TV: The Underlying Message in Glee’s “Naked” Episode.

glee men of mckinley calendar ryder

glee men of mckinley calendar jake

glee men of mckinley calendar artie

Male body image was the word(s) in Tuesday night’s (excuse the one-day-lateness of this post, as I was all ready to settle down in front of the TV last night to watch “Naked” on Channel Ten, only to discover that Glee has now been demoted to Eleven on Tuesday nights) episode, in which Tina (she’s just a wealth of ideas when it comes to Blaine) suggests New Directions raise money for regionals by producing a “Men of McKinley” calendar.

Being the only non-able bodied man in the group, Artie is understandably perturbed, and defensively asks why the women of McKinley High aren’t being objectified in the calendar, also. Kitty rejoins:

“Girls are the ones that buy stuff. It’s a consumer-driven economy. Those Twilight books are poop on paper and we’ve turned them into a billion dollar industry.”

Yes, ’cause women aren’t capable of deciphering what’s drivel and what’s not. They’re also only capable of being objectified or the objectifiers, never the subjects.

Kitty makes a fair point, though, that hot, shirtless men are more likely to make more money for the club’s regionals fund that sexy schoolgirls. And, let’s face it, we get enough of that already.

None of the Glee men stray from the socially acceptable norm of what’s attractive, so that just leaves wheelchair-bound Artie to take on the body image issues that aren’t exclusively the realm of women, he tells Finn.

Wait a minute: wasn’t there an episode this time two years ago in which Finn was the one with the body hang-ups and Artie espoused words of wisdom for navigating the female gaze as a high school boy? While Finn might have grown up since then and Artie’s still in a wheelchair, it’s just another example of the lack of continuity and explanation in Glee.

At the other end of the spectrum, we have teenage Adonis, Sam, turning into an egomaniac when he receives an überlow SAT score and thinks he has to rely on his looks alone to get by in life.

Meanwhile in New York City, Rachel accepts a role in a student film in which she’ll have to be topless. She decides to do the nude scene, much to the chagrin of Kurt, who says Rachel’ll never be taken seriously as an actress. Supportive boyfriend, Brody, retorts that all the serious actresses have done nude scenes. Nudity=Oscar, as I’m sure Seth MacFarlane would concur

Related: The Underlying Message in Glee’s “Sadie Hawkins” Episode.

The Underlying Message in Glee’s “Rocky Horror Glee Show” Episode.

Elsewhere: Two of the Boob Showings Referenced in Seth MacFarlane’s “We Saw Your Boobs” Song Occurred During Rape Scenes.

Images via Ch131.

TV: The Underlying Message in Glee’s “Makeover” Episode.

With the U.S. presidential election taking place one day before Glee’s “Makeover” episode—in which McKinley High’s class presidential election occurred—aired in Australia, Glee showed that it is capable of some self-awareness and social commentary every now and then.

Shades of Brittany’s bid for last year’s class presidency can be seen, but where that episode dealt more with the feminism of both the 2008 and McKinley’s elections, last night was about the celebrity culture that surrounds voting.

Blaine tries to make this clear when he admonishes Brittany for using her popularity to influence the glee club members to vote for her. “This isn’t a popularity contest; it’s about who’s got the best ideas.” That may be so, but the creators saw fit to milk this angle for all it’s worth with a “Celebrity Skin” by Hole montage.

While Brittany chooses to run with “part-robot” Artie, whom she forgot she dated several seasons ago and broke up with because he called her stupid, as her vice presidential candidate, a category which Sue Sylvester points out has been introduced “for no discernible reason whatsoever”, she suggests Blaine pick Sam as running mate. Sam assures Blaine he’ll bring in the “sympathy” and “not-gay vote[s]” because his family is on food stamps and he’s not gay: kind of like John McCain picked his “granddaughter” (according to Brittany) Sarah Palin as vice presidential candidate in 2008 to seemingly ensure the “female” vote to no avail.

