As usual, the high school bell rings and another episode of Glee is in session. An episode fans have been waiting for since the show's inception, the episode when the gleekers finally go to sectionals. (And everyone finds out everything and then some.)
Gearing up for the Big MOMENTS
Right off the bat, everyone knows something's up when Rachel (Lea Michele) finally catches on to the whole Quinn (Dianna Agron) is really pregnant with Puck's (Mark Salling) baby not Finn's (Cory Monteith). With a cute split screen moment (a la Mean Girls) the gleekers attempt to thwart Rachel figuring out the truth and breaking the news to Finn. Obviously, the club merely wants to protect itself and its unity before the big competition, but what about the truth?
Even more manipulative, yet endearing, is Emma's (Jayma Mays) volunteering to take the kids to sectionals for ousted Will (Matthew Morrison), even though it would make her late for her own wedding. Although unable to attend the competition, Will is still able to create a tender moment, say goodbye, and tell his kids the set list is on them. Sappy yes, but that is what Glee clearly embraces, taking those moments and squeezing them just lovingly too hard. Plot wise, it acts as a great segway into a number clearly designed for former American Idol wannabe Mercedes (Amber Riley) and (former Idol member) Jennifer Hudson homage, as Miss Riley stands in front of Rachel to prove her ability as a soloist. Her 'I'm Not Going' from Dreamgirls not only forces Rachel to recognize Mercedes worth, but acts as the first recognition of Broadway in this episode. Broadway as the root of glee club and the show itself.
Of course, it could only last so long. The most traditional (and stereotypical) storyline on Glee shows its true colors, as Rachel tells Finn of the pregnancy lie, Finn beats Puck up and quits Glee, with Quinn finally taking responsibility. Somehow in this storyline both girls end up being schemers. Like most of the women on Glee there is always an ulterior motive (known to audiences) for their actions. Mercedes, Tina (Jenna Ushkowtiz) and the Cheerios couple are not developed enough to have these moments, but its pretty clear they would if they could. So why does a show, so clearly championing the underdog, make all the women devious? The root to female stardom demands an abandonment of the normal spheres of life. But even the women in those more domestic spheres are unhappy with the men in their lives and attempt to trap them to prove their own worth. But now with these domestic spheres being torn apart, it will be interesting to see if this theme continues.
Sectionals Drama, and the Barbara Rendition
Of course the minute the Glee gang gets to sectionals something is up. Emma right away knows that the set list for her school's club has been leaked as both rival schools sing their exact renditions. (There is an obvious plot error here as since Will gave Sue (Jane Lynch) the set list that means it was already set so the glee kids actually didn't have to do any work without Will, come on!) Knowing this is ultimately Will's responsibility, Will convinces Finn aid his team at sectionals. Of course, as a leader, Finn inspires the team to spend the next hour creating a whole new set list. A set list that prompts Finn to tell Rachel that now it's "all up to you, you wanted the solo, the chance to be a star, so don't screw it up." Rightfully and dramatically, it does come down to Rachel who bangs out a number that she, of course, has been working on since she was four years old. With a band in the background (where and why no one knows), her rendition of Barbara Streisand's 'Don't Rain on my Parade' not only marks her female star narrative, but legitimates her struggle. In a black dress with a deep red sash she is the epitome of Barbara, denouncing others, a normal life (domestic spheres!), and social stigma for the chance to be a star.
The groups next rendition of the Rolling Stones' 'You Can't Always Get What You Want' speaks to the core of the theme of the episode. Paralleled in Will's uncomfortable confrontation with his wife and Emma's damaged wedding day, Glee continues to thread the adult and teenage world together through its themes. And thankfully an adult world that finally reprimands Sue for her behavior and allows Will to breathe a little. Looking on now to regionals, the kids give a nice rendition of Kelly Clarkson's "My Life Would Suck Without You' to Will. Prompting him to finally run and kiss Emma before she has a chance to resign from school.
But What Does It All Mean?
SImilar to Disney's High School Musical, Fox's Glee uses stereotypes in order to attempt to deconstruct them. They both allow the male lead to be an athlete and an artist, a gay student to be as central as anyone else while fostering the female talent without sexualizing her. Both show the rises and the falls of the root to stardom and how both paths are gender defined and difficult to balance with the domestic spheres of life. However, what Glee brings to the table is a much greater consciousness of music, specifically popular music, and how it has and will continue to represent specifics moments in time while truly outliving its moments. In the next section of new episodes, audiences are sure to become more aware of the shows attempt to cultivate music awareness and take on more sparkle for the pro-art education mission. With the upcoming Madonna tribute episode, time will only tell how Glee will sustain itself and break into new territory that will truly allow the show to make its mark.
Nicola Jones - Growing up in New Orleans Nicola never had any inkling at being part of this thing people call the entertainment business. Now, after ...
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