May 3rd, 2011
“Tell me why everything turned around?”
“Rumours” never pretends that it isn’t an episode built around the songs from the Fleetwood Mac album of the same name: heck, early on Will pulls out the LP with April Rhodes and displays it for everyone, and it becomes the Glee club’s lesson of the week.
What I found interesting, though, was how the somewhat artificial presence of the storyline was ultimately overcome by Ryan Murphy’s willingness to play with the album’s methodology in the script. Rumours, the album, was produced in a very focused environment based on historical record: as Will explains, they only spoke to one another about the music so as to avoid their personal differences from breaking them up before the album was complete. And yet Glee has often suffered for this very reason: because we see so little of these characters’ lives outside of the Glee club with the show so focused on the musical performances and New Directions’ trip to Nationals, the interpersonal relationships that would allow them to develop as characters are left by the wayside. And unlike the songs on Rumours, the songs on Glee are rarely infused with the emotions of unspoken (and unseen) personal conflicts, instead feeling like plot points or iTunes sales.
“Rumours” is quite effective because it allows the central theme of the episode to trickle down through its characters organically, never dwelling on the initial rumors and instead focusing on their psychological effects on ongoing character arcs. Despite the presence of a meddling Sue Sylvester spreading vicious rumors about members of New Directions, what follows feels driven by individual characters confronting their insecurities in a self-aware, nuanced fashion. Parts of it are manipulative, and certainly there are some of the show’s usual leaps of logic, but “Rumours” successfully uses a simple premise to reveal some complex emotions, nicely encapsulating the level of character momentum the show has heading into the final three episodes of the season.
April 27th, 2010
“I don’t try to change you, you don’t try to change me”
There is nothing I hate more than a show doing everything I ask it to and nonetheless leaves me cold. If you had asked me to focus on some of the prevailing problems to this point in Glee’s Spring season, I would have pointed to the narrow storylines which tend to focus on the central love triangles rather than the supporting characters, so to have an episode that so clearly focuses on characters like Kurt and Mercedes seems like it should be right up my alley.
The problem with “Home” is that it feels like the show is being changed rather than changing, characters emerging from their prison of one-dimensionality and returning to the last time they had anything close to character development. At times this results in beautiful musical numbers and emotionally resonant scenes which speak to the larger series, but as an actual episode “Home” feels equal parts honest and dishonest thanks to the sense that none of it has been earned from a narrative perspective.
You could make the same argument about “Wheels,” I realize this, but I think that this episode contained more of both sides of the show’s schizophrenia as it relates to certain characters, and comes directly after an episode which presented such wildly different versions of these characters that the jarring lack of continuity cannot be overcome by an emotional performance of a Burt Bacharach song, no matter how hard the show tries to make it so.
“The Rhodes Not Taken”
September 30th, 2009
I want you to imagine an episode of television programming which features the following: a guest appearance from Kristin Chenoweth, a battle between Kristin Chenoweth and Lea Michele on a song from Cabaret, a duet arrangement of Heart’s “Alone” featuring Kristin Chenoweth, Kristin Chenoweth in full on rodeo mode during a Glee Club performance, and a full cast rendition of a really great Queen song.
And then I want you to imagine me, someone who enjoys every single one of these things, not enjoying the episode at hand. Crazy, no?
Well, unfortunately, that’s how I feel about “The Rhodes Not Taken,” an episode that suffers from a rapid-fire plot development and misplaced emotional emphasis. While I loved Chenoweth’s performance in the episode, and all of the musical elements, it suffered from the fact that every bit of realistic character development was saved for a character who isn’t actually in the show at all. By placing so much of the episode’s impact on the temporary replacement for Rachel as opposed to Rachel herself, her bizarre indecision is never framed as anything close to character development, left to feel like sheer plot contrivance.
It’s an episode that wants to be like “Preggers,” but in perhaps a cruel twist of fate the genius of Kristin Chenoweth only sets them back in the grand scheme of things.