Glee – My New Boyfriend

Music Box: Idina Menzel Live At Radio City Music Hall

Idina Menzel lives in a musical kingdom where she rules as the Queen and her uber-fans are of many facets – her disciples, her defenders, her watchdogs, her court jesters, and her steadfastly dedicated army. Dare, if you will, to publicly state that the Emperor has no clothes, and you will be harangued, and scolded, and her votary will wish you banished to the tar pits of another land.

Yeah, they’re nutty like that.

I’ve often taken to Twitter and FB to complain (ok, mock, really) Menzel’s status as a theater (and gay) icon. Loathing the bloated, yet seemingly beloved, Wicked, it’s always been a curiosity that so many have elevated her to the status that she thrives in (more recent examples include her “screeching” at the Oscars and her “Live: Barefoot At The Symphony” PBS special and album). But I live with someone who adores her, so, as a good boyfriend/partner/whatever – and thanks to my work connections – I was able to finagle two free tickets to her sold out Radio City Music Hall one-night only event. (As an example of that snark, here’s what I posted once the tix were secured: I was just comped 2 free tix to Idina Menzel’s Radio City Music Hall concert on June 16th. Lucky me. I get to endure 2 hours of shrieking. All for Rob. What a man suffers through for love. ‪#‎HeyItsFree #‎IHaveAHeadacheAlready.Yeah, I know – no boundaries.)

Now, to be fair, and completely honest, I’ve always liked Menzel as an actress and a personality, where, whenever interviewed, she was lovely, earthly, un-manufactured, if you will, despite her vocal “styling” seldom pleasing my ears. (Of course I never meant the literal definition of “screech” or “shriek” in my description. It was always colloquially.) Her high belts were, and remain powerful, yet always thin – often bordering on shrill, rarely full, or robust. Every power note hit often results in a tinny tone, resulting in her wavering off-course, missing the landing. Her propensity to slur many of her words together leaves some lyrics indecipherable. When she hits her highs in head register, it always bamboozled me at the almost biblical reaction of the audience. (Although, I’ve always admitted that her tone was gorgeous when she sang in chest register.) Though such gut reaction is a personal emotion and cannot be negated by snark (especially mine), like the aforesaid emperor, I’ve sat in abstract awe at the rapturous response, always wanting to bellow, “She’s naked!!!!!”

In the three times I saw her in Wicked (don’t ask) her act-1 show-stopper, “Defying Gravity,” was bombastic (not her fault), anticlimactic (sorta her fault) and strident (yeah, her fault). Sure, she could’ve had an off-night, but three? I admired her in Rent a few years prior to Wicked (though admired no one from the disastrous filmed version), she was fine in (Andrew Lippa’s version of) the otherwise meandering The Wild Party, and liked her arc in Glee. (Forget about the insults hurled my way when I audaciously, apparently, declared that Lea Michele out sang Menzel on the latter, though Menzel’s performances were always stellar.)

So, night of the concert, I hurried Rob (he didn’t like Wicked either, but he became enamored with Menzel from Glee), packed my earplugs and Advil and hoped for the best.

And while I didn’t get ‘the best,’ I was surprised as anyone that I was besotted and instantly smitten – faults and all – during her Radio City debut. I can’t explain it, really. But after a rough start (that damned “Gravity” song opened the show and was problematic), with every successive word spoken, story strung and song sung, she was kinda sorta magical. As seemingly unrehearsed (she does, after all, perform 8 shows a week in the dreadful If/Then and, I suspect, didn’t get much rehearsal time for this show), scattered, unusual, inconsistent as it all was, to my ears and eyes, this eternalized the charm.