Brittany’s influence on her opposition seemed to work to her disadvantage, as at the end of the episode we see Blaine and Sam (“Blam” as they are collectively called on the congratulations banner) celebrating their victory. Blaine is experiencing some self-doubt and displacement at McKinley when Kurt is more focused on his new intern-career at Vogue.com with guest star Sarah Jessica Parker (who herself is heavily involved in politics and the campaign to get Obama reelected, serendipitously enough) than him, but Sam says being the school’s “first gay-guy president” whose place of birth is brought into question by Brittany is something to be proud of, just like Obama was America’s first black president whose birthplace was also called into question by a fellow “celebrity” perhaps bitter about Obama’s influence in Hollywood: Donald Trump.

Related: The Underlying Message in Glee’s “Asian F” Episode.

Image via AllMyVideos.

TV: Glee—“Props” for the Body-Switching Dream Sequence.

In a rare moment of actual self-awareness (none of this Sue-hiring-racially-diverse-midgets-for-New-Directions-to-perform-with-at-Nationals-in-a-show-of-inclusivity—or something—stuff), Glee dared to put Tina in a dream sequence in which she was Rachel and everyone else had swapped bodies, too.

In the “here’s what you missed on Glee” intro, the narrator (who sounds a lot like Finn, but have we ever really been told who it is?) draws attention to Tina’s status as a “prop” at best, so of course the episode was going to be all about her, like the first episode back after Quinn’s accident and the wedding-that-wasn’t was all about Quinn, and then the character is never to be seen or heard from again. I’m not sure what the show has planned for next season, when Rachel, Finn, Kurt et al. head off to college, but perhaps they were trying to introduce Tina as the main player next year.

Anyway, Tina cracks it after having to sit through one too many of Rachel’s solo tantrums. Afterwards, when she’s shopping for fabric for Rachel’s Nationals costume, Tina slips and falls into a fountain at the mall, hitting her head.

For ten glorious minutes, Glee is transformed into an alternate reality, where Finn is Kurt and Puck is Blaine (here’s the homoerotic moment we’ve all been waiting for!) and so on and so forth. With some spot on performances by Naya Rivera as Santana as Artie and Vanessa Lengies as Sugar as Quinn, I’m actually disappointed that Glee didn’t carry this scene on for the rest of the episode! But then Glee’s never been one for pushing the boundaries…

In other, storyline continuity-related Glee news, Shannon Beiste’s domestic violence arc was tied up when she got the courage from, of all people, Puck, to leave Cooter for good.

What did you think of the body-switching experiment? Yay or nay?

Related: The Underlying Message in Glee’s “Choke” Episode.

Images via Putlocker.

TV: Glee “Michael” Review—Oh My God Can’t Believe What I Saw As I Turned On the TV This Evening.

We’ve come to learn that when Glee devotes a whole episode to a star (Madonna, Britney Spears)—bar the second Lady Gaga episode—they pretty much go the Rock of Ages route: pack as many songs into the episode as they can without giving much thought to the dismal story lines developed in previous episodes.

I thought, in their “Michael” episode, they went the other way: using whichever Michael Jackson songs they had access to that resembled the character’s plotlines to insert into the show. Unfortunately, this meant such dull MJ songs as “I Just Can’t Stop Loving You” and “Ben.”

 

Rachel Berry is included in both of these renditions, and she admits at the beginning of the episode that she’s never really “gotten” what Michael Jackson is all about like the other New Directions’ have.

It seems the Glee writers don’t really “get” him, either (although, do they really “get” anything?), because they would have used songs like “I Want You Back”, when Sam serenades Mercedes, instead of “Human Nature” (which is a stunning song and perhaps the only example of where the writers chose melody over meaning); and when Artie gets all riled up over Blaine’s rock-salt-infused slushie attack at the hands of the Warblers, “They Don’t Really Care About Us” might have been more appropriate than Michael’s duet with sister Janet, “Scream”:

“What do you expect from us; we’re people. I know the rest of the world may not see us like that but when they tease us and throw stuff at us and toss us in dumpsters and tell us that we’re nothing but losers with stupid dreams it freaking hurts. And we’re supposed to turn the other cheek and be the bigger man by telling ourselves that those dreams and how hard we work make us better than them? But it gets pretty damn hard to feel that way when they always get to win.”

 

By far the best performance was the Warblers’ Sebastian and Santana’s Michael-off of “Smooth Criminal”, featuring 2 Cellos, who played at Elton John’s gig and did the same version of the song!

