May 17th, 2011
“I’m Lima good. Not New York City good.”
Last season, we didn’t get a “real” penultimate episode: “Funk” was moved into the penultimate spot arbitrarily when FOX wanted to move the Lady Gaga-enhanced “Theatricality,” which created a whole issue in regards to plot continuity.
This time around, “Funeral” was meant as the penultimate episode all along, and I’ve got to be honest: this just doesn’t work. I actually understand the logic here, as Ryan Murphy takes us back to the pilot by staging a new set of auditions and returning us to the hopes and dreams of Will Schuester. I actually really like parts of this, and the idea of Nationals unearthing some of the initial divisions of talent within the Glee club is actually sort of logical – the line above really gets to the heart of the hopelessness that drives the show’s small town aesthetic, and I really like when the show revisits that idea.
But the way Murphy goes about it only highlights how heading in this old direction undercuts all of the other directions that have been built into this season. As a standalone piece, “Funeral” is a fine showcase for Jane Lynch’s ability to depict the emotional turmoil that makes the character the way she is, and a fine musical showcase for a variety of members of the show’s cast. But as an actual penultimate episode as part of the show’s second season, it takes too long to find the story threads it needed to find to feel connected to that which came before, even if it connects nicely into what comes after (which remains an inherent possibility).
September 28th, 2010
A week after opening with an unquestionably meta opening, Ryan Murphy did not stray far from that example with “Britney/Brittany”: in the opening scenes, Will expresses how he wants New Directions to know when to show restraint, while Kurt and many other students express their desire to branch out into something more exciting, youthful. It picks up directly where last week’s opening left off, questioning the song choices the series makes, which I’d argue is an interesting question that this season does need to respond to.
Of course, how much you enjoy “Britney/Brittany” depends on both its framework (which has some issues in terms of balancing fantasy and reality) and how Britney Spears’ presence plays out throughout the course of the episode. As someone who admittedly enjoys Spears’ music on the level of cheesy pop fare, I thought choosing Britney was not in and of itself a mistake; however, the show was let down considerably by the way in which her music and its legacy were received by those both within and outside of New Directions.
While musically satisfying, at least for me personally, “Britney/Brittany” suffered from an inelegance which is likely to cause any future themed episodes to raise even more red flags than this hour.
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.
November 18th, 2009
If you were to go back to the pilot, you would believe that Rachel Berry was the heart and soul of Glee. At that point, she was the person who most believed in Glee club, who saw it as the only place where she wasn’t the subject of ridicule and where she could express herself in the way she most desired.
But since that point, Rachel has become almost heartless. She turned her back on Glee club to join Sandy Ryerson’s musical, and she’s generally judgmental and frustrating before she’s caring or supportive. And yet, because Rachel is the strongest soloist (only Mercedes) on Glee, she’s remained at the centre of storylines and the club itself even while she seems convinced it’s actually holding her back from something better. It’s created a scenario where Rachel isn’t actually likeable, which is somewhat problematic if she’s supposed to be our heroine.
“Ballad” is a continuation of this theme, as a Glee Club exercise has everyone singing emotional ballads that bring out their deepest insecurities (in pretty uniformly effective ways) while Rachel is stuck in a “Hot for Teacher” scenario that never successfully bridges the comic and the dramatic (tears aside). I’m all for the show integrating more comedy than last week’s more emotional episode, and parts of this week’s entry nicely balance the two even with a lot of musical numbers involved, but Rachel’s storyline is effectively emotion-free, something that’s going to grow more and more problematic as we move forward.
October 14th, 2009
“An environment of constant irrational terror”
Andy Dehnart (who can be found on Twitter at RealityBlurred) posted a piece of commentary at MSNBC yesterday that, earlier today, exploded into a lively twitter discussion amongst critics. His argument is that the show relies on stereotypes when it could be developing character, and that it needs to eliminate some of its more one-dimensional characters (like Sandy) and provide more depth to its central Glee club members. What’s interesting is that I don’t think there’s anyone who is going to argue with this point, especially if we apply it to Terri and her fake pregnancy. The strangest thing about Glee, from critics’ perspectives, is that most people tend to agree that it has its share of problems, especially when it comes to the adult characters on the show. The difference comes in how people rationalize those criticisms and weigh them with the show’s undeniable charm, and its quick-witted one-liners that most people tend to enjoy.
“Throwdown” is yet another dividing point, an episode that highlights the show’s best character (Jane Lynch’s Sue Sylvester) and as a result features a lot of great one-liners and some solid musical numbers. However, as someone who tends to lean more critically on the show than others, it’s an episode that shows you that Dehnart’s complaints aren’t the show’s only problem. Yes, its adult characters are one-dimensional, but the show’s plotting is just as problematic: storylines seem to happen to characters as opposed to because of characters, and the result is that the Glee club itself is trapped in the middle of wars and plots (the environment of constant irrational terror, in other words) that may be entertaining in the short term but are doing nothing to foster long term development.
Linda Holmes from NPR made the note that it’s impossible for Glee to hit the mark every week, as the mark is tiny and specific. I’d argue that the show is hitting that mark enough to keep me watching, but I’d also argue that it is more consistently missing it where it counts (narrative, character development) than where it’s most popular (the musical numbers, the one-liners). And while that’s a pattern for cult success, it’s not a pattern for dramatic or comic fulfillment.