Perhaps I was expecting a banshee jamboree – a nightmare filled with the sounds of dinnerware clattering on the classic Radio City stage, mired in yelps and scowls. Instead I witnessed a woman who was charming, sweet, hilarious (having losing a week earlier to foregone conclusion Jessie Mueller, she gave a fantasy Tony Award acceptance speech, which was lovingly heartfelt and very funny) and totally aware of her fallibility. She cursed at whim, despite the audience scattered with children (thanks to the treacly muck that is “Frozen” – hey, she didn’t ask to be a role model for children – and that damned Oscar winning song), performed a hooker mash-up (“Love For Sale” and “Roxanne”), kept all the “fucking special“‘s in Radiohead’s “Creep,” and, during one of her costume changes where her right breast was partially exposed, before an audience member let her know, said, “Fuck it, they’re real.” Oh, yeah…and she sang her guts out. Sure, bum notes were in profusion but I come to realize that’s part of her métier. And she doesn’t give a shit, and that’s refreshing in a genre stifled with constraint.

Midway through the show, Menzel quoted a recent review, which lambasted her “screechy” tendencies (and for a brief moment, I imagined that she was calling me out – yeah, I know, me. A miniscule, nonexistent blip in the blogosphere. I got over myself swiftly). That this was a preamble to a misguided Ethel Merman tribute almost proved that particular reviewer correct (Menzel is the polar opposite of Merman).

Personal highlights include 2 Menzel concert staples; a haunting, emotive reading of Joni Mitchell’s “Both Sides Now,” which brought Rob to tears, and a song that always brings me to emotional overload, “No Day But Today,” from Rent. Through these performances – as well as “Creep,” and a U2 cover (“I Still Haven’t Found What I’m Looking For”) – Menzel was adamant to break away from that misbegotten role as the Tween Queen thanks to Wicked and Frozen.

If her one night at Radio City proved anything, it’s that she might have finally broken free from such shackles. Despite how many ghastly covers of “Let It Go” the world will be saddled with eternally thanks to YouTube.

Sigh. Let it go, Jeffrey. Let it go.

Wardrobe malfunction:

Both Sides Now:

No Day But Today:

Her faux-Tony Award Winning speech:

Creep:

Take Me Or Leave Me:

Idiot Box: Slash & Burn

I know, I know – Rock N Roll squabbles are frivolous in the great spectrum of life. But sometimes supercilious remarks by a musician way past his prime just irks the hell out of me. Case in point: Slash Vs. GLEE.

Seriously.

In a recent interview with ENTERTAINMENT WEEKLY, the former Guns N Roses guitarist Slash was asked about GnR’s catalog being used on the hit Fox TV show (disclaimer – I’m a GLEEK):

How would you feel about GLEE doing a Guns N’ Roses song or themed episode?
Actually, we got asked about that once already but it got turned down. In the current climate of what’s going on in entertainment these days, I try to be more optimistic than negative because it’s really easy to get negative about it, but I draw the line at Glee. Glee is worse than Grease and Grease is bad enough…. When Grease came out I was like, “Oh, c’mon, give me a break.” Actually, I look at Grease now and think: Between High School Musical and Glee, Grease was a brilliant work of art.

Well, you know what I say, Slash? Sure, “to each his own”, as the old cliche goes. But infinitely greater, more fantastical Rock’ N Roll legends than you’ll ever be (e.g. Paul McCartney, Bruce Springsteen, Queen, etc…) understand GLEEs aesthetic and happily loan their songs to this archetypal show (can’t wait for the Springsteen ep!). So, while you continue to prostitute your canon (and yourself) by allowing ‘singers’ like Fergie to use the only guitar refrain you’ll ever be famous for (and for actually partaking), in debacles like The Black Eyed Peas’ abysmal Super Bowl halftime show, I’ll enjoy GLEEs recitals of genuine Rock icons.

Irrelevancy. Such a motherfucker, huh, Slash?

*****

Here, Puck serenades his latest conquest Lauren naively inappropriately with Queen’s “Fat Bottom Girls” (from their 1978 album JAZZ***):

And here, the Warblers – featuring the delicious Darren Criss as Blaine – serenades Chris’ former New Direction mates with Paul McCartney & Wings’ “Silly Love Songs”***:

***Yes, the videos are flipped. Many YouTube posters encode their vids this way so YouTube’s recognition technology can’t recognize the material…

Idiot Box: Bully

(update: photo added 11.10.10)

*****

I love GLEE, of course, but I don’t often write about it here on my blog. Usually, I save it for the character-limited posting on Facebook, but tonight’s episode was worth pondering. This week’s episode finally addressed bullying, so prevalent in the modern consciousness due to the recent tragic suicides due to gay bullying.

