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Glee – “Comeback”

“Comeback”

February 15th, 2011

There is nothing wrong with Justin Bieber.

Maybe it’s just my Canadian pride, but the kid is inoffensive to the point of being sort of charming. Especially recently, given his playful send-ups of his celebrity on The Daily Show and a bunch of other late night series, I’ve generally liked him, and while I wouldn’t say his music is exactly my taste I will say that it has a certain charm. He’s not a particularly wonderful singer, but that’s not really the point, and so the cultural vitriol surrounding him confounds me at points.

There are, however, plenty of things wrong with the Justin Bieber phenomenon. The problem isn’t Bieber himself, but what he has come to represent, and his cultural ubiquity relative to his actual talent (which is not “insignificant,” but is not exactly befitting his success). And it seems almost impossible to separate the latter from the former, to see the decent kid behind the phenomenon: while Never Say Never as a film might actually do a lot to humanize Bieber, the very idea of a teenager receiving a 3D Concert documentary only fuels the impression that his fame has gotten out of control.

In case you haven’t figured it out, Glee is a lot like Justin Bieber. At some level, there is a basic competence, a potential to be something entertaining: at a more macro-level, however, the Glee phenomenon has become an epic distraction, infringing on our enjoyment of the series on a regular basis.

On some level, “Comeback” should be seen as a return to basics: like episodes like “Duets” or even last week’s “Silly Love Songs,” the Glee club receives a simple theme and is asked to perform numbers relating to them. However, while those episodes felt united in their loose themes, there was no such unity to be found here. The result is a scattershot and problematically ephemeral hour which succeeded only in laying out some basic exposition for where the show will be headed in the weeks ahead.

And that’s not exactly looking like a “Comeback.”

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Glee – “The Rhodes Not Taken”

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“The Rhodes Not Taken”

September 30th, 2009

I want you to imagine an episode of television programming which features the following: a guest appearance from Kristin Chenoweth, a battle between Kristin Chenoweth and Lea Michele on a song from Cabaret, a duet arrangement of Heart’s “Alone” featuring Kristin Chenoweth, Kristin Chenoweth in full on rodeo mode during a Glee Club performance, and a full cast rendition of a really great Queen song.

And then I want you to imagine me, someone who enjoys every single one of these things, not enjoying the episode at hand. Crazy, no?

Well, unfortunately, that’s how I feel about “The Rhodes Not Taken,” an episode that suffers from a rapid-fire plot development and misplaced emotional emphasis. While I loved Chenoweth’s performance in the episode, and all of the musical elements, it suffered from the fact that every bit of realistic character development was saved for a character who isn’t actually in the show at all. By placing so much of the episode’s impact on the temporary replacement for Rachel as opposed to Rachel herself, her bizarre indecision is never framed as anything close to character development, left to feel like sheer plot contrivance.

It’s an episode that wants to be like “Preggers,” but in perhaps a cruel twist of fate the genius of Kristin Chenoweth only sets them back in the grand scheme of things.

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