, 2010

I want you to imagine that “Audition” was, in fact, an audition for Glee as a television series: if this were the show’s pilot, what show would you imagine it to be?

The series’ actual pilot, if you remember, tries to capture an emotion: it is about the positivity of Glee club, and the potential for music to unite these social outcasts (and a football player) to achieve something beyond simple anonymity. It was predicated on the idea that one song could pull everything together: Journey was powerful enough to bolster Will’s spirit and calm Finn’s anxieties, and suddenly New Directions was full of hope.

And yet, the Glee club never truly moved up the social ladder, and this sort of romantic ideal of glee club was deconstructed just as quickly as it was constructed. Glee’s first season was spent trying to find new ways to challenge the Glee club, and to be honest they kept returning to the same premise: by placing the club’s finances in peril, the group would need to band together against external threats and thus recreate the final scene of that pilot. Everyone would get together and sing to help Quinn through her pregnancy, or help Will understand what he means to them, or some other holistic function that music could in some fashion solve. Glee was a show about people getting knocked down and immediately getting back up to sing things back to where they were before, a cycle that became dramatically problematic by the time the first part of the season came to an end.

By comparison, “Audition” is not that type of show: the emotion it captures is the discord within the Glee Club family, and it starts with the hopefulness of the ideal before quickly and quite viciously deconstructing any notion that happy days are here again. It is an episode about the impossibility of unity, about how our selfishness keeps the ideal from ever coming to fruition, and is thus an episode that taps into the sadness inherent in Glee’s concept rather than its triumphant musical enlightenment.

In other words, it’s my kind of Glee, which makes it a pretty substantial risk for a second season “Audition.”

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Season Finale: Glee – “Journey”

“Journey”

June 8th, 2010

“Life only really has one beginning and one end – the rest is just a whole lot of middle.”

In his attempts to inspire his Glee Club to achieve despite the nearly insurmountable odds placed before them at the upcoming Regional championships, Will Schuester makes the above remarks. And while I don’t think this was intentional, there’s a wonderful meta-commentary about the show itself in this statement: sure, the fragmented nature of the first season means that there were really two beginnings and two endings, but at the end of the day everything else was just a whole lot of middle that was more middling than I would have desired.

But if the back nine of Glee’s first season saw the series flipping and flailing wildly as it flew through the air, “Journey” demonstrates that this series knows how to stick a landing; in fact, I’d go so far as to say that the show would be amongst television’s best if they did two-episode seasons made up entirely of premieres and finales. Sure, the episode more or less feels like “Sectionals 2: Electric Bugaloo,” following the same patterns as the fall finale, but there is an unabashed sincerity to its storytelling which remains grounded without having to be undercut at every turn. It makes the show feel like it has earned this blanket sentimentality, that it truly has taken these characters on a journey which has changed their lives.

Matt Zoller Seitz wrote a great essay earlier today about Glee’s radical sincerity, but when I think about it nothing about “Journey” felt radical: so embodying the resiliency of the series’ spirit, and unapologetically engaging in theatrics we might have rolled our eyes at just a year ago, Glee proves that even considering all of the hype and success there remains a confident, passionate, absolutely entertaining series about a glee club that, gosh darn it, refuses to stop believing in itself.

And while I’m still going to dock the series some points for its poor form in the air during its back nine, I’m willing to throw up a good 9.5 or so for its landing, as “Journey” is unquestionably a series high point.

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