alexandraerin: (Default)
...when I was snowed in with my family, the week of Christmas. It's taken me a while to figure out what I think about it. I had heard so many good and bad things about it, and the thing is, they're basically all true. I found myself agreeing with both the show's fans and its detractors.

I've finally decided that the detractors have it right. Where it all really crystalizes for me is in a single line of dialogue in the semi-finale, "Sectionals":

"Because sometimes, being special... sucks."

That's not a bad line, objectively, in isolation. It has the makings of a great line. If the circumstances under which it was uttered were difference, if the characters in the scene were different, it could have been great. But these words of wisdom were directed not at the any of the cast's racial minorities, the student with a disablity, the one with a speech impediment, or the gay student but at the straight, white, able-bodied football hero main character.

What is his special quality that sucks so badly to have?

Leadership.

The writers don't seem to have any idea how to depict this quality other than to suggest that the rest of the Glee Club is totally lost without him. When he's there they can pull it together and win, when he's not they fall apart. In the show's universe, his popularity definitely helped the Glee Club but that's not the same thing as leadership. Being popular and athletic and clean-cut (and ah, demographically advantaged) in high school is often equated with "leadership" by middle-of-the-road educators, but it's not the same thing.

Among the criticisms that have been (accurately) leveled at Glee are the following:

1. Among the students who make up what is in theory an ensemble, they consistently put the least likable ones front and center.
2. The rest of the cast consists largely of a series of "tokens" rather than well-developed characters.
3. They abuse the hell out of autotune and other suchlike exciting bits of auditory jiggery-pokery.

And the thing is, these criticisms are all tied together... and they all tie into why that line of dialogue killed Glee for me.

They cast the least experienced singer as the guy they made into a main character, the selfsame football hero. Because he's the main character in a show that revolves around a show choir, they shine every note he sings to a high polish, and as a result you end up hearing a voice that doesn't begin to match the face you're looking at. It would be less jarring if they brought in another person to record the vocals. They overuse digital trickery in general, but it's worst in his case because his voice needs the most work to bring it up to the "quality" demanded by the premise that he's the best.

If they didn't have the idea that the show needs a storyline about an All American Guy (who must be an athlete, not a "choir geek") and an All American Girl running through the season, they wouldn't need to put this guy and everybody tied up in his plotline (basically, the two straight able-bodied WASP kids and the two straight able-bodied Jewish kids) front and center constantly, they wouldn't have to lean on the quite exciting computer magic in such an egregious and transparent (and not particularly ear-pleasing) fashion... and they wouldn't have this ridiculous moment where the guy who is just now for the first time in his high school career having real Problems complains about how many Problems he has and is told, in all seriousness and without a trace of irony, that he has Problems because "being special sucks".

That line is not the most offensive, questionable, or problematic thing in the show... not as a whole or even that episode in particular*. It just sums up so much of what's wrong with the show, in every sense of the word.




(*The Mercedes vs. Rachel thing from the same episode was pretty egregious, for example. Do we really need TV shows that actively preach the moral "tokens belong in the background"?)
alexandraerin: (Default)
Part 2 of the "Throat-Punching Machine" post will go up this evening, after I've got some other stuff done. In the meantime, I have it in my mind to write about The Corpse Bride, which I finally saw for the first time while I was in Maryland last month. Yes, the first time... I never got to the theater when it was out an then somehow never got around to watching it on home video.

It was... good, I suppose. I feel like its marketing campaign having consisted mostly of "Hey, you liked The Nightmare Before Christmas, right? Of course you did. So you're going to see this." might have done it a disservice, though, because The Corpse Bride is definitely a movie haunted by the specters of what has come before it.

I feel like it could have been a masterpiece... compared to TNBC, it has a darker, more mature storyline and a very neo-Edwardian (where "Edward" refers, of course, to Gorey) sensibility in many ways. But it doesn't have nearly as much... I don't know. There just wasn't as much there there.

The musical aspect just doesn't hold up as well as it did in TNBC. The ensemble song welcoming Victor when he arrives in the underworld was a bit of a stand-out, but it was no "This Is Halloween". None of the other songs really stuck with me that well.. Part of this might be the characters not obviously lending themselves to showstopping numbers... the male lead is not JACK!!! THE PUMP-KIN!! KING! and the villain is certainly not Mr. Oogie Boogie.

That's not to say that it would have been impossible to write some breakout songs for the main characters... a song where the villain reveals his (scarcely concealed from the audience sinister) intentions while singing about the joys of being a scoundrel, a bounder, and a cad ("cad" forming a convenient rhyme with a line like "since I was a lad")... showstoppers just doesn't come quite as naturally when dealing with the muted gray humans of The Corpse Bride compared to the vibrantly gray inhabitants of Halloween Town.

I think under the circumstances... focusing more on the story and casting actors not primarily known for their singing... they might have decided to ditch the musical angle altogether. Although, the leads did of course go on to carry a musical by supplementing their singing abilities with their sheer presence and the stunning visuals arranged around them, so again, it's not impossible that they could have made it work as a musical. They just would have needed to put more oomph into that side of things.

The other problem was that the world of the dead never seemed like a whole world to me... it felt like we were seeing merely an antechamber, but at the same time, there wasn't a tremendous sense of something bigger and vaster and weirder further down the rabbit hole. Considering that this was created and directed by the man who gave us the Waiting Room of the Dead in Beetlejuice, that's disappointing.

It wasn't a bad movie. I'd like to see it again. It will probably always occupy a fond place in my heart because of the circumstances under which I watched it. But I expected "If you thought you liked The Nightmare Before Christmas, you're going to love this." and I got "If you loved The Nightmare Before Christmas, you're going to think you like this."

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alexandraerin

August 2017

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