Tag Archives: Music

Off-Site Learnings: Glee’s Impact on Television Development

I was in transit when last week’s episode of the (excellent) Firewall and Iceberg podcast was posted, and during that trip I wrote a piece for Jive TV which discussed what Glee’s impact will be on television development; little did I know that Alan and Dan had discussed the same issue during that episode, which makes my piece a response of sorts to their comments.

It’s ultimately in agreement: Glee’s legacy will not be the renaissance of the high school comedy nor the arrival of the television musical. However, I would argue that there are more essential, rather than definitional, elements of the series which could inspire future development, allowing networks to tap into what makes Glee so successful without necessarily selling iTunes downloads or breaking out into song.

For more on the subject, check out “Has U.S. TV been Forever Changed by Glee?” at Australia’s Jive TV:

However, what remains to be determined is how much Glee has changed the television industry: while the success of a show like Modern Family can be billed the renaissance of the family sitcom, it’s not quite so easy to identify what other networks will attempt to emulate within Glee’s central premise. There isn’t going to be a sudden influx of musicals on television, as Glee’s most definitive quality is too unique on the current television landscape to be copied in such a blatant fashion; that being said, networks will still want to try to capture the elusive “Glee audience” that FOX has built over the past year, and they’re going to try to find a way to do it as soon as possible.

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Season Finale: Glee – “Journey”

“Journey”

June 8th, 2010

“Life only really has one beginning and one end – the rest is just a whole lot of middle.”

In his attempts to inspire his Glee Club to achieve despite the nearly insurmountable odds placed before them at the upcoming Regional championships, Will Schuester makes the above remarks. And while I don’t think this was intentional, there’s a wonderful meta-commentary about the show itself in this statement: sure, the fragmented nature of the first season means that there were really two beginnings and two endings, but at the end of the day everything else was just a whole lot of middle that was more middling than I would have desired.

But if the back nine of Glee’s first season saw the series flipping and flailing wildly as it flew through the air, “Journey” demonstrates that this series knows how to stick a landing; in fact, I’d go so far as to say that the show would be amongst television’s best if they did two-episode seasons made up entirely of premieres and finales. Sure, the episode more or less feels like “Sectionals 2: Electric Bugaloo,” following the same patterns as the fall finale, but there is an unabashed sincerity to its storytelling which remains grounded without having to be undercut at every turn. It makes the show feel like it has earned this blanket sentimentality, that it truly has taken these characters on a journey which has changed their lives.

Matt Zoller Seitz wrote a great essay earlier today about Glee’s radical sincerity, but when I think about it nothing about “Journey” felt radical: so embodying the resiliency of the series’ spirit, and unapologetically engaging in theatrics we might have rolled our eyes at just a year ago, Glee proves that even considering all of the hype and success there remains a confident, passionate, absolutely entertaining series about a glee club that, gosh darn it, refuses to stop believing in itself.

And while I’m still going to dock the series some points for its poor form in the air during its back nine, I’m willing to throw up a good 9.5 or so for its landing, as “Journey” is unquestionably a series high point.

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Glee – “Theatricality”

“Theatricality”

May 25th, 2010

Glee is a show that needs to know the limitations of its own premise, something that I don’t know if Ryan Murphy is all that interested in. I think he’s concerned that if he limits the show in terms of the stereotypes it can fight or the type of music it can do, he will be “giving in” to the same types of negative forces that the show’s messaging speaks against.

In some cases, especially musically, I want this show to push certain boundaries and break down misconceptions about genres of music or the role that music can play in our lives. In others, however, I wonder if the show’s format is actually capable of providing a grounded take on those issues without exaggerating them into something completely different. The show has only gotten away with its choice to confront issues of difference through some strong performances, and in “Theatricality” the eponymous quality results in a ludicrously overplayed storyline about the battle between jocks and the Glee club which has absolutely zero nuance. Other storylines, meanwhile, suffer because they do have nuance and yet often step too far into the emotional for that nuance to emerge in a satisfying fashion.

It results in a combination of stories that are fine until you actually think about them (something the show unfortunately rarely bothers to do once it’s reached its powerful statement on morality or the strength of individuality) and some which never come close to being emotionally effective because there’s not an ounce of realistic human behaviour.

And no amount of “Theatricality” can keep me from feeling like the show is ignoring some pretty glaring concerns within its so-called morality.

