“Born This Way”
April 26th, 2011
That is often the question with Glee, isn’t it?
First off, why was this episode 90 minutes long? While I’m sure FOX would like to claim that it is because the episode demanded it, in truth it’s because they wanted to bite into the first half-hour of NBC’s The Voice, which is trying to be NBC’s first successful launch this season.
However, I’d argue that “Born This Way” is in some ways an answer to the basic question of “Why?” To the credit of Brad Falchuk, who scripted the episode, we are given a pretty clear sense of why most characters do the things they do in the episode, and the central theme is one of those broadly existential questions that actually makes perfect sense for a bunch of high school kids. While the 90-minute episode is dragged down by its running time at points, points where the question of “Why?” becomes a liability for the show, there are moments here that show a desire to better understand who these characters are and what drives them. Even if that characterization does not stick, and even if most of it becomes reduced to what can fit on a witty t-shirt, the fact remains that the episode was not about Lady Gaga or about vague moralization. Instead, it used that moral to drive the show closer to its characters than we might be used to, and even if the results were expectedly uneven I would suggest they were compelling enough at the end of the day to make “Born This Way” a success.
Even if I’ve still got some “Why?” questions for Falchuk and the writing staff.
The Muddled Memory-Making of the 2011 Grammys
February 13th, 2011
Tonight, the Grammy Awards opened with an extended retrospective. As a collection of contemporary female vocalists paid tribute to the music of Aretha Franklin, it established that this was a night to reflect on Grammy history. It was a narrative picked up by Miranda Lambert’s performance of “The House That Built Me” later in the show, which she dedicated to those performers who came before (and who appeared on the screens behind her in a nostalgia-tinged multimedia component), and cemented with a “rare performance” from Barbra Streisand and Mick Jagger’s first ever Grammy performance.
However, earlier in the show, Lady Gaga took to the stage to perform her brand new single, “Born this Way.” Although one could claim that this too is a bit of history, given that the song borrows liberally from Madonna’s “Express Yourself,” the song premiered only last week. In another performance, a trio of young performers (Bruno Mars, Janelle Monae, and B.O.B.) were introduced by Ryan Seacrest as being the next generation of Grammy legends, albeit in a performance which had a definite tinge of nostalgia given Bruno Mars’ black-and-white, Jackson Five throwback performance of “Grenade.”
It’s no secret that the Grammys have long ago stopped being an “awards show,” having transitioned into a concert event so blatantly that everyone noticed (if you’ll forgive me the inversion of a classic Simpsons line). However, during tonight’s show (and especially given the few hours I spent half watching the non-televised portion of the awards online), I realized the degree to which this shift has seemingly been designed to disguise the fact that the Grammys, more than any other awards show, utterly fails at capturing the last year in its respective medium.
And how, despite some unquestionable success at making the show “memorable,” it sort of confounds the notion of memory altogether.
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.