In the era of multiple platform viewing and increased time-shifting, television turns to the musical. But Fox’s selection of Grease seems to ignore a string of warning signs.
“My love’s too big for you my love”: an offering for those who admired Alexander Doty and his work (as well as those who enjoy Glee’s Kurt Hummel).
In the second episode of Glee’s new season, “I Am Unicorn,” Kurt’s character loses the romantic lead in the school musical, West Side Story, to his more masculine boyfriend Blaine. The episode was both fascinating and confounding because instead of…
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Just as Chris Colfer provides a model for queer kids who have not yet been represented, so Darren Criss provides an equally significant alternative model for queer straightness.
Chris Colfer’s is the first solo voice in recent memory to break into the mainstream as gender-queer, and as such, has become the site of both euphoria and anxiety.
The popularity of Glee, and, in particular, these two singers, has made me think that American culture may finally be starting to break with the gender norms of male singing performance that have persisted for the last 80 years.
In this second post, I now move on to consider locally produced promos, where an increased amount of creativity seems to be put forward and the intent is noticed of “domesticating” the show for the target culture.
“Grilled Cheesus” is one of the few Glee episodes to not only establish, but also to play with, the opposition between dream world and real world in the musical.
In the wake of this week’s season finale, Antenna’s weekly Glee Club contributors offer their take on Glee’s first season in a roundtable discussion about the pleasures and limitations of performance, reinvention, and representation.
“Funk” exemplified everything I’ve come to expect from Glee: a confusing mix of rousing musical performances and out of place racist/sexist/heterosexist jokes
The themed episodes often bury narrative and character development, but this week saw a powerful blending of Lady Gaga’s music and persona and the storyline. Her promotion of both over-the-top performance and being a “freak” allowed the show to return to one of its favorite themes.
Joss Whedon and Neil Patrick Harris come to Glee; the results may not be what you think. Last week the glee club found its voice; this week Glee shows us its own.
I feel like the “powers that Glee” (PTG) are trying to combat complaints of minimal plot development. After last week’s most excellent narrative-filled musical numbers, my hopes were high. It looked like they might pull it off, but then it became Glee meets Friday Night Lights. Say it ain’t so!
I think this is the essence of Glee’s appeal: It “mashes” together the old and the new, the shallow and the deep, and in the end asks us to appreciate that our lives are much like popular culture.