And, for old time’s Michael’s sake, here are the other songs from the episode:

 

 

 

 

 

Related: The Underlying Message in Glee’s “Britney/Brittany” Episode.

The Underlying Message in Glee’s “Born This Way” Episode.

Rock of Ages Review.

My Week in Pictures 8th December 2011.

Images via Put Locker.

TV: The Underlying Message in Glee’s “Yes/No” Episode.

Wow, where do I start? Last night’s episode of Glee focusing on Becky’s newfound interest in Artie and Mr. Shue asking Emma to marry him was one of the most offensive yet.

Let’s begin with Becky: I found it weird that Becky’s internal monologue was spoken in a British accent (Helen Mirren’s to be exact). She claims that it’s her head and she can sound however she wants, but how many “abled” characters have a different voice in their heads and make that justification for it? I though it was singling Becky out because of her disability.

She and Artie go on a date and, at first, Artie feels uncomfortable with it, but begins to get to know and like Becky. It came across as platonic on Artie’s end, but his fellow glee clubbers gave him the third degree about what kind of message he was giving Becky.

They urged him not to lead Becky on or give her the wrong idea, and Artie called them out on their hypocritical ways: “You guys talk a good game” about acceptance, but at the end of the day, they’re just as narrow minded as the rest of McKinley High, which pretty much sums up Glee. They think just because they’ve got black and Asian characters and characters in wheelchairs and with Down’s syndrome and characters who are gay they’re being “inclusive”, but really, they show is just using them as token gestures.

Take Kurt, for example: he hasn’t been the focus of many storylines of late, and the writers seem to just slot him in to the background. In the opening scene, Mercedes and Sam channel Sandy and Danny of Grease, while the rest of the glee club stand around imploring them to “tell me more, tell me more”. Kurt belongs to the girls’ group in this instance while his equally gay boyfriend, Blaine, is hanging with the boys on the bleachers. Furthermore, when Puck, Finn and Blaine act as backup singers to Artie, Will and Mike in their rendition of “Moves Like Jagger”, mashed up with “Jumpin’ Jack Flash”, Kurt is nowhere to be seen. Is it because he’s not sexy or masculine enough? Let’s remember that this isn’t the first time Glee has ostracised Kurt from the gender group he belongs to because of his sexuality. Didn’t Glee get the memo: gender and sexuality are not the same thing.

But back to Becky: when Artie takes into consideration what the rest of New Directions are trying to tell him, he asks Coach Sue, of all people, for advice.

It is revealed that Becky sent Artie a sexy photo and he feels weird about it. Sue asks if he felt the same when Brittany, no doubt, sent him similar pictures of herself. Artie replies no, but those were different circumstances. So even Artie, a man with disabilities himself, thinks someone with Down’s can’t be sexy. Hypocritical, much?

The other storyline driving this episode is Will and Emma’s relationship being taken to the next level in the form of marriage. Emma is so desperate for Will to propose that she fantasises about doing it herself. Funnily enough, Coach Beiste and Sue become her bridesmaids in the dream sequence, wearing Princess Eugenie and Beatrice’s royal wedding hats, respectively. They called Kate Middleton “Waity Katie” and I think that’s what the writers were playing into with Emma’s patient wait for Will to propose.

Will finally decides to propose and asks Finn to be his best man as apparently he has no grown up friends and because he thinks Finn has showed him what it means to be a good man. Pah!

Finn is the whiniest, most cowardly and simpering character on the show! He feels sorry for himself, has an unrealistic idea of what Rachel and women in general should be, is (or has been) embarrassed by Kurt’s sexuality and only stands up for those he loves after the fact. He also thinks that joining the army will fill the void that college football has left and make him more of a man.

To further illustrate Finn’s insecurity, he decides to ask Rachel to marry him because he’s got nothing else going for him!

I was also a bit disturbed by Sam’s inclusion in the synchronised swimming team, called the “Guppies” and lead by bronze Olympic medalist, Roz Washington, who is of African American descent. She also comments that Sam’s “trouty mouth” is one she’s never seen on a white kid. This, in addition to Becky’s dig at the possibility of dating Mike Chang (“I’m no rice queen”), makes “Yes/No” one of the worst episodes of Glee yet.

