Tag Archives: Brittany

Glee – “I Am Unicorn”

“I Am Unicorn”

September 27th, 2011

When “I Am Unicorn” ended on what I guess we could nominally consider a cliffhanger, I was sort of stunned.

See, in order to have a cliffhanger you need to have a narrative, and that’s something that Glee has largely avoided since the conclusion of its first season. Now, to be fair, the show has had recurring storylines that have occasionally been made more prominent: Kurt’s bullying arc, for example, was a major force that changed the dynamics of the entire series by moving Kurt to the Warblers.

However, the narrative that emerges in “I Am Unicorn” (and which was foreshadowed last week) is holistic, encompassing a larger percentage of the show’s characters than ever before. It’s a collection of narratives that, while remaining tied to the show’s central themes and the musical conceit that the show has relied on, are not about the Glee club winning Sections/Regionals/Nationals and that on some level aren’t about “the Glee Club” as an entity.

Instead, they’re narratives about characters: they may be uneven, and they may not necessarily pay off in the end, but by the end of “I Am Unicorn” I was convinced that Glee is capable of being a subtle show when it wants to be.

And that was a very, very weird feeling.

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Season Finale: Glee – “New York”

“New York”

May 24th, 2011

“Make one…in your mind.”

As Rachel and Kurt stand on stage at the Gershwin Theater in New Your City, with the land of Oz behind them, Kurt suggests that they take this opportunity to belt out the closing song from Wicked, “For Good.” When Rachel remarks that there isn’t an orchestra, Kurt says the above line, and “New York” begins to fall into place.

Glee’s competition episodes have always felt like they’re sort of off in their own world, a world where show choirs earn standing ovations and where all of the season’s troubles can melt away through the sheer power of song. There was this giddy look on Naya Rivera’s face right before New Directions broke into “Light Up The World” that sells the kind of euphoria that being up on that stage can inspire, and these episodes have been among Glee’s strongest largely because of the emotional pull that the performances can inspire.

Nationals is the largest competition that the show has done so far, but its scale is not demonstrated in the number of songs or the seriousness of the competition. Instead, “New York” turns the euphoria up to 11, transforming the trip to the Big Apple into a glimpse of the dreams that seem so close yet so far away. Up until the moment where New Directions finally makes their way to that stage, this episode is like one long dream sequence, a world where original songs are written and rehearsed in a day, where musical idols are casually encountered, and where Gershwin Theater employees are willing to give two high school kids from Ohio some unsupervised time in a Broadway theater.

And “New York” would have damaged the show irrevocably if it hadn’t shattered that dream as it does. By returning back to the reality of Lima at episode’s end, Brad Falchuk makes it clear that the dreams present in this episode are unattainable, perhaps downright imaginary depending on how far you think the show is willing to stretch its own reality. However, in the spirit of the show and in a decision I don’t entirely hate, he also emphasizes that there’s room for dreams in Lima, Ohio.

At least until a year from now, when the dreams will contend with reality once more.

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Glee – “Prom Queen”

“Prom Queen”

May 10th, 2011

Ian Brennan has always been the Glee writer most interested in embracing the series’ meta qualities, but there are two moments in this week’s episode where he goes one step too far. First, Sue’s list of most-hated songs the Glee club has performed were very clearly a bit of self-deprecating commentary rather than something Sue would actually observe – the notion of apologizing to America was particularly strange, greatly exaggerating the reach of “Run Joey Run.”

Now, note that Brennan wrote the episodes in which both “Run Joey Run” and the “Crazy in Love/Hair” remix appeared, so he’s picking away at himself more than the show itself. This was also clear when Jesse discussed the whiplash nature of his relationship with Rachel disintegrating, which was most evident in the Brennan-scripted “Funk.” In both instances, I found the commentary obnoxious, and it pulled me out of the scenes themselves and into the artifice of the series.

