In some cases, this just makes the show look dumb: the jocks were one-dimensional to the point of embarrassment, responding to the Gaga costumes and Kurt’s homosexuality only because the story asked them to do so. What I am not able to deal with is the degree to which the show is glossing over some pretty complicated situations in its quest for those after-school special moments. Episodes of Glee are never really going to make much sense, and so long as the idiotic behaviour remains contained to the school’s bureaucracy I’m willing to turn a blind eye.
From a musical perspective, this was a good episode of Glee, and you might argue that this makes everything else worth it.Īnd in some cases, I’m right there with you: I think it’s ridiculous that Tina would be singled out for being goth (especially the whole vampire runner, which was just insulting to my intelligence), but I’m used to the show dropping some anvils into the works to get to its central premise so I’m over it so long as the setup ends up with something enjoyable.
Glee shout it out loud plus#
Let’s get it out of the way: “Bad Romance” was a lot of fun, the arrangement on “Poker Face” worked really well for Michele and Menzel’s voices, “Shout it Out Loud” was enjoyable, and the little “Beth” runner for Puck and Quinn doesn’t really make any sense but was so contained within this episode that its only real fault was linearity plus I appreciate more from Mark Salling. It results in a combination of stories that are fine until you actually think about them (something the show unfortunately rarely bothers to do once it’s reached its powerful statement on morality or the strength of individuality) and some which never come close to being emotionally effective because there’s not an ounce of realistic human behaviour.Īnd no amount of “Theatricality” can keep me from feeling like the show is ignoring some pretty glaring concerns within its so-called morality. Other storylines, meanwhile, suffer because they do have nuance and yet often step too far into the emotional for that nuance to emerge in a satisfying fashion. The show has only gotten away with its choice to confront issues of difference through some strong performances, and in “Theatricality” the eponymous quality results in a ludicrously overplayed storyline about the battle between jocks and the Glee club which has absolutely zero nuance. In others, however, I wonder if the show’s format is actually capable of providing a grounded take on those issues without exaggerating them into something completely different.
In some cases, especially musically, I want this show to push certain boundaries and break down misconceptions about genres of music or the role that music can play in our lives. I think he’s concerned that if he limits the show in terms of the stereotypes it can fight or the type of music it can do, he will be “giving in” to the same types of negative forces that the show’s messaging speaks against. Glee is a show that needs to know the limitations of its own premise, something that I don’t know if Ryan Murphy is all that interested in.
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