Last season, when Rachel Berry transitioned from a wide-eyed underdog into a Broadway star and hot entertainment commodity, “Glee” critics noted that the line between actress and character had been blurred. Lea Michele was no longer simply portraying Rachel Berry, the ambitious WMHS graduate. She was also portraying Lea Michele, star of stage and screen.
When “Glee” commences its sixth and final season, Rachel serves not merely to symbolize Lea Michele. The central character also functions as a symbol of “Glee” itself.
Like “Glee,” Rachel Berry enjoyed an improbable, dreamlike transition from ambitious “ugly duckling” into undeniable powerhouse. No one wholly doubted her ability to succeed, but the disillusioning nature of reality thwarted any hope of optimism. That talent can lead to success does not mean it will.
That quality can turn a television series into a hit does not mean it will.
Upon achieving their success, both learned that it cannot be reduced to the simple dichotomy of achieving it and not achieving it. There is also the matter of sustaining it.
“Glee” was inevitably going to struggle in that regard. A gimmicky show that attracted diverse fans for very diverse reasons, “Glee” had no prayer of remaining all at once fresh, unique and broadly appealing for more than a few seasons.
It, nonetheless, exacerbated that decline by repeatedly misfiring creatively. Following its superb first season, “Glee” began struggling to locate the heart, energy and passion that fueled its initial explosion. By the middle of season three, it had completely lost touch with those elements.
As the big star of the moment, Rachel Berry was never promised more than a brief stint in the limelight. That her debut television series “That’s So Rachel” was exceedingly terrible and unappealing assured the stint would be brief.
That “Glee” once amazed viewers did not mean it earned their interest for life. That Rachel earned success did not mean she was forever immune from failure.
In returning to Lima as a humbled, disgraced former television star, Rachel encapsulates “Glee” as it returns to its roots for the final season.
No, their goals are not the same — Rachel seeks to work her way back the top, while “Glee” is aiming to say goodbye. Their processes, however, are identical.
Both need to reconnect with their roots and rekindle their internal flames. Both need to understand–and replicate–the factors that allowed them to create such rapid and unparalleled success. If Rachel can do that, she can bounce back from her defeat. If “Glee” can do that, it can reconnect with the viewers it lost and end its run not merely as the former hit that fell from grace but as the iconic show that finally found the light it had lost.
The palpable symbolism and self-awareness embedded in Rachel’s journey create vibes of finality and gravity. As viewers see Rachel work to rebound from her failure and rediscover what initially led to her success, they see “Glee” working to end in a manner reflective of its beginning. A sense of importance emerges, which assures that even the dryer, more meandering moments of season six premiere “Loser Like Me” feel worthwhile.
Unfortunately, the mindset that directs Rachel’s activity does not drive the totality of the season’s first two episodes. For as much as the Rachel symbolism suggests a desire to end “Glee” properly, many of the other plot lines reflect the series’ refusal to accept its end–or its mistakes. Though better paced and more entertaining than the majority of episodes from the show’s previous few seasons, “Loser Like Me” and “Homecoming,” which collectively function as the two-part season premiere, do not always appreciate their significance. They introduce storylines with the same lack of passion, meaning and consciousness that accelerated the series’ downfall.
An analysis of the key storylines follows:
*Note: While this breakdown inevitably includes minor spoilers, it does not ruin the key surprises.
*Note: The season premiere picks up more than six months after the events of the season five finale (a flashback to the planned meeting at the loft, which was due to come six months later, is used as a reference point)
Storyline: A disgraced Rachel returns home
The gist: A creative and commercial disaster, the character’s television series “That’s So Rachel” was cancelled after the first episode. No longer wanted in Hollywood–and not exactly welcome in the New York theater scene–Rachel returns home to Lima. Things only get worse when she learns of an issue involving her parents.
The environment at WMHS is not uplifting. Not merely devoid of its arts program, the school has become a Sue Sylvester police state (and even features a convict working at the secretary’s desk). Still, Rachel needs to reconnect with her old self, and she thus funds the resurrection of the New Directions.
Her goal becomes rebuilding the school’s championship glee club within a very hostile environment.
Why it works: The television medium can be a tricky one. Aware of her talent and supportive of her journey, viewers certainly want Rachel to succeed. But insofar as they are drawn to conflict and challenge (and subject to both in their own lives) they do not necessarily want to watch her in a state of success. The Rachel who quickly and easily made her mark on the entertainment industry was considerably less relatable and interesting than the one who fought for attention. The return to square one allows Rachel to reconnect with herself and with viewers.
