The plotline with the paralyzed ex-football player was just uncomfortable and exploitative, and by trying to fit him into the Glee format TPG created a giant, awkward, and offensive intrusion on an otherwise touching episode. They tried to make the narrative go too far, too heartfelt, and well, just too weird. They betrayed the old school version of the genre and went very special episode. While they had been using musical integration beautifully to project inner turmoil and relational conflict to a level perhaps heretofore unaccomplished on the show, they went one step too far. (Equaling that extremely touching moment was Kurt asking Brittany, “what do boys’ lips taste like?”) The following moments between father and son were heartbreaking, heartwarming, and all around fabulous. It felt very old school, when someone’s true feelings come through in the solo and a love interest happens upon the scene.
Mellencamp) and the lurky way his father appeared.
I particularly liked the latter number (no offense, Mr. Kurt’s bookended solos-“Pink Houses” and “Rose’s (Kurt’s) Turn”-provided painfully poignant moments for a guy who has surely had some narrative high points, but doesn’t generally develop very far within the narrative. (It was a little bit Dreamgirls.) Mercedes spontaneously joining Puck in “The Lady is a Tramp” was a touch of integrated perfection. Mercedes and Santana’s duet of “The Boy is Mine” melded a fierce narrative moment with classroom performance and then allowed the action to ultimately transcend the bounds of the song as the girls continued their catfight. Secondary players took center and deftly blended musical integration and glee club performances. (And, come on, it’s “Jessie’s Girl.” It made my day at least 5% better by its mere inclusion.) The episode did an amazing job of using the duet (until they ruined it). “Jessie’s Girl” provided a fabulous mix of show-number and personal development soliloquy. It looked as if the episode was really embracing the traditions of the genre. They came ever so close to doing what musicals do well. This week they almost scored with the same tactic. “Run, Joey, Run” and “Total Eclipse of the Heart” projected the show’s burgeoning love triangle through what it does best-dazzling video-esque numbers.
The musical-old school, at least-is not known for its riveting narrative development, but instead lets the music do its talking. Say it ain’t so! Anyway, to me it seems as if they’re amid a generic struggle. It looked like they might be able to pull it off, but then it became Glee meets Friday Night Lights. After last week’s most excellent narrative-filled musical numbers, my hopes were high that they could maintain momentum this week. I feel like the “powers that Glee” (PTG) are really trying to combat complaints of minimal plot development. (2) “Enjoy it while you can, Weezie” wins for best (yet still offensive) line of the episode if not the season. Perhaps we’re simply supposed to accept that just as their voices sound better than they would in real life, the performance costumes make them all look like bigger, better, and sexier versions of themselves. (1) I’m taken aback by how good Lea Michele looks in denim and perhaps annoyed by how good Rachel looks in her glee costumes, while looking so doofy in her own clothes.
I’ll just get this out of the way from the get-go.
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