As one would surmise, GLEE, which probably has the gayest audience of any show not on Bravo, would be the perfect forum to address such a potent and timely (and important) topic.

But, I don’t know.

As a bona fide and proud GLEEK, I’m not attempting to take a higher road here, or bash one of my weekly treasures. Even its worst episodes (e.g. the Madonna debacle) are sprinkled with moments of pure exhilaration and joy. But no one turns to GLEE – as magical as it can be at times – for realism.

But lack of reality isn’t even the issue here (sorry I went off on that tangent). No, my main objection, if you will, is the dispassion in its otherwise passionate response to bullying: bullying was – and still is – a major punch line of the show. Its usage as comic relief was always a misstep and miscalculation (one of a few, but not many) and frequently lent a cruel undertone that negated its effectiveness of inclusivity.

The writers can’t expect us to accept two tiers of bullying – on one hand, it’s okay for the dumpster dumping or the slushy in the face or Puck insinuating that he had thrown Artie down a flight of stairs. Hahaha, hilarious. On the other, it’s treated as cruel, vicious and devastating when the only gay kid repeatedly gets pushed into the locker by the (closet case) football thug (and cruel, vicious and devastating it is).

There should not be – and can’t be – any lines of acceptance. It would be foolish to prejudge the future, I know, but the writers will have to prove their sincerity by not treating the subject as comic fodder moving forward. They can no longer afford to.

One thing is indisputable, though. No one – sane, anyway – could argue Chris Colfer. As a novice, Colfer easily could morph into campy overload, but he rarely does. Often, his character is an unlikeable, snarky, persnickety curmudgeon – who can easily be a bully in his own right, but with words, not fists. Yet, Colfer is such a tremendous talent that even at his most unlikeable, you can’t help but love him. And, in this season especially, this ‘novice’, this ‘newbie’, continues to out-act and outshine everyone else on the show. When Colfer was nominated for an Emmy this year, I wrote:

“…rarely has the angst, fear, confusion, terror and finally, unmitigated joy of a gay teen coming out to himself, his friends, and a parent been so splendidly and perfectly portrayed…”

His extraordinary performances this year will surely garner him another Emmy nod – if not a win.

A few more random notes on the episode:

Even though you saw the ‘shocker’ kiss coming, it didn’t lessen the impact..

Also, I was reading how Dave “stole Kurt’s kiss!!!” How ridiculous – and insulting. A real kiss has to be mutual – Kurt didn’t reciprocate, he recoiled.

Sadly, tonight’s musical numbers were arguably the show’s worst yet (the sweetness of “Teenage Dream” notwithstanding).

Most irking, though, is the almost weekly incessant exploitation of having Janice the Muppet’s human doppelganger, Sam, shirtless AGAIN, this time with a near slow-mo gaze at his washboard torso. It’s not necessary, GLEE, to use this boy’s body to satisfy the gaggle of gay men surely salivating at their screen.

Many might complain about the kiss between Will and Bieste but I thought it was a beautiful gesture, handled elegantly and gallantly. There was no confusing emotions there – Bieste understood the innate response of Will’s action. “Now you’ve had your first kiss” was reminiscent of when Joey kissed Phoebe in FRIENDS because she’s never had the “perfect kiss” before she hit 30.

It’s starting on the blogosphere already – not a few hours after the show ended – that over-saturation of name morphing that might have started with the dreaded “Bennifer” all those years ago. Yep, now we’re getting “Blurt” – the combination of “Blaine” and “Kurt”. And it’s not the 13 year old girls starting this moniker – it’s grown men. And it’s overtly annoying. But, what’s not annoying (so far) is adorable GLEE newcomer Darren Criss, who played Blaine, Kurt’s new confidant/possible love interest. His “Teenage Dream” was inspired and sweet and was the musical highlight of the night.

Idiot Box: It’s Brittany, Bitch!

