Glee, S3 Ep2 – I Am Unicorn

I Am Unicorn
Laughter

Shame on you.

Back in the auditorium we now get to what to me may be the most painful scene on Glee so far.  It’s more painful than any time Kurt was bullied or threatened by Karofsky, because Karofsky was always a Neanderthal who hated and was afraid of Kurt.  But the people who are in front of Kurt now are people he knows and admires, and they’re about to do something more terrible than any bully who ever threw him in a dumpster, because the people who can hurt you the worst are the people you trust.  Now I’ll admit, Kurt makes a very wrong choice in deciding to prove his “masculinity” by performing a scene from William Shakespeare’s Romeo and Juliet, on which West Side Story is based.  Especially in period costume, complete with tights.  Honestly, I think he gets the true essence of the story better than any of the directors, don’t get me wrong.  The problem is there is a very real difference in the tone of the stories because of the time period in which they take place, and the language behind them.  Kurt’s performance is great, but it’s hidden behind the only things these directors are going to fixate on: the flowery language, tights, and Kurt dropping his voice.  I’m not saying they’re in the right, far from it.  They’re disgusting in their reactions.  I’m not sure I’m going to be able to sympathize with any of these characters again.  Even Rachel, who is one of my favorites.  What’s worse in the end isn’t even that they all laugh at him, it’s that when you see their reactions after he’s run away they don’t even look like they feel guilty about what they’ve done.  Shame on you.  Shame on all of you.

Oh goodness, I’d know that screeching anywhere.  Even after only one episode.  Shelby’s attempting the unappealing task of trying to teach Sugar Matta how to sing.  I’ve gotta agree with Quinn here, she’s hopeless.  Baby!Gate continues with a discussion about whatever is bothering Quinn.  At least Shelby’s bright enough to pick up on the fact that Quinn was never the mask she showed to the world, because the person she was playing wouldn’t have gone and got pregnant by some stupid football player.  We’ve probably never seen the real Quinn.  Quinn’s 18 now, and Shelby tells her that finding herself means she needs to stop punishing herself for the things she did as a child.  Of course, Quinn just wants to see Beth, and doesn’t care about any of Shelby’s advice.

Finn’s apparently working at Burt Hummel’s shop, and Rachel’s there keeping him company while he works on a car.  She’s also apparently into giving people false hope, because not only does she tell Finn he’s really talented (seriously, he’s okay, he is not amazing), but he’s good enough to get into NYADA if he applied (they take maybe 20 a year; Finn doesn’t stand a chance in hell).  I’m all for her encouraging him.  That’s great, and yes, it does make her a good girlfriend.  But I don’t believe in giving people false hope either.  He does need to figure out what he wants to do, but I think Finn’s going to be one of those characters who has to do it on his own and doesn’t need his girlfriend pushing her dreams on him.  Wow, I actually just realized I find Finn’s story a lot more interesting than I ever thought.  The writers have given him the story of most people his age, the story of not knowing where to go when the structure you’ve been accustomed to all your life as a child is gone, and it’s time for you to figure things out on your own as an adult.  I still don’t care about Finn and Rachel together, but for the first time Rachel may not be the only one in this pairing I am interested in.

Smile

Dad always knows the right thing to say to put a smile on his face.

Burt walks in, tells Finchel to stop making out, and asks what Kurt wants.  Because apparently Kurt is only ever volunteering to help when he wants to talk or needs money.  He must be there a lot then to afford all those ridiculously expensive clothes (one outfit from last week cost about 2k on it’s own), because I can’t believe Burt is that generous with his allowance.  This time Kurt needs to talk to his father about his issues with his audition.  As always, Burt Hummel’s direct manner hits right at the entire message of this episode.  If you can’t fit into the mold that others create for you, then it’s time to create a new one.

We’re going quite meta again here, as Colfer himself has addressed the issue of his being unable to “pass” by challenging the idea that he should have to, and creating his own roles that don’t fit into that typical Romantic Comedy Male Lead.  Personally, I cannot wait for his writing and producing debut, Struck By Lightning, which is due out sometime in the second half of next year.  What’s interesting here though, is that a year ago when Newsweek published an article about gay actors who couldn’t pass, saying that Sean Hayes and Jonathan Groff were both unbelievable as straight characters, Ryan Murphy called for a boycott of the magazine.  Now he seems to be agreeing with them, but saying that’s okay, you just have to make your own roles.  I’m of a more in the middle opinion myself.  I don’t think the romantic comedy male lead should be the end all be all of acting, but I also think that a good actor can play any role if they set their mind to it.  Especially in a world where we’re slowly starting to accept people breaking out of their gender stereotypical roles, and be accepted for that.  It’s not easy, and the fight continues, but I have faith we’ll get there some day.  There’s a lot of narrow minded bigots out there, but we once all believed the world was flat, or that people who were of a different skin color than us were property, not people.  Someday we’ll overcome this absurdity as well.

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