Of course, the show does this quite often, but it felt like “Prom Queen” had a particularly steep climb in regards to fully integrating the viewer into its world. This goes both for the episode’s climax, which was the topic of a huge spoiler controversy over Twitter a few weeks back, and the performance of a particular viral video sensation of questionable quality. I am not among those who asks that the Glee universe presents itself as cohesive or realistic, in part because the show is clearly built around their world extending into our own with concerts, downloads, and everything in between, but also because I think this meta quality has a certain charm to it…when used properly, and when used sparingly.

While it is unfortunate that the climax of “Prom Queen” had to be caught up in the online kerfuffle and thus rendered somewhat less effective, I would argue that the episode as a whole transcended Brennan’s obsession with the show itself to deliver a couple of strong moments which felt honest to Prom at McKinley High School.

And yes, that more or less includes “Friday.”

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Glee – “Rumours”

“Rumours”

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.

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Glee – “Born This Way”

“Born This Way”

April 26th, 2011

Why?

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.

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Glee – “Sexy”

“Sexy”

March 8th, 2011

Earlier today, TV Squad posted a piece from friend of the blog Ryan McGee about the role that continuity plays within serial narratives, which was actually partially spun out of a conversation that Ryan and I had about Fringe following its most recent episode.

To discuss continuity in Glee would be to open up the largest can of worms imaginable, only to discover that the can of worms has magically transformed into a barrel of monkeys while you were opening it. Continuity, or rather concerns over continuity, are usually one of the main reasons people end up linking to my “3 Glees” page. It becomes a sort of explanation, a way of understanding why the show is quite as schizophrenic as it is – the presence of three different writers’ voices, all with different interests and different ways of telling stories, could perhaps explain why the show tends to dart back and forth as it does.

And yet, I don’t think the goal of the theory (or the page which collects the theory) is to prove that the show is inconsistent, as if the show is on trial for this particular failing. While I will admit that character continuity is a growing problem with the show, I would argue that in terms of plot continuity the show has successfully embraced its hodgepodge existence.

“Sexy” doesn’t make any sense whatsoever if you consider it in relation to that which came before. The show’s treatment of sex has been almost stunningly inconsistent, at times glorified and occasionally moralized to the point of an after school special, which should make an episode designed around the very idea of sex (and the nuance often involved) hypocritical to the point of ridiculousness.

However, while “Sexy” is both hypocritical and ridiculous, it’s also quite resonant. Brad Falchuk, who dealt with some of this territory back in “Preggers,” doesn’t pretend that the show has been consistent in its depiction of teenage sexuality, allowing the series’ lack of continuity to become itself continuous. The episode doesn’t necessarily match up with what has come before, and it returns some characters to particularly one-dimensional states in order to achieve its goals, but the end result is an analysis less of sex in general and more the role that sex plays within this crazy, discontinuous world of Glee.

Which is a pretty impressive achievement, as ridiculous as some parts of the episode are.

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Glee – “Blame it on the Alcohol”

“Blame it on the Alcohol”

February 22nd, 2011

“We take our craft serious.”

By the time students reach high school, afterschool specials are a laughing matter. Of course, simultaneously, the subject matter of those afterschool specials becomes infinitely more serious, as students are introduced to social problems which could very well affect many of them in their adult lives. For the most part, the only tenable strategy is to lean into the pitch, accepting that students will laugh and finding a way to spin that humor into something approaching understanding.

However, what happens if you’re a television show ostensibly aimed at teenagers (or, according to Ryan Murphy, seven-year-olds) which wants to do an episode about the dangers of alcohol? On the one hand, the show is interested in the comic potential of a drunk New Directions: it wants to see what Rachel Berry is like when she’s drunk, to indulge in the easy jokes created in such a scenario. Of course, it also wants to avoid glorifying alcohol, which means having characters serve as designated drivers, sober observers, and voices for the value of sobreity.

The success of “Blame it on the Alcohol” very much depends on what message we’re supposed to take away. As a piece of comedy, the episode is about as uneven as we’ve come to expect from the show, finding a few solid jokes but never quite landing. However, in terms of taking the introduction of alcohol and spinning it into something approaching self-reflection, the episode is actually fairly successful. It’s all a bit on-the-nose, and requires more than a little contrivance, but I was left with a greater understanding of these characters.

If not, necessarily, an outright appreciation for the episode in question.

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