Related: Glee’s “Sexy” Review.

The Underlying Message in Glee’s “Duets” Episode.

The Underlying Message in Glee’s “The Rocky Horror Glee Show” Episode.

The Underlying Message in Glee’s “Furt” Episode.

Image via The Dam Nation.

Glee—The Right & Wrong of It.

 

In lieu of a new episode of Glee last week, I attended a debate about the pros and cons of McKinley High and its glee club.

I was super excited, because I assumed the debate would entail a for Glee side, and an against. And it did. But while I thought the against side, consisting of Clem Bastow and Jess McGuire, would discuss the blatant sexism, racism, homo/transphobia, ableism, fatism and the many other phobias and -isms the show incorporates (feel free to add them in the comments), both panelists ultimately praised Glee for it’s inclusiveness and handling of the tough issues.

I’ve heard this rationalisation about Glee before. When my tuba-playing gay friend finally got into the show this season and fell hard for it, he thought I would sing its praises with him because he knew I watched it. (Evidently, he does not read this blog as he would know the main reason I like Glee is because I know I’ll always get a blog post out of it!) When I invited him to the debate, he had something else on but wondered what they would be debating, exactly. I referred to the list of problems I have with it (above and elaborated on below) and he replied, “But I thought Glee was about acceptance.” That’s what it wants you to think, and it blinds you to all the other issues with Katy Perry songs. As panelist for the “pro-Glee” side, Mel Campbell, said, “It’s best not to ask questions.”

While McGuire did touch on Glee’s pro-gay stance, and perhaps its best, and most underutilised, storyline of Brittany and Santana’s forbidden love, I was expecting SlutWalk Melbourne organiser and noted feminist Bastow to knock Glee out of the park for its anti-women portrayals. I was also sorely disappointed, as Bastow, a keen musical aficionado, chose to focus on the shows’ butchering of classic musical numbers.

So, I thought I’d take this opportunity to write about the issues I wished the panel had discussed last Thursday night.

Sexism.

I’ve written about feminism in Glee before, specifically as it’s embodied in the character of Rachel Berry. It annoys me to no end that Rachel is deemed “ugly” (though Lea Michele is anything but) because she’s annoying. And she’s annoying because she eschews traditional gender roles that are perhaps embodied by Quinn by being ambitious, voicing her opinions and unapologetically going after what she wants.

In a clip shown at the debate of the inaugural Glee mash-up in which Mr. Shuester separates the girls from the boys, Kurt attempts to join the girls’ side. Since when did being a gay man amount to the equivalent of a straight female?

Finally, I wouldn’t say sexism is the main problem in Mercedes’ perpetual (okay, she seems to have a boyfriend this season, but more on that later) bachelorettehood, rather some other issues I will address later in the piece.

Racism.

Now is as good a time as any to discuss Mercedes’ aforementioned singleness. Was she literally the only character in season two who didn’t have a significant other because she’s black? (Or because she’s fat?) Sure, she dated Sam for all of a few minutes in the season two final, but before that the only action she got was Kurt condescendingly suggesting she should date one of the guys on the football team because he was black and, like, they’d probably have heaps in common.

If that’s not enough proof of Glee’s insensitivity to race, all you need to do it look at any one episode for a myriad of references to Tina and Mike’s “Asianness”, Roy Flanagan’s “Irishness” (or leprechaunnes, as Brittany might refer to it) and Puck and Rachel’s “Jewishness” (though that also falls under religious prejudice as well).

Homophobia & Transphobia.

Sure, Glee’s pretty much a vehicle for Kurt and, increasingly, Blaine, to showcase their voices, fashion sense and flamboyance. McGuire chose to speak at length about how sensitively the show handled Kurt coming out to his dad and Kurt and Blaine’s first time, and I have to agree with her. And yes, seeing two men make gay love (okay, the implication of them making gay love) on primetime network television without a stink being kicked up is pretty groundbreaking, as panelist for Glee and MC, Tim Hunter, noted. But they still single out Kurt for his gayness (“Single Ladies [Put a Ring on It]” and “Le Jazz Hot!”, anyone?), not to mention how Finn went about outing Santana in “Mash Off”.