On the NY Times home page today, photographer Todd Heisler gives us a behind-the-scenes slideshow of the upcoming season of GLEE with 21 stunning photos of the cast and crew on the set.

Here’s one of Heather Morris on a break, cycling around the studio lot:

photo by Todd Heisler/The New York Times

For the rest of the photos, click HERE.

The season premiere of GLEE is Tuesday September 21 on FOX.

Idiot Box: I Wanna Fuck You Like An Animal

*****

Lest anyone think I’m an aging (yes) prude (no), I pride myself with being edgy. Okay, perhaps “edgy” is hyperbole. But, my motto, years ago, was “I was politically incorrect when political incorrectness wasn’t cool”. Seriously. Not catchy, I know, but true.

Then why do I feel like this photo (in the latest Rolling Stones Fall TV issue) teeters more toward total inappropriate bad taste than witty satire?

Could it be because the photo depicts NOT Chris Colfer, the 20 year-old GLEE star (still underage in most states), but of Kurt Hummel – the 16 year-old High School sophomore, sitting in a gay leather bar, surrounded by muscular, hairy (and gorgeous) men, drinking a Green Apple Martini (should that be capitalized?), frightfully (anxiously?) awaiting to be gang-banged. It’s a little unsettling.

One wouldn’t be incorrect to state that it perpetuates the sickeningly mendacious negative stereotype of gay-man-as-boy-predator. With lust in their eyes – and even one grabbing his leather-clad crotch – they salaciously leer at Colfer like a group of fat ladies eying the last piece of rump roast at an all-you-can-eat buffet.

But one could also deduce that it’s a ridiculous scenario, a parody at best – I mean, in the real world, a skinny hairless fembot like Colfer’s character would probably be laughed out of such a bear bar. Bears stick to their ilk.

Depraved stereotypes or harmless satire,potato/poTAHto, it all feels disconcerting. For ME, on the other hand…

Might As Well JUMP (the Shark?)!

As an unabashedly proud, die hard GLEEK, the news that Ryan Murphy, creator and head honcho of GLEE, would be mounting a Broadway musical based on the show, should be a cause for jubilation. But why do I feel a wee unsettled? GLEE has saturated the Pop Culture landscape, and I’m not sure how far the balloon can stretch before the whole thing explodes (into glitter and rainbows, I’m sure).

The mega-successful tour was delightful, and made perfect sense within the GLEE zeitgeist. But it didn’t stop there.

Back in June, 20th Century Fox announced that there will be a series of GLEE books distributed by Little, Brown Books For Young Readers, the first which will act as a prequel to the series. Macy’s also announced a clothing line to debut before the start of the new school year. And, in November, Bluewater Productions is issuing a one-issue only comic FAME: THE CAST OF GLEE (the latest in a series of comic books detailing the rise of popular artists). According to its website, “The 32-page comic book one shot takes a close look at the lives of the actors and creative talent that have made the FOX Broadcasting’s series “Glee” such a runaway hit. “Glee” fans can learn about the paths that show mainstays Lea Michele, Matthew Morrison, Jane Lynch, Cory Monteith and Chris Colfer have taken on their way to fame”.

To overuse an already overused cliche, sometimes there is too much of a good thing.

GLEE itself hasn’t “jumped the shark” (I loathe that term, but it is what it is). While far from perfect (the misguided Madonna episode springs to mind), it remains an exhilarating, corny, absurd, and triumphant hour of TV, a phenomenon unlike anything on TV in years.

