TV Buzz: Fox’s Glee Debuts To Okay Ratings And Vocal Fans After Tireless Marketing
By Hunter Stephenson/Sept. 11, 2009 10:10 am EST
Wednesday marked the first time I’ve watched Glee. I became aware of it—and the buzz—when comedian/co-star Jane Lynch (Best in Show) noticeably left the first season of Party Down on Starz due to her commitment. After the switcheroo occurred, I began to hear from friends just how funny and vital Lynch was on Glee, and while her scenes this week fit that description, I feel the cast of Party Down (Martin Starr, Adam Scott) is a hipper, more talented, and uncensored springboard for Lynch’s zingers. But, obviously, PD is a less visible and less profitable program, so the decision was in Lynch’s best interest, for now.
Overall, my sentiments are not dissimilar to those of TV critic Alan Sepinwall. Clearly, this is not a show that is going to appeal to a lot of straight dudes; the flamboyance allowed by the premise (a YouTube-friendly, co-ed high school choir) and the romantic, soapy subplots are poised to receive a “gay” verdict, which is not lost on the show makers. The word “gay” is uttered twice to comedic effect in this ep alone.
I think it says much that after one ep, the TV shows Glee most reminded me of were—to some surprise—Freaks and Geeks (nice production values, school setting, fair character depictions) and—to my never-ending eye roll—countless uber-broad, cornfed talent shows. Per Geeks, I’m not directly comparing them in terms of “classic” and quality; I’m sane. Regarding the latter, it’s novel how the show’s musical numbers, choreographed to be both believable and “fierce,” are placed throughout like crack.
It’s a smart strategy to have the song numbers diced up (and often debated in-show) so as to offer fresh takes on ’00s hits (Kayne West’s “Golddigger”), ‘rents-charming throwbacks (Dionne Warwick’s “I Say a Little Prayer”), and ole’ MTV fuck jams (“Salt-n-Pepa’s “Push It”). The equation makes Glee seem welcomely original for a Big 4 Network, but it also has the potential to become an unwelcome harbinger; the musical numbers work so well as to have lightbulbs going off in the brains of many a TV-exec. And I think that no matter the show’s ratings trajectory, its influence will be felt with numerous copycats. (Not unlike the speculated impact of in-show ads during Jay Leno’s “revolutionary” new show on NBC). Glee’s musical numbers are not as disagreeable as in-shows ads (re: both a throw back to TV of yesteryear), but they serve as colorful intermissions designed to satiate attention spans. And for one-hour programming with commerical breaks, that’s worry for concern.
As far as the show’s characters, I didn’t really buy the guy who’s in a token wheelchair. And I guess, for plotlines involving cheerleaders (nicknamed “Cheerios” here), they weren’t overtly stereotypical or tres vapid. The one decision I felt was a sizable misstep as a first-time viewer was the rushed quasi-infidelity of the choir teacher, Will (actor Matthew Morrison); the ep seemed focused on making him a stand-up if imperfect married dude (as well as an expecting dad), but then he nearly falls into a porno-sex scenario with a fellow teacher and crush. He’s wearing a janitor uniform for chrissakes. Laughable.