They’ve handled the Brittany/Santana thing the best out of every relationship in the show, so that’s one point for lesbianism, but at the expense of other sexual orientations and gender identities, perhaps?

Just look at “The Rocky Horror Glee Show”, for example. Not only to Mike’s parents make him pull out because they don’t want him associated with a “tranny” musical, but the show even substitutes the lyrics “I’m just a sweet transvestite from transsexual Transylvania” for “sensational Transylvania”. Pardon me, but I don’t see what all the fuss is about in using the word “transsexual”.

Finally, we can’t forget Coach Beiste. When she debuted on the show, her sexuality and gender was thrown up in the air, when she’s really just an unconventionally attractive, masculine straight woman who happens to coach a men’s football team. But of course attention is drawn to her 40-year-old virgin status every time there’s a virginity-themed episode. Because, you know, she’s old and funny-looking and has never been on a date! Riotous!

Ableism.

Where do I start? There’s Emma’s OCD, which is made fun of by everyone from Gwyneth Paltrow’s Holly Holiday to her own parents (not to mention Will trying to come to her rescue by attempting to “cure” her). Artie’s wheelchair-bound way of life, which was even pointed out during the debate, only for the panelists to laugh at Artie wanting to give Blaine a standing ovation, “because he can’t”, and a whole episode, “Wheels”, insensitively dedicated to his disability.

I will applaud the show for their inclusion of, and remarkable sensitivity to, Down’s syndrome sufferers. But then they go and use undiagnosed Asperger’s syndrome as an excuse for anti-social and selfish behaviour. Cutting off their nose to spite their face…

Fatism.

Puck’s rendition of “Fat Bottomed Girls” was a clip played at the talk, and was received by audible groans. To see Lauren so uncomfortable as Puck serenaded her was awkward for the audience, and the patronisation was palpable. Like, oh Glee has a plus-sized girl who doesn’t hate herself and is being chased by the hottest guy in school; we’ve come so far.

But when Mercedes is relegated to backing vocals in favour of the slim lined Rachel, can’t get a date and suffers from an alleged eating disorder which is swept under the rug with some sage advice and a granola bar from Quinn, it’s all just tokenism.

So there you have it: the debating of the issues I wished had’ve been brought up by the panel. As my friend, housemate and fellow debate-goer put it: “It was just like Glee: it slightly touched on the issues, but ultimately didn’t add anything new to the discourse.” So feel free to add anything I, or the panel, didn’t cover in the comments.

Related: The Underlying Message in Glee’s “Original Song” Episode.

Brown Eyed Girl.

The Underlying Message in Glee’s “Duets” Episode.

The Underlying Message in Glee’s “The Rocky Horror Glee Show” Episode.

Glee: T.G.Inappropriate.F.

Ain’t Nothin’ Gonna Break My Slutty Stride.

Rachel Berry as Feminist.

Is Lea Michele Too Sexy?

In Defence of Rachel Berry.

Boys Will Be Boys, Revisited.

Glee Season 2 Final in Pictures.

The Underlying Message in Glee’s “Asian F” Episode.

The Underlying Message in Glee’s “The First Time” Episode.

Glee: Santana is Forced Out of the Closet.

The (Belated) Underlying Message in Glee’s “Never Been Kissed” Episode.

Glee “Sexy” Review.

Glee Back in Full Force.

Elsewhere: [Bitch Magazine] The Transcontinental Disability Choir: Glee-ful Appropriation.

[Xhibit P] Fat Girls Singing Backup: Body Images in Glee.

[TV.com] Is It Okay to Find Glee’s Plus-Sized Character, Lauren Zizes, Gross?

[Jezebel] Why Won’t Glee Give Mercedes a Boyfriend?

Image via Meg. All Things Me.

TV: The Underlying Message in Glee’s “The First Time” Episode.

 

Blaine, Kurt, and Rachel’s first times were surprisingly tender; taking place in front of the fire after Blaine, Kurt and Rachel had given the performance of their lives in West Side Story, and Finn had realised his college football dreams won’t come true—but not before Glee had effectively prude-shamed Rachel and Blaine.