Why it struggles: While “Loser Like Me,” the first hour of the premiere event, is less entertaining than follow-up episode “Homecoming,” it operates with a better sense of gravity. By the second hour, Rachel’s journey starts to feel mechanical and sans stakes — she is back to singing lighthearted musical numbers, recruiting members for the New Directions and dealing with the hurdles created by Sue. The episode is fun enough–and Lea Michele is magnetic enough–to overcome the conceptual setback, but the tonal shift creates concern about whether Rachel’s return to Lima will be as meaningful as it initially seems.
Storyline: Sue transforms McKinley, goes to war with the New Directions
The gist: With the New Directions gone and friendly adversary Will now coaching Carmel High’s Vocal Adrenaline, Sue finally presides over the arts-free school she always wanted. Her strict, prison-like atmosphere is not necessarily ideal from a morale standpoint, but it lacks the annoyance of the glee club and is producing measurable success in athletics and academics.
Rachel’s quest to reboot the New Directions threatens the equilibrium, which prompts Sue to declare yet another war on the glee club.
Why it works: So perfect in her role, even a complacent Jane Lynch dealing with tired character shtick manages to be entertaining. Insofar as the Sue-Will rivalry has been done to death, there is added intrigue in positioning Sue against Rachel (and later Kurt) — just as there was when Sue and Finn went head-to-head.
Why it struggles: If there is one thing that spoke to the limited shelf life of “Glee,” it was the Sue Sylvester element. Jane Lynch’s character was pivotal to the show’s early success, but once her humanity started to emerge–and her war with the New Directions started to subside–it became impossible to take the original version of Sue seriously. Unwilling to accept that reality, “Glee” seemingly tries to reboot evil Sue each season. The returns diminish each time. They are nearly non-existent here.
Storyline: Blaine and Kurt end their engagement
The gist: Following Rachel’s departure from New York, the Blaine-Kurt living situation turned sour. Conveyed via a flashback, that sourness spurred a dispute over their potential incompatibility as housemates. That dispute prompted a breakup.
Both characters deal with emotional consequences. Blaine flunks out of NYADA and returns home, while Kurt, despite being the one who initiated the breakup, finds himself unwilling to shake his feelings for Blaine (and absent anyone with whom he can commiserate). He also returns home, which allows him to assist Rachel in rebuilding the New Directions (for work study credit) and attempt to recapture Blaine’s heart.
The latter, however, becomes difficult when he learns that Blaine has seemingly recovered from his emotional struggle. Now the coach of the Dalton Warblers, Blaine is also romantically involved with an unlikely person from Kurt’s past.
Why it works: As the show’s most prominent coupling, the Blaine-Kurt relationship represents an optimal endgame for “Glee.” To sweeten that final pay-off, it makes sense to not only introduce a final relationship hurdle but force Kurt to fight for his desired outcome. The tension and awkwardness present during the scene in which Kurt learns of Blaine’s new lover produces tremendously alluring television.
Why it struggles: The conceptual merit of the storyline is diminished by the years of incompetent execution that preceded it.
“Glee” has repeatedly suggested that Kurt and Blaine are soulmates, but it has rarely worked to demonstrate why that is the case.
Because happy, stress-free relationships do not make for good television, the series naturally needed to throw wrenches into the “Klaine” dynamic. Unfortunately, it devoted far more effort to constructing those challenges than it did crafting a magical connection between the two. They might be destined for each other, but once their initial honeymoon phase wore off, the show lost interest in demonstrating that they truly want each other.
But insofar as the show has never cast any doubt on the fact that they will end up together, it is hard to take Blaine’s new fling seriously. It is impossible to buy into the legitimacy of Blaine’s affection for his new lover (a fact compounded by the absurdity of who it is).
Since conflict has been the status quo for Kurt and Blaine, the introduction of another conflict is not an especially compelling or worthwhile strategy for the final season. Worse, since “Glee” has never invested itself in showcasing the connection between Kurt and Blaine, it is doubtful the payoff of their inevitable reunion will be as meaningful as it should be.
Storyline: Previous New Directions members Artie, Tina, Quinn, Puck, Mercedes, Brittany and Santana return to help revive the club in “Homecoming”
The gist: To relaunch the New Directions, Rachel naturally enlists the help of the club’s former members. Sam, who now works as an assistant football coach, was already present on campus, while the aforementioned originals found time to step away from their lives and obligations.
As a promise that the characters will appear in future episodes, “Glee” confirms that they will be able to return to McKinley whenever they have free time.
Why it works: By focusing on underdogs–and by finding actors who portrayed those underdogs so brilliantly–“Glee” fostered an unparalleled connection between its characters and viewers. “Gleeks” passionately identify with the various “originals,” and the mere act of getting to see them always represents a treat.
Infinitely comfortable in the “Glee” environment, the former/recurring cast members perform as if nothing changed. Viewers know, deep down, that these individuals are not as committed to the project now as they were when the show first launched, but the energy and fun the actors deliver would make it easy to forget that reality.
