Glee - Page 3

speaking of which the lack of Emma certainly did not help the last episode.

Joss Whedon is going to direct an episode of Glee:

http://ausiellofiles.ew.com/2009/10/...don-to-direct/

Joss Whedon:

Maybe my ears malfunctioned for a sec but I swear I heard Will say "Nigga" at the beginning of Thong Song. Please tell me I heard that. Please?

Not sure about that. Should have been paying more attention. I really kinda hope he did.

That said, I wasn't diggin' this episode at first but "We're a couple of good lookin' Jews" followed by Neil Diamond (who I love with a complete lack of irony) was sheer excellence.

Dammit, I believe my ears were wrong. I think he said "This thing right here," not "Nigga," which would have been spectacular.

Didn't know Puck was Jewish, but now that I do...awesome. Loved the Neil Diamond number.

I've getting more used to the mercurial nature of this show. It's still a bit frustrating, but there are way too many hilarious/entertaining moments to make me dislike it.

The Glee Club kids are social pariahs again, and while I suppose they've been that the whole time, it's been put too much on the back burner. While it felt a bit sudden/extreme tonight, I hope they'll keep this animosity going as it's brought the kids together nicely in the face of Slushie Armageddon. Gotta say, though, it must suck to be the janitor at this school.

Loved Emma singing and dancing in her dress, but that's simply a sign of my love for that ginger pygmy with eyes like a bush baby, to quote Sue Sylvester. Who, by the way, can rock a zoot suit like nobody's business.

This was my favorite ep by far. Will bustin' a move*, more screen time for Puckerman (he is way hotter than Fin), no annoying wife, and Emma & Will's flirting on overdrive = great TV. I'm a little disappointed they had to pin Sue's bitchiness on not getting laid. Way to set back the feminist movement for a whole generation of kids watching.

* I loved the close up of the Kid & Play move, one of my favorite 80's dances.

Also, was Puck wearing a velcro mohawk or a yarmulke when Rachel was cleaning the slushee off is face?

I thought he just put a yarmulke on at the end.

I must have looked away or something, because it looked to thick to be a yarmulke. But figured that's what it had to be.

Yeah, I'm starting to think that the mercurial (perfect word, Stamos) nature of the show is more intended than I at first though. And even if it isn't, the quality and consistency of the dialogue is enough for me to forgive it.

I love Sue Sylvester, I'm not afraid to say it...again.

WTF was up with Will busting out all those dance moves. And no double to boot! Props.

Last night was the first time I caught this. Are the characters supposed to be singing the songs? Or are they just lip syncing? I mean, I know they are lip syncing, but in their world, are they actually just busting out in song? Or do they carry a boombox everywhere and then pretend to put on a show?

It's a musical. They sing their feelings and then resume with whatever they happened to be doing. They aren't performing for anyone, except for when they are actually in a singing competition (they are currently preparing for sectionals).

I still contend that this show would be massively improved if the practice sessions and performances sounded truer to life with only the heightened musical stuff decked out with the big production. Even a quick resolution to the fake pregnancy storyline is secondary, as I see it.

I'm a week behind, but for the first time in a number of episodes, the kids broke out into spontaneous song (it was during the point when the club had been racially divided and the kids covertly got together), and there was no autotuning, no noticeable instrumentation other than what was visible in the room. It sounded great, like a bunch of kids enjoying themselves! Then the next song was a lifeless, overblown version of "You Keep Me Hangin' On."

I'm not sure why everyone's so convinced that for the songs to sound good, they need all of the bullshit production and absurd vocal effects. Why even bother to cast Broadway talent if you're going to bleed all of the personality out of their voices?

I was pleased to catch a glimpse of the horn section at the end of the "Bust A Move" number this week. They really really really need to junk the Auto-Tune though (It can't be said enough).

But yeah, it's a musical reality. Sort of the same thing going on in martial-arts movies where every street thug knows kung-fu.

I think they are raking in some serious cash from the iTunes downloads. "Don't Stop Believin'" was a pretty big hit for them. The more professional-sounding numbers they have on the show, the more people will want to download them later. I'm sure there are creative reasons behind this too; but you can't ignore the commercial aspect of it.

Yeah, that's the Nelly song I mentioned above. I had agreed with you before, but seeing this in conjunction with the overproduced songs just made your point really hit home. It's bizarre though that they did it just for one song.

Heh, my roommate and I agree.

