Three months ago, I asked where Glee (Tuesdays, 8:00 ET, Fox, DISH 76) where it thought it was going. Would it be a scalpel-edged avenger, a cultural fireworks display of irony, making itself a classic worthy of standing next to the likes of WKRP in Cincinnati– or would it insist upon becoming a squishy, self-indulgent mess?
Image from Fox
Due to the fact that next week’s episode consists not only of not only Britney Spears songs, but an appearance by Spears herself, we have our answer. Glee is now its own personal Saved By the Bell with Autotune, one with a cultural shelf life that won’t extend past the August yogurt in my fridge, and that is a shame.
It’s a shame because its potential has been so criminally wasted. The waste was on full display in the premiere episode of Season 2, which swung madly between bad, bad, horribly bad moments and glimmers of what could be a truly smart program relevant to a number of generations.
But just when it seems to grasp its own power, Glee does something like slap its audience with an After-School Special of Acts II and III, deviating from sendup deliciousness to “Really? The only storylines this wheelchair-sitting-in character are related to being in a wheelchair?” and “Really? We’re fixing all racism for all time, now?” Producers have mentioned that they’d like to focus on “the performance,” and yep, that’s where Glee tends to begin and end– AutoTuneWorld, via YouTube Station.
In the realm of the Bad, Bad, Horribly Bad, Glee continues its utter lack of self-awareness where rapping is concerned. It is apparently of the opinion that the big players of the genre still actually fold their hands and huddle down, and it thinks that this is the way to express “the biggest song of the year.” Rapping should only be done by certain people, and that is people with the skills to make a living solely on rapping. That definition does not apply to anyone in this cast. Artie, stop rapping. You too, Shue. You too, Finn. Actually… you too, Entire Show.
I have other questions:
Why attempt to attract new recruits with a “really cool song” and then dress your students in neon and puffy hats as an enormous Poindexter-era stereo blasts in the background?
Why is Principal Figgins only cutting the Glee Club’s and the cheerleaders’ budgets if there’s also a Gardening Club also hanging around? Why are they retreading Season 1 when the writers have a three-year contract? Where is Finn living? Why are the cheerleaders bothering to stick around New Directions if it’s popularity poison? Why am I even trying to wrap my head around this?
Why utterly dump the concept of character and plot continuity when the Internet and DVD’s now exist? The Golden Girls, for example, could get away with this. The characters could constantly change number of children, backgrounds, and educational accomplishments–and they did– because the concept of entire-series releases and obsessive wikis was never even considered. The writers thought episode-to-episode, maybe season-to-season… and it showed once it was hauled up to Internet standards. A 2010 program with a viewership the likes of Glee’s can’t dodge the continuity bullet without heinously insulting and frustrating its fans.
It’s all very… well, it’s best stated by Sue Sylvester, who mercifully ended an electronically modulated “Telephone” duet by stomping into the girl’s bathroom and screaming “SHUT UP!” It’s nice when a show delivers its own review.
My head hurts. I’m crabby. We’ll talk about The Decent tomorrow.
Edited to add: Behold The Decent