Why it struggles: The characters return in the first of the final twelve “Glee” episodes. All indications are that they will not all appear in every episode moving forward.
Given that reality, is enlisting them for a stakes-free, development-free nostalgia appearance worthy of any praise?
Make no mistake – there is enormous merit in getting to see these individuals together and on screen. But insofar as “Glee” is supposed to be returning to its roots and building towards its end game, it should value these characters/actors as more than mere background props. Why not give an update on what these characters have been doing outside of Lima? Why not introduce some hints regarding how their journeys on the show will culminate? Why not give them a reason–beyond nostalgia–for being on the show?
Storyline: The two premiere episodes introduce new characters
The gist: Over the first two hours, “Glee” viewers will meet at least six new characters and truly get to know five of them. Those five, naturally, emerge as potential glee club performers.
Ignored when not being insulted, Roderick (Noah Guthrie) has no real-world connections and uses music–and headphones–to shield himself from the words of haters. His passion for music and desire for connection make him the most obvious candidate for the New Directions.
Twins Madison (Laura Dreyfuss) and Mason (Billy Lewis, Jr.) are members of the Cheerios but emerge as outcasts due to their unusually close relationship with each other. They find immense appeal in the prospect of joining the New Directions.
Spencer (Marshall Williams), a member of the football team, is a gay student who embraces the “new normal” of homosexuality. Now that homosexuality is more widely accepted (thanks to “Modern Family,” says “Glee” in one of its meta jokes), Spencer no longer has to conform to the stereotypical standards of the gay community. He can be himself — an arrogant, athletic individual who hates Lady Gaga.
Jane (Samantha Ware) uses her legacy status to become the first female student at Dalton. After crossing that bridge, her attention turns to joining the similarly male-only Warblers. Despite his own struggle with prejudice, Warblers coach Blaine initially scoffs at her request but eventually comes to respect her talent — and her right to be a Warbler. Actual members of the team have mixed feelings.
Why it works: These are the “newbies” “Glee” should have introduced in season four. While the characterizations of Madison and Mason are thus far limited to exposition, Roderick, Spencer and Jane receive immediate opportunities to connect with viewers — and they absolutely do. Unique characters that remain very much in the “Glee” mold, they offer the value “Glee” viewers never truly got from the previous wave of new characters (including the one that pops up in the premiere’s second hour).
Why it struggles: Note the first sentence of the aforementioned paragraph: these are the newbies “Glee” should have introduced in season four. It is not season four anymore. It is the sixth and final season As it approaches the finish line, “Glee” owes its fans–and its own characters and legacy–legitimate resolution to five seasons of build. Every moment spent developing these new characters, no matter how entertaining, is a moment not spent building to an emotionally poignant conclusion.
Particularly frustrating? The sense of urgency that should have dissuaded “Glee” from introducing five new characters at this stage of the game is instead used to dampen the impact of those characters. As if the writers forgot they were in the last season until they got 75% through the “Homecoming” script, they rush to resolution at the end of the episode at the expense of character and storyline development.
One of the most interesting plotlines of the first two episodes involves one of the new characters, and the fact that it gets effectively abandoned for conveniently abandoned is truly unfortunate.
Storyline: Now a proud father, Will is also the coach of Vocal Adrenaline
The gist: After first receiving a glimpse of his son Daniel, viewers will then see Will’s struggle to connect with his new show choir team. Far more polished and mechanical than the New Directions, the members of Vocal Adrenaline are not seeking emotional inspiration. They do not require Will’s “lessons” to perform.
Why it works: By attaching lead characters to each of the three show choir teams, “Glee” finally gives viewers a reason to care about all of them (and their impending competition). Thrusting Will in a challenging new environment also gives him a reason to care. While he lacks the connection–and thus emotional motivation–he had with the New Directions, he gains benefit from facing a new, legitimate challenge at work.
While little attention is called to his presence (beyond the fact that he sings lead on “Dance the Night Away”), The Wanted’s Max George also enters the fray as part of Vocal Adrenaline. Insofar as he has been called a Mark Salling (Puck) doppelganger, there is fun in his presence on the show.
Why it struggles: This storyline receives minimal attention in the premiere (Will’s bigger role involves motivating Rachel), but the early indication is that Vocal Adrenaline will still be portrayed as the evil Goliath to the New Directions’ lovable David. And if Will’s presence is not used to help humanize Vocal Adrenaline (and instead only used to show why he belongs back at McKinley), it becomes a considerably less intriguing storyline.
Also: Characters like Beiste, Figgins and Becky also appear during Friday’s premiere event.
Consisting of “Loser Like Me” (hour one) and “Homecoming” (hour two), the final season of FOX’s “Glee” commences this Friday at 8PM.
