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 “Sadie Hawkins” Episode.

glee sadie hawkins dance

And that is: empowerment! Yay! ’Cause nothing is more empowering than a heteronormative school dance where the women ask the men to be their dates, right?

glee sadie hawkins too young to be bitter club

That’s according to Tina Cohen-Chang, at least, who comes up with the idea for a myriad of reasons: a prelude to the upcoming prom, an excuse to get close to gay crush Blaine, and something for her fellow “Too Young to Be Bitter” club members to get behind in their quest to become, um…, less bitter.

Coach Beiste is all for the dance, because Sadie Hawkins is a metaphor for empowerment, duh, as we’ve already established in the opening paragraph. But it’s not just about socio-sexual empowerment, Beiste says it’s also about gaining the strength to follow your dreams, as she did after her first Sadie Hawkins dance when she decided to follow her passion for football.

glee sadie hawkins lauren zizes

Beiste’s overweight and unconventionally unfeminine student counterpart, Lauren Zizes (who, by the way, hasn’t been seen since the end of season two. Way to go with the continuity, Glee writers), is part of the “Too Young to Be Bitter” club, too, and by the end of the episode has the courage to both ask Joe to dance at Sadie Hawkins and apply for a wrestling scholarship at Harvard. This, along with the other members’ success at the dance, apparently calls for the disbanding of the club because everyone’s empowered now.

But the undercurrent flowing through this episode was Blaine and Sam’s sleuthing regarding the Warblers: Sam seems to think the team is using human growth hormones because of their energetic stage presence, a video of Hunter Carrington allegedly ‘roid raging in a coffee shop, the Warblers’ suddenly larger physical appearance, and the testimony of former Warbler, sunshiney Trent.

Apart from being a suspiciously similar plotline to Pitch Perfect, it just goes to show that “Sadie Hawkins” was about completely superficial lipstick feminism and it was the boys who really saved the day.

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: The Underlying Message in Glee’s “Prom-asaurus” Episode.

 

Three episodes before the end of the season, the issue of Brittany’s class presidency is finally addressed, because she the show seems to have forgotten she was elected earlier in the season. Brittany addresses this herself, when she says she’s been a bit out of the loop this year, and “even stopped speaking” for a period.

In her first prom committee meeting, for which the board has sent Brittany ten prior memos, she fires the team and monopolises the choosing of the theme (she did like the unicorns featured in the diorama for the original Castle in the Sky theme): dinosaurs.

When explaining her choices to New Directions, she compares her presidency to the corrupt nature of the U.S. government, and is determined hers won’t turn out that way. She also imposes a ban on hair gel, sending Blaine into meltdown!

Last year, Kurt was humiliatingly crowned prom queen, a memory he still struggles with in this episode. It seems Glee has learned nothing from the tokenisation of gay people as somehow not being of the gender they identify as, as Brittany is nominated as prom king. Maybe it’s that undercut that had people confused…

Also troublingly, the show pitted the two “disabled” girls, Becky and Quinn, against each other. Becky was sure she’d get a nomination as prom queen, but when Quinn gets one in place of her, Coach Sylvester tells her there’s only room for one “sympathy vote”. Helen Mirren’s voice (shoutout to The Queen) makes another cameo as Becky’s inner monologue, adding to the “difference” between her and the other characters on the show. (That Quinn manages to walk at the prom after months of intense physical therapy widens this gap.)

Becky wonders why no one realises that not all prom queens “have to look the same; they can be different.”

And Glee tries to tie Becky’s concerns up nicely in a bow of equality with Puck crowning her “the anti-prom queen” and the boys of New Directions crooning One Direction’s “What Makes You Beautiful”.

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

Glee Gets Down on Friday at the Prom.

Image via Gleerific News Stop.

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.

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.