“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.
Why Justin Bieber is not the Gleepocalypse
January 9th, 2011
In light of recent reports that Glee would be doing an episode based around the musical oeuvre of Justin Bieber, there was plenty of snark.
And trust me, I wanted to be right there with them.
However, I think we need to take a step back for a moment. This isn’t a show which needs to be appealing to the current trends – or, if you prefer, fads – in order to stay on the air, which means that this wouldn’t really desperate. Sure, it would be shameless, but in the context of how Glee has built previous theme” episodes I’d actually say that Bieber would be a step up – narratively. While it may not offer the deep catalogue of Madonna, or the cultural significance of a Britney Spears, the fact of the matter is that the Justin Bieber story actually goes back to the series’ very roots and says something about young people striving for greatness.
And sure, Ausiello’s initial report at the new TVLine has since been debunked by Ryan Murphy, but the initial reaction to the news says something about how we respond to Glee‘s use of particular artists, and how the definition of “Theme Episode” is constantly shifting. Yes, Bieber’s music is not the most challenging aural experience, and his life story just so happens to be heading to the big screen days before the episode featuring at least one of his songs is scheduled to air, but that doesn’t necessarily make it any less effective as a storytelling device.
At the end of the day, isn’t that what matters?
Turning Over the Keys: Musical Guests in Reality Competition Programming
July 9th, 2010
LeBron James’ decision to join the Miami Heat in the fall isn’t half as interesting as his choice (nay, demand) to announce this decision on live television after twenty-eight minutes of hilariously awful build-up in which television sports journalism lost a great deal of credibility. Frankly put, ESPN had no idea how to string together a show around such a crass act of self-promotion, which to their credit isn’t a particularly easy task: this was an hour-long special built around a ten second announcement, taking what could have been some interesting pre-decision and post-decision analysis and blanketing it with hyperbole about how this will forever change the game of basketball. This wasn’t ESPN covering LeBron James (which has become nauseous in and of itself), but ESPN turning itself over to LeBron James, which at the very least will have media scholars talking for a long time (or, about as long as it took Jim Gray to actually ask LeBron the question of the night).
And in what is the most shameless segue you’re likely to see all week, this same problem of “turning one’s self over” plagues reality competition programming (oh yes, I went there). For shows like American Idol, Dancing with the Stars, and So You Think You Can Dance, it’s necessary for time purposes to turn over part of their results shows to a musical guest or some other type of performer who kills some time, promotes their record/show, and moves on with their life. These performances can occasionally be quite interesting, but the fact remains that there’s a tension between the narrative unfolding (the elimination of a contestant, in most instances) and the musical performance, and watching tonight’s So You Think You Can Dance (which, in my defence, I watched immediately after tuning out from “The Decision” at the half-hour mark) a few thoughts came to mind about how shows work to keep these musical performances from seeming disconnected from the series itself.