Glum

No time in recent memory have I seen a network push a television show as forcefully as Fox is pushing Glee, a story about a group of high school outcasts who band together to start the little show choir that could.  Ever since last spring, when the pilot debuted after the finale of American Idol (another huge sign that Fox is investing in its success), there have been countless billboards looming over subway entrances in which characters holds out their hands, making an “L” for loser hand gesture that creates the “L” in the show’s title.  Not to mention commercials all summer long on each of the major networks.  If market saturation was the goal, its success was evident; within days of the show’s spring premiere, its first “single,” a version of Journey’s “Don’t Stop Believing” that closed the pilot episode, shot to #1 on iTunes and the show seemed on its way to being the first critical hit of the fall television season. 

Then it had its fall premiere.  After watching two more episodes Ryan Murphy’s creation, it has become evident that the writers and producers are pushing as hard as the marketers.  And much like the basement theater productions I did as a child, their seems to be such a focus on marketing the show that the elements that will ensure prolonged success—like decent writing, for instance—have been all but overlooked. 

Now, from the abundance of Twitter and Facebook updates I can already tell you I’m in the minority.  People love this show.  And it’s hard not to when theater regulars like Spring Awakening’s Lea Michelle and Hairspray’s Matthew Morrison have the opportunity to grace us with their vocal prowess in lavish production numbers week after week.  But these renditions of pop tunes from the likes of Rihanna and Salt-N-Pepa only provide momentary spark before the viewer is confronted with scenes that not only find the actors directed like they are all starring in different shows, but have them spewing one-liners not grounded in any reality. 

Herein lies the key problem of the show: the only thing consistent is its inconsistency.  One moment you have the incomparable Jane Lynch, who plays a cheerleading coach hellbent on disbanding the Glee club—which, by the way, is pretty much the main plot point of the show—delivering dialogue with such dry humor that she seems like a lost character from Arrested Development.  Then you have flashbacks that aim to also be like that much superior show, but fail because they come so far out of left field that the leave you scratching your head instead of keeling over from unexpected laughter.  Is it supposed to be funny?  Serious?  Both?  Films like Election proved you could master that balance, but this show often seems confused about where the jokes, and the plot lines, are.   

Which leaves the focus mainly on characters that are hand crafted from the Juno dictionary of quirkiness.  One student has gay dads (which led to one of Lynch’s best lines: “Gay parents encourage rebellion.  There have been studies on this.”).  Another wants to have sex with his friends’ mothers.  Morrison’s character, the leader of the Glee club, has a shrewish wife, played by the miscast Jessalyn Gilsig, who’s faking a pregnancy and acting her way through scenes like she’s playing to the back of a stadium-sized theater.  At the end of each episode I find myself apathetic about the journey of everyone involved.  Perhaps this has to do with the show testing out different characters at this early stage to see who the focus will be on as the season progresses; but by focusing on so many people (secondary characters are introduced with Simpsons-like frequency, only we’re in Season One, not Season Twenty…best to keep the focus on a core group for now) the audience isn’t allowed to focus on anyone.  One student’s recent coming out should have packed an emotional wallop but I found myself focused more on his military jacket than the words coming out of his mouth. 

Perhaps most infuriating of all are the musical numbers.  Taken individually they are nothing short of thrilling, albeit over-produced, music videos often laced with precise, musical choreography.  The production values are incredibly clear.  What’s not clear is what reality these numbers are taking place in.  Some are presented as performances or rehearsals the Glee club is doing, and it is these performance-based numbers that make sense in the context of the world the writers have attempted to create.  But just as quickly you get a number like “Take a Bow” or last week’s “Bust Your Windows” in which the editing makes it look like the number is being performed both as a performance and then at times a narrative-driven musical theater number where the characters walk down the school hallways or hang out in the parking lot singing with a full chorus of dancers.  It is moments like this I wish the creators would opt to make Glee a network version of Moulin Rouge! where pop songs were used as narrative devices for characters.  Instead we are getting middle of the road.   

Now one can hope it will become better.  In an age where we’re as used to watching TV on DVD as we are to watching TV on TV, we have the luxury of breezing through a show’s often-inconsistent first episodes to get to the meatier story lines.  I want to be connected to this show.  If there’s ever a show I should love, it’s Glee, which plays into the theater geek that my childhood drawing of Bernadette Peters proves me to be.  But if it continues be a show that preaches fierce individualism while using stock characters who seem to exist for the purpose of iTunes sales and trendy advertisements it’s going to have a hard time sustaining my interest.  Come on, Glee!  Make me happy.  

What do you think, Ranters?!  Do you love Glee?

Comments

[Kevin Ireland]

I really wanted to like this show as well, but I think you're being too kind. Glee is reinforcing every negative stereotype about music lovers they can uncover. Clearly we're all losers, nelly fags, or gay stalkers. Maybe the original premise was that a bunch of misfits got together to do something new and different by joining Glee Club, but the... Read More writers are repeatedly reinforcing that the misfits are losers BECAUSE they like music and want to sing. The songs are horribly overproduced with terrible use of autotune and bad lipsynching. Three strikes; they're out.

[Marissa]

Agreed. I WANTED to like it so much, but I just cant. The splattering of a few amateur pop-video numbers cannot mask the ridiculous stereotypes and horrid acting.

[kate]

I always admire people who can view television critically and deconstruct it, but I'm not so good at it (except Buffy the Vampire Slayer - I can sink critical teeth into that). Which is my way of saying that I actually really like Glee. Maybe it's just because I think the teacher is cute.

[Sarah]

I'm still waiting til the fifth or sixth episode to decide whether it's gone completely downhill or not. I think it's symptomatic of extreme publicity and buildup and not enough long-term-thinking from the creatives and the writers. They couldn't have known that the pilot would have been received as well as it was or promoted-to-death by Fox, so perhaps they weren't prepared for getting picked up. I'll give them a couple more episodes to find their footing.

[susan]

Loved the pilot and the first episode. The second episode not so much. Too many secondary characters, too many plot-lines and too many instances of leads behaving out of character.
They beat us over the head with how comfortable the gay kid is in his over the top stereotypical gayness and then he tells us he's never told anyone he's gay? Huh?
The brutish footballer who thinks singing is for losers now wants to sing because it will impress the cougers?
The teacher who makes it clear in the first two episodes how important to him it is to mentor these Glee kids now finds he has no time for them due to Accafellas? (Although their version of Poison was admittedly awesome.)
Hopefully this inconsistency was just a blip on the radar and the show will get back on track.

[Sharon]

I loved the pilot so much, and I've been disappointed more with each following episode. I'm okay with the oddly placed full-blown musical numbers, whatever. But when they're supposed to be performing live, it sounds like a studio production. When the cheerleader and her two friends auditioned, I heard 3 backup singers on the track and saw 2 on the screen. They're overly produced and it's infuriating.
I'm mostly watching it now for Jane Lynch and to see Will dump his wife.

[Joanna]

OK, did you see last night's episode with heavy use of beyonce's Single Ladies? and the end, which made me cry? seriously, give it a look. You still may not like it, but it's reaching for somethinig.

[m@]

Yeah, only just now getting to this post but I would have agreed with you when you wrote this. I WANTED it to be awesome, but, like you, it hadn't decided what it wanted to be. I think they've finally found their groove in the last two episodes. Would love to hear what you think.

m@