I don't think I realized how much the fake pregnancy storyline drags down the show until now. Not a glimpse of the wife all episode and it was all the better for it.

And I loved Sue's kitty cat threat.

They really needa miscarriage for Quinn fast to end the storyline.

I don't entirely hate the pregnancy/fake pregnancy storyline-- it's just that it appears to be a season-long arc while everything else on the show moves so much faster.

The first episode where everything felt part of a whole, the whole Puck and Rachel thing showed that they could bounce between outlandish and serious.

Also I my crush on Mathew Morrison just got a lot bigger.

This episode makes up for the last two. Wow, Matthew Morrison can move.

Still, it's weird how the show stretches out boring/inane storylines like the love triangle/square and the fake pregnancy, but genuinely intriguing surprises like the prospect of a sudden Puck/Rachel romance get resolved in the space of a single episode.

Yeah I was pretty shocked to see no dance double for Morrison... dude killed it.

The fact that the Puck/Rachel thing didn't seem forced or weird was very, very good.

Holy shit, the kitten line.

ETA: While I think it's a somewhat valid complaint, it's probably time for people to get over the over-produced-ness of the songs (see also http://www.eonline.com/uberblog/b150...usic_aint.html). They're 8 eps in and at this point I highly doubt there's going to be a drastic shift in how the musical numbers are presented.
I was in the backing band for the "show choir" (aka glee club) in high school so yes I know that if Glee was reality their team would win sectionals/states/nationals with ease, but it's not.
But who knows maybe there's a happy medium to be found.

It takes 9 months to have a kid and that's an entire school year... We're looking at a season finale \ summer hiatus birth. I'm sure that will be the cliffhanger.

No, they wouldn't. They'd get tossed out for using pre-recorded vocal tracks with gobs of autotune on them, because no one really sounds like that.

I don't think there even needs to be that drastic a shift, because the show hinted at it with the Nelly song. Make the practices scaled-back and semi-realistic-sounding. Keep the internal monologue songs big with backing strings, etc., but drop the godawful autotune (not just because it homogenizes the voices, but because it's utterly unnecessary and practically dates the sound before it hits the air), and put the stage productions somewhere in the middle. This isn't so hard.

As for the commercial potential, have we really been fooled into believing that "professional-sounding" = "slather autotune over everything"? Some of these people are professional Broadway singers - I'm pretty sure the iTunes downloads wouldn't suffer (and just might improve) with a little less gloss.

... that was my point.

Also, the only singer who's noticably autotuned is Finn. Which is a problem since he's a lead, but the rest are mostly just drenched in reverb and shit.

I signed the petition.

Seriously? I hear pitch-correction on just about every song, and most of them also have intentionally noticeable autotune flourishes (see the Rachel-sung beginning to "No Air" mentioned in the article you linked to, which also had a thoroughly unnecessary and distracting delay effect).

Obvious autotune aside, the voices virtually never seem like they're coming from the appropriate singer due to all of the sweetening. This is a problem I'd expect in TV or movie musicals with non-singers cast as leads; why is it happening with a cast partially composed of professional singers?

My guess is that if some had autotuned voices and some didn't, it would be noticeable to the point of distraction (especially within a single song). i'm not a fan of it, either (especially given the fact that Lea Michele can tear it up without the crutch), but it think it comes down to balance.

I was fine with "No Air" because the singers were established as singing into mikes and the reverb was acceptable as an artistic choice.

My darling Jayma was definitely processed on "I Could Have Danced All Night", and it wasn't entirely a fantasy number.

Has there been any doubling on the show? Curious now to see who else can really jump around.

This is a really good point, especially when applied to Lea and Cory Montieth... he might sound terribly out of place compared to her amazing pipes.

I guess we can hope that as the show goes on, the non-singers in the cast get better?

ETA: Hammerhead: I'm not sure but afaik no doubles. The asian football player is apparently a dancer (as are probably the 2 cheerios and other footballer that joined)

I was thumbing through a copy of Rolling Stone, what in the fuck is with the mean as shit review of the show? Je-sus.

I agree with The Onion AV Club that the show is being pulled in 3 different directions by the 3 writers. I think the episodes NOT written by Ryan Murphy tend to be better handled, and have more going on under the surface. Here's hoping that the back 9 episodes gel together better than these (Mostly enjoyable) episodes have.

The Glee kids are all over the place. They sang the National Anthem at last night's World Series game and one of their songs was used on this past week's So You Think You Can Dance.

