When initially told that there was a television show taking the world of American High School and mashing it with Choral Remixes of contemporary and classic musical numbers I was confused, but secretly optimistic. Being a sucker for Broadway Musicals and cheesy hits of the 90s, I was thrilled that televised musical talent was no longer bound by America's Got Talent and The Disney Channel. It is a big step forward for television, I thought.
I cannot say now that I was totally wrong. They have managed to get hold of some very talented people, who make up a rare mix of acting talent and musical talent, some that I have not seen since Bing Crosby hung up his microphone. The music producers, arrangers and vocal coaches have brought out some of the best moments in this series. Musical numbers and montages that litter the show are sometimes nonsensical, but always a thrill to see and hear. They are certainly responsible for what exceptional quality this show has.
The music, the actors and the staging all entertain me. I quite enjoy these all-too-brief moments of the show.
I cannot say the same for the writers, who, while they try and achieve a sort of self-deprecating charm with their punchy dialogue and predictable plot arcs, fail just short of their goal and leave me in an awkward lurch. Creator Ryan Murphy, also creator of the notorious Nip/Tuck, brings with him Brad Falchuck, sci-fi television writer converted seemingly by Murphy for Nip/Tuck and then later, Glee and newcomer Ian Brennan whose resume boasts little else but this show. This conglomeration makes up the writing staff (also half the co-producers) to whom I point this accusatory claim. My capability to speak along, predict words and indeed pre-recite entire phrases speaks to how little-used their creative impulses are. Plots are trite when they are original, which is not often, because mostly they languish in a traditional formula which has not only been done to death but panders to audience groups that their focus groups determine for them.
The clichéd "almost romance" of central Glee members Rachel Berry (Lea Michele) and Finn Hudson (Cory Monteith), for example, is acted on one side by almost-genuine dialogue of Monteith and on the other by the stilted, awkward and implausible dialogue of Michele, making the chemistry between them feel (rightly) formulaic. Having seen what I have of similarly lack-lustre writing in Nip/Tuck, I can only blame Falchuck and Murphy for this element of the show.
There are times, a few moments per episode usually, that I make a notable exception to this general feeling with the recognition of new blood, no doubt I have developed a "Brennan Sense". Ian Brennan's contributions to the dialogue and plot development are clear, because these are the moments that defy the "inside the box" methods of Murphy and Falchuck.
My example for the present is the superbly accomplished "coming out" of Kurt Hummel played by talented Chris Colfer. American television traditionally uses an opportunity like this to expose a character to more pain and despair by revealing parents that are aggressively against the sexuality of their children. While that tradition is founded in the producers' objection to such reactions, the overwhelming message that is broadcast is that homosexuals are always cast out for being who they are.
Kurt Hummel's open and honest confession of his sexuality to his father is not met with hostility or anger but an insistence that his love does not waver, despite their differing opinions on the subject. Love and acceptance are messages that this scene portrays. It is an ideal reaction, true, but it emphasizes that the greatest torture of the homosexual community is hiding identity, not revealing it.
It is moments like these that excuse my general dislike of the writing. I cannot entirely forgive them, but they get a certain number of props for addressing the truth as well as they do clichés.
For all that, Glee has developed an astounding response from its audience: The term "Gleek" -a less-than charming mash-up of "Glee" and "Geek" and not the pet monkey belonging to the Wonder Twins, has become commonplace. Soundtracks are being produced almost weekly -seemingly to match every episode with an album all its own. The most notorious sign of all that this show has reached horrifying popularity is in the release of the first half-season of the show. Why did they only release a half-season? Because that is all that has been produced!
It seems that in order to market a show that ceases for five months- those five months being the peak-time for most other televised programs- halfway through the first season, you have to get a jump on the game. First by sucking in all the people who aren't patient enough buy an entire season and will instead pay full price for half, and then expanding their impatient audience by having those people show their DVDs to everyone they know.
Very smart, folks. Kill them with anticipation. That's the key to success.
Maybe the hiatus is to circulate more rumours of Joss Whedon co-directing, producing, or writing an episode or two. The truth is yet to be seen, but if that great man does decide to buck up this little-show-that-could, I will applaud them for having taste at last.
The Pictures are Moving! I just talk about them.