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Chuck – “Chuck vs. the Tooth”

“Chuck vs. the Tooth”

May 10th, 2010

So far in this six-episode miniseason, Chuck has been barreling along not unlike the train in the “premiere” of sorts: the destination isn’t particularly important, we’re just along for the ride as Chuck and Sarah adjust to being a couple and fighting evil at the same time. It’s been a nice change of pace in a season which felt like it was so clearly driving towards the triangle between Chuck, Sarah and Shaw that none of the show’s other elements really got to shine, and I’ve been enjoying these episodes quite a bit.

However, with “Chuck vs. the Tooth” that train has put on the brakes, and you can very clearly see the switch turning to send the train in a certain direction. I understand why this is (we only have two episodes left this season), and I also understand the long-term plans at play within this solid if not spectacular episode. The problem is that the show manipulates short term reactions in order to establish potential consequences regarding the intersect, leading to an episode which plays out as Chuck’s worst nightmare when, in reality, I think the episode would have played out in a more logical and less dramatic fashion.

It gets the point across, no question about that, but it does so in a less than elegant fashion which hearkens back to the original 13 episodes more than this more recent run.

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Glee – “Bad Reputation”

“Bad Reputation”

May 4th, 2010

It’s never good for a show about high school to raise comparisons to Freaks and Geeks, but by choosing “Bad Reputation” as the title for this episode Glee entered into that dangerous territory. Joan Jett and the Blackhearts’ “Bad Reputation” was the theme song to that show, and it has to be said that there was an element of irony in its use. Deep down, all of the characters on that show cared about their reputations, but what set the show apart was that they cared about them for realistic and dynamic reasons that felt true to life. The show never felt like it needed to sensationalize high school to create conflict, and as a result is one of the best shows of the past decade.

I understand that the “point” of Glee is to sensationalize, but the show can’t have it both ways. The problem with “Bad Reputation” is that it wants to come to saccharine and emotional conclusions but it wants to get there through the sort of bombastic, over the top chaos the show enjoys so much. And while a few of the musical numbers nicely encapsulate the way the characters are feeling, the storylines the episode uses to crystallize and set up those qualities are so far off the mark that I never once believed what was happening on screen.

While the message of the episode seemed to be that people shouldn’t worry so much about their reputations in high school, I think we’re at the point where Glee should be worried about its own reputation as it heads into its second season.

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Glee – “Home”

“Home”

April 27th, 2010

“I don’t try to change you, you don’t try to change me”

There is nothing I hate more than a show doing everything I ask it to and nonetheless leaves me cold. If you had asked me to focus on some of the prevailing problems to this point in Glee’s Spring season, I would have pointed to the narrow storylines which tend to focus on the central love triangles rather than the supporting characters, so to have an episode that so clearly focuses on characters like Kurt and Mercedes seems like it should be right up my alley.

The problem with “Home” is that it feels like the show is being changed rather than changing, characters emerging from their prison of one-dimensionality and returning to the last time they had anything close to character development. At times this results in beautiful musical numbers and emotionally resonant scenes which speak to the larger series, but as an actual episode “Home” feels equal parts honest and dishonest thanks to the sense that none of it has been earned from a narrative perspective.

You could make the same argument about “Wheels,” I realize this, but I think that this episode contained more of both sides of the show’s schizophrenia as it relates to certain characters, and comes directly after an episode which presented such wildly different versions of these characters that the jarring lack of continuity cannot be overcome by an emotional performance of a Burt Bacharach song, no matter how hard the show tries to make it so.

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Chuck – “Chuck vs. the Honeymooners”

“Chuck vs. the Honeymooners”

April 26th, 2010

“Chuck vs. the Honeymooners” is not an episode about “Chuck and Sarah.” It is an episode about Chuck, and Sarah, and their independent personalities; the argument the show makes is not that they should be together (although it does sort of implictly make this argument through its quality), but rather that they each independently want to be with the other, and that this is a conclusion which they have come to as human beings rather than as much-shipped television characters on a network series.

I’m not one of those people who particularly cares about “Chuck and Sarah,” but I am one of those people who cares about Chuck, and Sarah, and their own journeys through this crazy life they’re living. In an episode which has a lot of fun moments which play into the lengthy period of romantic tension which led to this inevitable conclusion, there are also a lot of fun moments which are just the result of how much chemistry that Zachary Levi and Yvonne Strahovski have independent of a relationship, and how great the show’s stunt team is at making a low budget show look like an action film when it comes time to throw down.

The show can never be exclusively “about” Chuck and Sarah’s relationship, but so long as the show’s investigation of its potential results in episodes like this one which are damn entertaining entirely independent of the shipper mentality, I’d say that this little six-episode mini-season could be quite the ride.

