Surfing Geek Life: Why My Relationship Status is “It’s Complicated” with Glee
Back in May 2009, I remember hearing a lot of buzz about the pilot for Glee. At the time I didnt check it out; however, that winter, the person I was dating insisted that I watch it. After watching the pilot, I was already a total Gleek. I was so hooked that we ended up watching it all the way to Sectionals. In retrospect those first thirteen episodes weren’t perfect (Terri’s fake pregnancy and the Acafellas were lame and everyone knows it), but there was something special. Certainly, one of the biggest draws of the show – back then, and now – was the diversity represented in the cast. For a popular series to air on a major television network and portray LGBT characters, persons of color, and individuals with disabilities in a positive light is a pretty significant thing. Indeed, it was Kurt’s early story arc involving father Burt (who knew that Mike O’Malley of Nickelodeon GUTS fame was a great actor?!?) that had the biggest emotional impact, too. It was a show with the right balance of humor (pot brownie bake sale?) and emotional moments (try and tell me you didn’t get weepy when Sue was with her sister in her nursing home). Sectionals wrapped up things up so well that there was no way the second half of Season 1 could have been anything but spectacular.
But it wasn’t. Something changed after that midseason mark. Maybe it was all the tribute episodes (more on that later). Maybe it was the questionable characterization (Tina scaring Principal Figgins into thinking she’s a vampire? Really, Glee?). Aside from the Joss Whedon-directed episode, “Dream On,” the tone and quality of the show felt inconsistent at best. This was the start of a trend that continued on into the second season (which only really picked up towards the end, with the introduction of Santana’s storyline and the heart-wrenching “Funeral”) and even today. I think this has taught me that I can’t take Glee seriously. It’s hard for me to say that I consider it a good show, despite the fact that I watch it religiously and that it often makes me laugh or cry multiple times during the course of a single episode. My problem is this: when Glee gets it right, it’s worthy of an Emmy, but then it could come back the next week (or months later – thanks, Fox) and make you raise an eyebrow at the questionable writing.
The most recent pair of episodes after the winter holidays make for a prime example of this phenomenon. Now, I think that Season 3 has been fairly decent; sure, Blaine has been kind of hogging the spotlight, and characters continue to get neglected (sorry, Rory and Tina – at least it’s not as bad as what happened to Matt Rutherford). However, Santana and Mike’s storylines this season are fantastic. Because of this, I was able to forgive some of the missteps (Trouty Mouth’s random return to New Directions, yet another mashup episode, that whole creepy Shelby/Puck thing, and EVERYTHING involving Quinn). “Extraordinary Merry Christmas” was really cute and quirky and made me hopeful for the rest of the season. I wondered, could Glee actually be getting good again?
“Yes/No” seemed to answer that question with a resounding YES. From the start I could tell it was going to be a great episode – the faithful recreation of “Summer Nights” resonated with my inner Grease fan, and the moment I heard Helen Mirren’s voice as Becky Jackson’s inner monologue, I could not stop laughing. Somehow, writer Brad Falchuk got me to care about two pairings I was indifferent to – Will/Emma and Sam/Mercedes. Becky Jackson’s crush on Artie was not only the right blend of comedy and drama (I love when you see Sue’s occasional soft side, such as her ice cream/Lifetime therapy session for Becky), but it also challenged the audience to think about the prejudices individuals with disabilities face. While I’m still not sure how I feel about Finn’s proposal to Rachel, I shared the heartbreak he felt upon learning the truth behind his father’s death. And speaking of proposals, my heart melted just a little when Will popped the big question to Emma, with a little help from the synchronized swimming team and New Directions.
…then “Michael” happened. Let me start out by saying that I’m definitely a fan of Michael Jackson’s work, and I think the world lost a truly talented musician when he passed away. That said, this episode had a few things working against it:
1. Another tribute episode! Not to echo the sentiments of many, many other Gleeks out there, but this show needs to stop with the tributes. Madonna, Britney, TWO Gaga episodes…I would rather have them do more original songs before another tribute episode (especially if it meant we got another gem like “My Cup”). While the tribute episodes do have their moments – and “Rumours” not only incorporated the titular Fleetwood Mac album into its plot beautifully (Brittana and April Rhodes singing “Songbird” made me shed a tear), but also introduced us to Fondue For Two (why are they not making webisodes of that?!) – they are generally just an excuse to remake music videos. It was cute when Sue Sylvester did “Physical” with Olivia Newton-John, and I did love Artie and Mike as Michael and Janet for the “Scream” video remake, but…come on, Glee. The show’s treatment of “Born This Way” was actually better than Gaga’s video for it. I’d like to see Glee flex their creative muscles instead of showing off like this. We get it, Glee, you have a big budget. Use it to be more creative.
2. This whole Blaine and Sebastian thing – WTF? I don’t dislike Blaine – in fact, I’m quite fond of him – but I will admit that he’s been hogging the spotlight this year. In “Michael” he actually takes a lesser role (Darren Criss is on Broadway right now, so he’ll be missing a few episodes of filming), but…slushie to the face? With rock salt in it? Causing major eye trauma? I really hope that when Ryan Murphy wrote this he was trying to make it outlandish, but it wasn’t really that funny. Of course, Blaine still ends up the center of attention – he got a visit from Finn and Rachel, who sang “Ben” (which is about a rat, from a horror film…so, WTF?) with Kurt to cheer up their injured friend, and the whole revenge plot is largely accelerated by Blaine’s accident – but it also makes me wonder what Sebastian’s deal is. At least Sue Sylvester is usually funny when she’s evil. Sebastian I just don’t get. It’s like suddenly he’s not motivated by trying to steal Blaine, anymore – he’s just a cartoon supervillain. I thought we saw this plotline happen with Jesse St. James.
3. The reasoning for the episode being a Michael Jackson tribute was questionable. The mention of the Cirque du Soliel show sounded really forced, as if they were paid to mention it. I’m more inclined to believe that it’s Ryan Murphy’s lackluster writing that’s at fault. I would have much rather seen Michael come into the plot in a “Heal the World” kind of way, instead of “we are jealous that we didn’t get to sing Michael, and now we are going to show that we understand Michael’s message better than Sebastian.” Come on now. It’s a little insulting to everything Michael stood for.
However, I do have to give props to the two musical highlights of the show – Sam and Mercedes doing a lovely duet of “Human Nature,” and Santana and Sebastian having a singing battle to “Smooth Criminal,” featuring 2Cellos.
Well, I’ve done more than enough Gleeking out for now. Normally I wouldn’t have quite this much to say, but you know, this show makes me have feelings and stuff. Even if one of those feelings is frustration, sometimes. I may criticize the show, but it’s only because it has the potential to be SO MUCH MORE and I want it to be good ALL THE TIME. I have high hopes for tonight’s “The Spanish Teacher,” but that is mainly because the charismatic and sizzling hot Ricky Martin will be a guest star. Check back next time, because I’m sure I’ll have a thing or two to say (but not as much as this time, I promise!)
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