Yeah, and Lea Michele is making an extended appearance at the "Bottom of a Well in My Basement" Club later on this month...

fyi: http://www.youtube.com/watch?v=ACNSpkbRm4I

Girl fucking killed it!

goosebumps. and i never get goosebumps.

I wanted to kick a muslim while fucking a bald eagle

I do believe I have a boner. A boner for America.

Now you know how Toby Keith feels, EVERY FUCKING DAY!

The gossip sites claim to have a picture of Mr. Schu getting some loving from another dude. The only thing I find interesting about this is the other guy is Cooper Anderson's current hot piece. Dude's got some good taste in picking hot TV personalities.

Maybe it's from a reverse angle, but I don't see a mole on his left cheek. Not that it really matters, but it may be a dude that looks a lot like The Schu in a hat.

I gotta say, I'm missing the show. To tide me over, i've been watching the Glee kids jam out to Nelly.

I blame your stupid Yankees. They would have won we would have got 2 reruns.

Fair trade IMO.

So at this point the Glee Club's sectionals routine is like 2 hours long. Nice to see an Artie-centric episode, though. Even if it was pretty much a "very special" episode of Glee.

Various thoughts on the episode:

• I'm tryin' to live with the autotune, but it's really distracting.
  
• The episodes seem to keep starting the same way -
  
  MR. SCHUE: "Guys, forget last week! The judges will really respond to this type of music!"
  RACHEL: "I am perfect for the lead and thus should get it!"
  MERCEDES: "I'm sassy and black!"
  *At this point, conflict over the song begins, often fueled by the Ancillary Character of the Week*
  MR. SCHUE: "We need to get along guys, like I used to when I was in Glee"
  MERCEDES: "Random threat of violence!"
  
  
• I actually really dug the final number. Good use of multiple singers.
  
• The mystery of whether or not Artie's genitalia is defunct is finally solved.

Really good stuff tonight. More kids sharing the spotlight and no annoying wife. And more Sandy is always a good thing.

I really liked this ep for the reasons stated by Boris. I also liked that they humanized Sue a bit. Puck > Fin. He can pour some sugar on me anytime! Only thing that stuck out at me was the wheelchair number. Singing "Big wheels keep on turning" while rolling around the stage in wheelchairs? *In Amy Poehler voice* Really?! I mean, come on!

"Artie understands." "We didn't think you'd take it personally." "PREACH!"


Wow, I heard those first two phrases a helluva lot growing up. It's like it was written for me and that almost brought tears. I've e-mailed a lot of friends in chairs about this one. Nice that Artie's a real person. Role models are important for everyone, wherever you find them, especially in pop culture. Though, I'm pretty sure the bus issue would be indirect discrimination and his parents could raise hell. The random stuff where they couldn't use the chair killed me, specifically when Quinn got stuck at the table and how proud Rachel was that she got her food down. Guys? Double-turns are easy.

"I want to be very clear, I still have the use of my penis." Cripples can get away with this kind of thing, its not quite as creepy as a walkie saying that.


They got QUICKIES at a tag sale? Awesome. Nice chairs. Great numbers, very good use of wheelchairs, though I would have liked a better number than the totally obvious one they did. My friend Ahti is in a chair and is a professional choreographer, and does a lot of fast hip hop and pop songs. She did Ludacris's Stand Up choreography. You see her briefly, she's the
woman in thechair spinning and pumping her fist. Her hip hop class is really popular at my summer wheelchair sports camp.

http://www.youtube.com/watch?v=Zd_8m241vYg

Jesus, they either change their song for sectionals every week or their performance is going to be 2 hours long or a really long and weird mash-up.

No, wheelchair ramps aren't expensive or inspirational, they're required by law by a little thing called ADA.



Finally, Puck is awesome, and has that rare talent where he can rock the fauxhawk without looking like a tool.

I'm always curious to see how people who have real experience respond to storylines like this. Good stuff.

Great episode. Loved the Artie and Tina date, and how it ended.

It's great how this show can be so lighthearted and then suddenly so melancholy and serious without feeling disingenuous.

Argh so many great character moments... Kurt, Puck, Sue...

Thanks for that Cameron. Always good to have an insider's perspective.

I really like that the show is tackling a lot issues that other shows won't touch or gloss over with sentimental nonsense. I wasn't that offended by the last number mainly because before then, the issue wasn't played for laughs. But still, it was a little over the top.