April 13th, 2010
I considering myself an appreciator of Glee, one of the few “deconstruction-focused” critics who has been writing about the show in a dedicated fashion (some weeks, it’s just Todd and I), but I don’t like that being a “fan” has become an all-or-nothing proposal. I can like the show while admitting that it has some pretty considerable flaws, but it seems like FOX’s promotional blitz has very clearly divided those who are chugging the kool-aid and those who are sipping it politely and discussing the sugar to water ratio, and as someone who falls in the latter category I can already sense that this is becoming one of those shows where any sort of indepth, negative review is going to be attacked for “missing the point of the show” and the like from some – but not, of course, all – viewers of the show.
This is unfortunate because I think how Glee tries to accomplish its goals is actually far more interesting than the goals themselves, as the balance between music and dialogue, or comedy and drama, or fantasy and reality all create some very intriguing problems that Ryan Murphy and Co. have to deal with on a weekly basis. That the show isn’t always successful shouldn’t be a surprise considering the volatile elements it chooses to take on each week, and the idea that its can-do spirit or its exuberance can account for its occasional missteps is the sort of romantic notion that only works in the show’s universe, not in ours.
“Hell-O” is a strong season premiere not because of the hype, or because of the musical numbers that the show chooses, but because those musical numbers are very well focused, the introduction of new characters is well-handled, and the thematic parallels are useful enough that the contrivances necessary to create them are forgivable. After a closure-heavy conclusion that wrapped things up too neatly, the show manages to complicate things quite effectively as it prepares for what appears to be a lengthy run – forgive me if I don’t let the show run around the hurdles every week.
“Window Dressed to Kill”
Season 2, Episode 11
“The more you face your trauma the more power it has over you.”
I had meant to make a note of the return of Pushing Daisies to readers ahead of time, considering that ABC certainly isn’t promoting their 10pm Saturdays burn-off of the remaining three episodes of the show’s second season, but part of me wasn’t quite looking at this as a real event. I haven’t seen an episode of Pushing Daisies in over five months, and while some got to view the episodes online (their aired in the U.K.), and others got to see them screened during PaleyFest (I was unfortunately at Coachella that day), I’ve been entirely free of the exploits of a certain Pie Maker, the Alive Again Avenger, my favourite private dick and the subject of tonight’s episode, Olive Snook.
I don’t think I realized how much I missed them until I faced that fact tonight, watching a fantastic hour of comic/dramatic television knowing that there are only two hours left to go, and that after that these characters will fundamentally cease to exist outside of a comic book or whatever other form Fuller keeps the series alive in. These characters deserve more than what they received from ABC: the show, canceled in favour of ABC’s plentiful number of midseason replacements (all but one of which failed), was certainly struggling, and wasn’t destined for stardom, but in all of our commotion over Chuck’s fate I think part of me will miss Pushing Daisies’ unique blend of whimsy and mystery more than I would have missed that show.
“Window Dressed to Kill” wasn’t a particularly noteworthy Pushing Daisies episodes outside of its position as one of the “Final 3,” but it so embodied what the show does best that it’s hard not to be overpowered by this desire to write letters, buy pies, and just about anything else you could imagine, even when you know it’s all for nothing. This review, similarly, is positioned as such that it is only a celebration of the episode, knowing that whatever character development I speak of will have only two more episodes to continue, and that whatever stories I think have potential will likely prove unable to reach that stage in their development.
But damnit, I’m going to talk about them anyway.