Watching The Glee Project
July 18th, 2011
I reviewed the premiere of The Glee Project for The A.V. Club, and wasn’t entirely certain at the time if I was going to stick with it. While the concept of the show interested me, especially as someone who continues to watch and analyze Glee, I didn’t actually enjoy it all that much.
I’ve continued watching, though, despite the fact that I still don’t really enjoy it in the traditional sense. I’m not really invested in any of the contestants, and I find myself fast-forwarding through the majority of the performances when I flip through the episodes every Sunday evening, but I find myself thinking about the show throughout the week, discussing it with people on Twitter and wishing that I knew more people who were watching.
The reason is similar to an experience I had last summer with Bravo’s Work of Art: The Next Great Artist, as the oddities of the format and structure of the series drive my engagement with each episode. Specifically, comments Ryan Murphy has made regarding both the intended arc for the eventual winner and a specific experience he had judging the show has given me an entirely different narrative than the text would suggest, one that has me far more engaged than the actual competition itself ever could.
It’s also drawn to the surface how strange this show can be, and how its aims seem more and more (fascinatingly) awkward with each passing week.
“Slay Everyone, Trust No One”
February 11th, 2010
Every season of Survivor is effectively the same as the one before: the players might change, but more often than not they bring nothing new to the game that hasn’t been seen in some form before. For every “twist” the producers have tried to throw into the game, it all ends up being the same in the end, which isn’t really a problem since the game is at its most compelling when it finds itself in familiar territory. Because we know what’s happened before, and because we have no idea whether the players involved know what’s happened before, we get to watch them walk in the shoes of the players who came before, either triumphing where they failed or tripping up where others succeeded.
What’s interesting about “Heroes vs. Villains,” the twentieth season of the show, is that it simultaneously reduces the game to a simple battle between good and evil while creating a game structure that is without question the most complex the show has ever seen, layered with subtexts (previous alliances, previous rivalries, personal experiences, etc.) that stretch back far into our memory of the show’s early seasons in a more overt way than ever before. By bringing the tribal competition to the surface, along with the binary that often emerges between those the audience loves to hate and those the audience wants to see go to the end, the show is creating the ultimate mind game: they are forcing characters with more emotional and gameplay baggage than ever before into a game which threatens to rigidly define them, ignoring the various subtexts in such a way that they can’t help but surface the first time anyone dares mention the word alliance or whispers about how successful some players have been in the past.
The result is Survivor at its most confident, pushing all the right buttons and getting some all-time great moments, some substantial comedy mixed with some engaging drama, and enough introspection to quite literally sink any other reality show that wasn’t build for just that sort of psychological inquisition.