The idea that an actor can’t truly portray an emotion or a situation unless they’ve felt it or been involved in it flies in the face of the theory of acting. That everyone else involved in West Side Story (except Coach Beiste, who finally gets her man. And is Emma Pillsbury still a virgin…?) has lost it except its two main characters, whose sexual awakening the play focuses on, further emphasises the virgin-shaming going on.

I’d like to point out at this juncture that these kids are 17 YEARS OLD! I have friends who are nearly 23 and 26, respectively, who are virgins—not to mention those who don’t air their sexual history (or lack thereof) as freely—and I don’t think it hampers their ability to do their jobs, enjoy life and make meaningful connections with people. I really resent the fact that not just Glee, but society in general, likens virginity to a handicap. Even handicapped Artie (who insensitively makes a joke about Chaz Bono being stuck inside a woman’s body, and is then subsequently picked on by the college football recruiter, asking if Artie wants a handicapped spot on the team. Been there, done that.) targets Rachel and Blaine for their lack of relatability to their characters. What happened to the days when virginity was a virtue? But, please; let’s not go back there!

Now that Rachel, Kurt and Blaine have lost their virginities in the dream-like way that Hollywood so romanticises, can we please go back to normal? Not everyone experiences their cherry-popping romantically in front of the fire. And the sooner this is drummed into young adults, along with the debunking of the “hopeless romantic” idealism of modern relationships, the better.

Related: Glee: T.G.Inappropriate.F.

The Underlying Message in Glee’s “Asian F” Episode.

The Underlying Message in Glee’s “I Am Unicorn” Episode.

Glee Back in Full Force.

The Underlying Meaning in Glee’s “Never Been Kissed” Episode.

Glee “Sexy” Review.

Elsewhere: [MamaMia] Why Being a Hopeless Romantic is a Crock.

Images via Megavideo.

TV: Glee Gets Down on Friday at the Prom.

 

So Rebecca Black has officially permeated the zeitgeist, with “Friday” being performed by Puck, Artie and Sam at McKinley High’s junior prom on last night’s episode of Glee.

And despite Quinn’s monotonous efforts to be crowned prom queen, along with Finn as her king, she lost out to “queen” Kurt.

Kurt’s date Blaine told Kurt of what happened to him at his last prom (he and another gay friend were set on by the school homophobes and gang bashed) and that he wasn’t 100% comfortable with attending, but he went for Kurt anyway.

Kurt’s dad, Burt, was concerned that Kurt’s “royal wedding-inspired” tux, which he handmade himself, wasn’t appropriate and that Kurt shouldn’t draw any extra attention to himself and Blaine.

Kurt thinks, despite Santana and Karofsky escorting him to and from classes as part of their Bully Whips anti-bullying squad, that McKinley is really coming around to the idea of gay acceptance, because he hasn’t been physically or verbally abused since returning from Dalton Academy.

Hatred builds up inside if we can’t let it out, and it seems that the kids at McKinley let it out sneakily and quietly, by “secret ballot” for prom queen.

But you know Kurt: he sucked it up and went out there in front of the school to tell them… “Kate Middleton, eat your heart out.” Okay, I was expecting something a little more inspirational than that, considering the “gay prom” issue is one that’s rampant in the U.S., and also here, as a recent episode of SBS’s Insight will attest.

But I suppose we have Chris Colfer’s Golden Globes speech to comfort us.

And, as is Glee’s trademark, the controversy was wrapped up nicely into one 42-minute episode and McKinley’s homophobia will live to fight another day.

Until then, let’s get down on “Friday”!

Related: The Underlying Message in Glee’s “Born This Way” Episode.

The Underlying Message in Glee’s “Original Song” Episode.

Gwyneth Paltrow Addresses Tabloid Culture & Her Haters.

Glee “Sexy” Review.

The Underlying Message in Glee’s “Blame it on the Alcohol” Episode.

How to Make a Woman Fall in Love With You, Glee Style.

Glee “Silly Love Songs” Review.

The Underlying Message in Glee’s “Furt” Episode.

The (Belated) Underlying Message in Glee’s “Never Been Kissed” Episode.

The Underlying Message in Glee’s “The Rocky Horror Glee Show” Episode.