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Glee – “The Power of Madonna”

“The Power of Madonna”

April 20th, 2010

Glee, as a series, requires the audience to believe in the power of positivity on a regular basis: regardless of the problems that face New Directions as they chart their new directions, there is a sense of hope and perseverance which lifts them from their somewhat sad existence in rural Ohio towards stardom in whatever form it may arrive. The series’ shameless positivity is one of its most distinctive qualities, an outlook which keeps the show from seeming too critical of its characters and their differences, and while I have some concerns with how that positivity is occasionally used to sort of gloss over its investigations of diversity I think it’s part of the show that should ultimately be celebrated.

However, if I have come to believe in the power of Glee’s positivity, I don’t necessarily think I feel the same about the power of Madonna, or “The Power of Madonna” as an episode of the show entirely predicated on the idea that the ubiquitous singer is somehow a stand-in for all of the values the show represents. Beneath the mountains of hype surrounding this particular episode, you realize that just about everything is taken for granted in an effort to bow down at the altar of Madge: characters rush into decisions for the sake of lyrical connection, allegiances change for the sake of demonstrating the power of Madonna’s message, and not once does a single character other than men behaving driven by sexism actually stop and question whether or not we’re willing to buy the outright idol worship on display in the episode.

Taken as individual scenes, the use of Madonna’s music indicates the quality of her contribution to popular music over the past quarter century; taken as an entire episode where none of those sequences were given the necessary development to create anything even close to real character development, “The Power of Madonna” both reveals Glee’s most fundamental problems and indicates that the show has every intention of pretending those problems don’t exist simply because they know that it will scream “You Must Love Me.”

And, well…I guess I’m “Frozen.” [Okay, seriously, that’s it for Madonna song title puns, the rest of the review will be pun-free. I’m “Sorry” about-DAMNIT.]

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“What’s Goin’ On” with NBC’s Parenthood? I Have No Bloody Clue.

“What’s Goin’ On” with NBC’s Parenthood?

April 20th, 2010

When I was watching last week’s episode of NBC’s Parenthood, in particular the scene where Sarah (Lauren Graham) shares a moment over some Faulkner with Mark, her daughter’s English teacher and twelve years her juniour, I was not surprised. The scene plays out exactly as you would have imagined it would play out as soon as the two characters met, sparks flying over shared metaphors and the romance of literature as their love defies social constructions of age and awakens something inside of them. I was ready to write the scene off as the precise opposite of subtlety, falling into every cliche we could have predicted, but then I heard something in the background…and then my jaw dropped.

It was “In These Arms,” a song by the Swell Season; for those who don’t know, the Swell Season is the moniker under which Glen Hansard and Marketa Irglova are currently recording music following their Oscar-winning success with Once. However, my jaw did not drop out of simple recognition of this very beautiful and haunting song; rather, it dropped because Hansard and Irglova were at one point in time romantically involved, with eighteen years separating them. It was at that point that I came to a very important conclusion: someone, somewhere, on the staff of Parenthood is screwing with me.

It could be the Music Supervisor, as there is plenty of evidence to indicate that whoever is choosing music for this show is in fact still living in 2006, or it could be the performers, some of whom seem to have made it their life’s work to entirely take away my ability to tell when this show is trying to be serious and when it’s trying to be sarcastic. For every time when I think I finally have Parenthood pinned down, when I grasp at some sort of straw that convinces me that this could some day develop into half the series that Jason Katims’ Friday Night Lights became, there’s moments which leap off the screen and just beg me to ridicule, abandon or at times even throttle this series.

And I’m sort of loving it.

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Without a Net, Without a Chair?: Character vs. Actor as Glee goes Live

“Without a Net, Without a Chair?”

April 6th, 2010

When FOX announced that Glee would be doing a concert tour in support of the show’s second season, I wasn’t particularly surprised: while they had initially said that they had no such plans, the show is too much of a phenomenon to resist what seems like a really logical brand extension.

However, two performances in the past week (At the White House Easter Egg Roll yesterday and on tomorrow’s episode of Oprah, filmed on Friday) have proven a really intriguing glimpse into both the potential for and the challenge of these concerts. The White House concert was very much enjoyable, especially having Michelle Obama and the first daughters grooving to the music in the “pit” between the stage and the crowd, but it also revealed that navigating the twisted web of character and actor, and doing it all without the benefit of auto-tune, is going to make for an extremely interesting concert-going experience.

Glee at the White House: Part One

Trapped between recreating and celebrating the show that fans love so much, the concerts are going to need to remain a careful negotiation of the cast’s musical ability…or maybe they just need to lipsynch to “Don’t Stop Believing” and fans will be happy.

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