Another possible negative is the stunt casting. So far, the “guest stars” have infused GLEE with a natural, perfect casting. But will that stunt-casting take it from the sublime (Kristin Chenoweth, Neil Patrick Harris, Jonathan Groff – and not to mention the recently announced Carol Burnett, who’ll portray Jayne Lynche’s Sue Sylvester’s mother) to the ridiculous? While I’m quivering in expectation for the Brittany-themed episode (who doesn’t worship the magnificent Heather Morris?) I can’t pretend the same thrill for the Britney (as-in-Spears)-themed episode. Witnessing her lack of even a modicum of anything resembling acting chops in the appalling CROSSROADS in 2002 was pitiful enough, but she nearly ruined one of my favorite TV shows, HOW I MET YOUR MOTHER with her guest role a few seasons back. And, according to Ryan Murphy, she’ll be “kind of playing herself…”

While that sentence portends dismay, this pic fills me with sanguine optimism:

Brit(s) Against The Music (photo courtesy Britney Spears TwitPic)

Will it sustain its magic in the upcoming season 2? I certainly hope so. Does all of this compound a GLEE overkill? I certainly hope not. I’m one who likes to give the benefit of the doubt, and I’m awaiting with unmitigated, brazen, well, glee, for the new season to arrive. Obviously, I’m not alone in my adoration (it was recently nominated for an astounding 19 Emmy Awards).

But as a wise man (okay, Felix Unger) once waxed philosophic, and if sort of applies: Never overstay your welcome, or you’ll never be welcome to stay over. And I NEVER want the slumber party to end.

Reasons To Be GLEEful

Some quick thoughts on this year’s Emmy Awards nominations.

With 19 nods, TVs latest phenom, the enchanting wunderkind GLEE leads the pack at this years Emmy race, and as an unabashedly proud GLEEK, I couldn’t be happier (only HBOs miniseries THE PACIFIC garnered more noms – twenty-four!!!) Lea Michele and Matthew Morrison were shoo-ins for the Lead Actress and Actor category, as was timeless Jane Lynch a given in the Supporting Actress category race. But, in an unexpected, delightful turn, Chris Colfer was recognized in the Supporting Actor Comedy category for his exemplary work as gay teen Kurt Hummel! And, to add more cookies to the ice cream, comedian Mike O’Malley was nominated as Outstanding Guest Actor for his portrayal of Burt Hummel, Kurt’s totally supportive, conflicted father. Rarely has the angst, fear, confusion, terror and finally, unmitigated joy of a gay teen coming out to himself, his friends,and a parent so splendidly and perfectly portrayed, and even rarer is the beautiful interaction of father and son in such scenes. Kudos to both for their most deserved noms.

Colfer’s in great company. As an act of solidarity, the cast of TVs great, neo-classic MODERN FAMILY submitted themselves in the Supporting categories. But a question for the ages is, how do you nominate every adult actor yet fail to recognize the ACTUAL STAR OF THE SHOW (and my favorite in the ensemble)? Ed O’Neil’s snub as the crotchety patriarch with a secret heart of mush Jay Pritchett is a glaringly stupid omission. This is not to negate nominees Jesse Tyler Ferguson or Eric Stonestreet, as the gay couple with a recently adopted child, or the brilliant Ty Burrell as the clumsily hip Phil Dunphy (or for that matter, Julie Bowen as Claire Dunphy or Sofia Vergara as Gloria Delgado-Pritchett). But O’Neill is the rack that holds the pool balls together. Included in the Supporting Actor Comedy category is the always riotous Neil Patrick Harris as Barney Stinson in the still-awesome-after-all-these-years HOW I MET YOUR MOTHER. (Incidentally enough, Harris was ALSO nominated for his Bryan Ryan guest role on GLEE). That Jon Cryer continues to get nominated for the still-unwatchable-after-all-these-years TWO AND A HALF MEN remains a mystery.

*****

There was Emmy love for LOST as well, and, despite its controversial final episode, the accolades are deserved – this final season was its most exciting, powerful, moving and finely acted since its first. Besides its citation for Outstanding Drama Series, Matthew Fox’s portrayal of Jack Shepard was finally recognized – and long overdue. Along with perpetual Supporting Actor nominees Terry O’Quinn as John Locke and Michael Emerson as Ben Linus (I don’t watch MAD MEN or MEN OR A CERTAIN AGE, so I can’t root for John Slattery or Andre Braugher, respectively, but I just started watching season one of acclaimed BREAKING BAD so congrats to Adrian Paul), I was thrilled that the magical Elizabeth Mitchell was singled out in the Outstanding Guest Actress for her Juliet Burke.

