May 17th, 2011
“I’m Lima good. Not New York City good.”
Last season, we didn’t get a “real” penultimate episode: “Funk” was moved into the penultimate spot arbitrarily when FOX wanted to move the Lady Gaga-enhanced “Theatricality,” which created a whole issue in regards to plot continuity.
This time around, “Funeral” was meant as the penultimate episode all along, and I’ve got to be honest: this just doesn’t work. I actually understand the logic here, as Ryan Murphy takes us back to the pilot by staging a new set of auditions and returning us to the hopes and dreams of Will Schuester. I actually really like parts of this, and the idea of Nationals unearthing some of the initial divisions of talent within the Glee club is actually sort of logical – the line above really gets to the heart of the hopelessness that drives the show’s small town aesthetic, and I really like when the show revisits that idea.
But the way Murphy goes about it only highlights how heading in this old direction undercuts all of the other directions that have been built into this season. As a standalone piece, “Funeral” is a fine showcase for Jane Lynch’s ability to depict the emotional turmoil that makes the character the way she is, and a fine musical showcase for a variety of members of the show’s cast. But as an actual penultimate episode as part of the show’s second season, it takes too long to find the story threads it needed to find to feel connected to that which came before, even if it connects nicely into what comes after (which remains an inherent possibility).
As my Twitter feed has indicated, I am currently in the Big Apple, New York City, on a brief adventure. And since this means a lack of traditional reviews (I guess I’d call this a vacation in that respect), I figured I’d blog a tiny bit about the trip itself, as well as some of the TV I watched when I was dead tired and had not the energy to do much else.
So, thoughts on Broadway’s Next to Normal, being starstruck on the subway, and HBO’s Curb Your Enthusiasm, Bored to Death and Entourage after the jump.
May 19th, 2009
As always, as a less than official TV critic, I haven’t been amongst those lucky enough to have seen FOX’s new series, Glee, ahead of time. This is not usually an issue, as I’m able to avoid any spoilers or any really strong opinions on these shows, but ignoring Glee has been nearly impossible. Between the constant deluge of ads that FOX has been deploying, and between every TV critic under the sun having extremely polarizing reactions to the series, ignoring Glee has been fundamentally impossible. People either love the show or, well, they agree that there’s other people other than themselves who will probably love it.
Amazingly, however, I managed to keep myself from seeing a single clip, or more than a few images, from the series: sure, I’ve seen the criticism, but this unique musical television “event” (premiering after American Idol despite not truly debuting until the Fall) remains entirely unspoiled in terms of its tone and in terms of its execution (although I’ve obviously listened to the critics enough to know some things to look out for). As a result, I can honestly say that I went into Glee with, primarily, no real expectations one way or the other. The result?
I’m a little bit in love.