The Underlying Message in Glee’s “Duets” Episode.

The Underlying Message in Glee’s “Grilled Cheesus” Episode.

The Underlying Message in Glee’s “Britney/Brittany” Episode.

Elsewhere: [SBS] Gay in School: SBS Insight.

Images via Showbiz Nest, I Am Thea 07, Maurissa Weiner.

TV: Glee “Sexy” Review.

 

Never before have I been so offended by Glee. They’ve gone wrong a lot in the past season and a half: “Duets”, where everyone but the token gay Kurt got to sing with a partner; Mercedes’ eating disorder cured by Quinn giving her a granola bar; and the Justin Bieber episode in general, which I actually liked, but several of my friends voiced their concern over it. But this episode was so ignorant in addressing the theme of sex amongst the New Directions members that it made me want to hurl.

Firstly, Gwyneth Paltrow’s return as Holly Holiday was unnecessary, but obviously they’re going to milk the character for all she’s worth. She was derogatory, snarky and just plain annoying; worlds away from her first appearance on the show.

Holly insults guidance counselor Emma for still being a virgin four months after her marriage to Carl the dentist, when clearly the girl has intimacy and bodily fluids issues, amongst many others. Plus, she’s still in love with Will Shuester, which Holly takes pleasure in rubbing in her face by hooking up with him.

She heads up the celibacy club, which she makes a mockery of, even more so than Santana’s recent membership.

When Emma leads Carl, Puck, Quinn and Rachel in a rendition of “Afternoon Delight”, Holly Gleefully points out that an afternoon delight is a romp in the PM, not a dessert as Emma thinks it is.

She leads the kids in a leather-clad performance of “Do You Wanna Touch Me”, which completely undermines Mr. Shue’s previous efforts to protect the kids from singing songs by such risqué artists as Britney Spears. But, you know, this is Glee, where the storyline takes a back seat to big names and bigger songs.

But the most offensive part of the show was Holly and Will massacring one of my favourite Prince songs, “Kiss”.

The only redeeming quality of the episode was Santana’s heartfelt, yet obviously tormented, declaration of love for Brittany, who turned her down in favour of Artie.

Related: The Underlying Message in Glee’s “Blame it on the Alcohol” Episode.

How to Make a Woman Fall in Love With You, Glee Style.

Glee “Silly Love Songs” Review.

The Underlying Message in Glee’s “Furt” Episode.

The (Belated) Underlying Message in Glee’s “Never Been Kissed” Episode.

The Underlying Message in Glee’s “The Rocky Horror Glee Show” Episode.

The Underlying Message in Glee’s “Duets” Episode.

The Underlying Message in Glee’s “Grilled Cheesus” Episode.

The Underlying Message in Glee’s “Britney/Brittany” Episode.

Images via YouTube.

TV: Glee “Silly Love Songs” Review.

 

Last night’s episode of Glee had some semblance of a storyline, unlike most of its companion episodes this year.

Santana was ousted by the glee club as a bitch, Puck serenaded Lauren, who refused to be wooed by his misogynistic rendition of  “Fat Bottomed Girls”, and Finn attempted to court Quinn at his Valentine’s Day kissing booth.

By far the best song of the night was Artie and Mike’s collaboration on Michael Jackson’s “P.Y.T.”, which I have taken the liberty of embedding below.

Another key story arc was Kurt’s continued infatuation with Blaine, who serenades another man with Robin Thicke’s “When I Get You Alone” (again, below), another standout. Not to worry; although Blaine is rebuffed by his love interest, and Kurt confesses his feelings for his, the two are back being besties before the night’s through.

Don’t you just love how life on Glee comes packaged up nicely with a pretty ribbon on top after forty minutes…?

Related: The Underlying Message in Glee‘s “Furt” Episode.

The (Belated) Underlying Message in Glee’s “Never Been Kissed” Episode.

The Underlying Message in Glee’s “The Rocky Horror Glee Show” Episode.

The Underlying Message in Glee’s “Duets” Episode.

The Underlying Message in Glee’s “Grilled Cheesus” Episode.

The Underlying Message in Glee’s “Britney/Brittany” Episode.

Images via Shulman Says, Soul88, TV Hamster.