*****

There should be hell to pay if John Lithgow does NOT receive the Emmy for Outstanding Guest Actor in a Drama Series for his astonishing portrayal in DEXTER – quite possibly the most riveting juxtaposition of evil and redemption I’ve ever witnessed in this medium, his depiction of serial killer Arthur Mitchell was – and remains – a revelation. And Michael C. Hall’s title role should be another surefire victory – the psychological manipulation and weekly mind-fucking between the two characters is a new archetype of performance art. And, yes, it should win OUTSTANDING DRAMA SERIES.

Other faves of mine were on ample display this year with nominations. NURSE JACKIE was well-represented with eight nods (including Outstanding Actress in a Comedy nominee Edie Falco, Outstanding Comedy Series and Outstanding Guest Actor in a Comedy for Eli Wallach). Two for UNITED STATES OF TARA (including Outstanding Actress in a Comedy for Toni Collette). In an annual tradition, 30 Rock was nominated copiously (it won Outstanding Comedy three times) in most categories, including perennial favorites Tina Fey and Alec Baldwin, as well as past nominee Jane Krokowski in the Supporting Actress category). The brilliant Jim Parsons received his second consecutive Outstanding Lead Actor nominee for the hilarious BIG BANG THEORY (once again one of the funniest, most smartly written shows on TV was snubbed in the Outstanding Comedy category, though it was a delight to see Christine Baranski pick up an Outstanding Guest Actress nominee for her portrayal of Leonard’s (Johnny Galecki) mother). Julia Louis-Dreyfus picked up another nod for the final season of the still-biting NEW ADVENTURES OF OLD CHRISTINE, though the series had dwindled this past year.

The moment that made me proverbially cheer the loudest was also the sweetest revenge – nominated for Outstanding Variety, Music or Comedy Series was THE TONIGHT SHOW…WITH CONAN O’BRIEN!! Take that, Jay Leno, you back-stabbing, loathsome prick.

And, of course, there were the usual curios, head-scratchers and moments of revel. The continual omission of CHUCK only proves the Emmy’s snobbery. The inclusion of Tony Shaloub for the dreadful MONK AGAIN proves their lack of spontaneity. SO YOU THINK YOU CAN DANCE was snubbed once again in the Outstanding Reality Competition, even though there’s more talent in one backstage leg warmer than all the earwig’s combined on the worst season yet of nominee AMERICAN IDOL. Despite the aforementioned nods, it would have been justice to throw in a few other nominations for LOST‘s other cast members (Jorge Garcia, Josh Holloway and the exceptional Yunjin Kim immediately pop to mind). And no love for UGLY BETTY‘s final season, its best since its first? And snubs for two of TVs best dramas, SOUTHLAND and PARENTHOOD, even though the complete shut-out of BROTHERS & SISTERS and GREY’S ANATOMY was a welcome relief? Not cool. Nor was the incessant rebuffing of the aforementioned BIG BANG THEORY and HOW I MET YOUR MOTHER in the Outstanding Comedy Series. But I’m also beyond thrilled that enchanting past Emmy winner (for my long-lamented favorite PUSHING DAISIES) Kristen Chenoweth was cited for her guest role as April Rhodes in GLEE.

It’s fair to say that I don’t watch – or have never seen – many of the shows in which the seeming bulk of the acting nominees were cited for. MAD MEN, FRIDAY NIGHT LIGHTS, THE GOOD WIFE, DAMAGES, HOUSE have all been perpetual nominees in the past (save for FRIDAY NIGHT LIGHTS and the freshman drama THE GOOD WIFE) and on my radar, but never etched a spark in my TV-viewing habits. Long allergic to anything vampiric, I’ve also never seen an episode of Outstanding Drama nominee TRUE BLOOD.

In a year of stellar acting, irreproachable drama and comedic heights, the only real depressing moment could be if unremitting douche-bag Ryan Seacrest – nominated twice…TWICE! – walks away holding sweet Emmy in the palm of his hands.

*****

You can see the full list of nominees HERE. The Emmy Awards will be held live August 29th.