Wednesday, June 09, 2010

A Working Vay-Kay

Not just a fuck-buddy anymore!

I've been pretty swamped lately (work, family medical fun, work, avoiding work, personal medical fun, more work, and more avoiding work), so I've taken a break from blogging since the Lost finale left me emotionally bereft.

Expect more ranting and raving soon, but not today.  Today I'll just point out that if you ain't watching Glee, then you should be, if for no other reason than the fact that the above pictured Jane Lynch, whom you may remember as a potential fuck-buddy for Steve Carell in The 40-Year Old Virgin, is doing some of the funniest and cruelest work on television.  Even if fully staged versions of Bohemian Rhapsody are not for you, Lynch's portrayal of Sue Sylvester, the woman you love to hate (and eventually just flat out love) is for everyone.  And in addition to giving voice to lines so harsh they could lacerate a kidney ("You're hair looks like a briar patch.  I keep expecting racist animated Disney characters to start popping up and sing songs about living on the bayou."), Jane Lynch also sticks the landing on those rare occasions when Glee  includes a scene intended to give her character depth (from her Down's Syndrome soft-spot, thanks to a Down's sister, to her total gonzo commitment to the students at her school, which the show makes completely believable on those rare occasions when they need to demonstrate it).

In fact, of all the characters on Glee, Lynch's Sue Sylvester, author of I'm A Winner and You're Fat, is the only one who never seems a caricature even for a moment.  That's more about Lynch's portrayal than anything else, and major props to her for it.

So, I'm here to put in plea to you and to Glee.  No matter what type of music you like, each week they probably have something for you.  They jump from Gaga to Madonna to Streisand at the drop of a hat, and they work in rap and funk right alongside power ballads and rock anthems.  From a football team doing Single Ladies, to a version of Proud Mary with everyone in wheelchairs, to an affecting rendition of Lulu's To Sir, With Love, Glee's musical numbers hit every age group, every demographic.  And they are exceedingly aware of the modern world we live in, as this season they found a way to work in a flash-mob scene (which, if you do not yet know, is the modern phenomena of seemingly normal people bursting into dance and song in public, a la this T-Mobile video, before dropping right back into walking through their humdrum lives).  The flash mob number was one of the show's best sequences, from it's new take on an old song (The Safety Dance) to the way it played into some heartfelt drama by allowing a wheelchair bound character to express his dreams of dancing via a fantasy flash-mob sequence that was one for the ages.

They don't all work, and sometimes the drama itself can go right off the rails, but there is always the music and the funny (and Jane Lynch) to bring everything back around when things gets shaky.

So, here's my plea (and if know someone involved with the show to whom you can forward this, then let's get to it, peeps):  I want a LipDub show. If you are unfamiliar with this video trend, LipDub cannot be described, it can only be experienced.  You can find two of the best examples here and here.  Basically they are amateur music videos, only they are done all in one extremely long and complicated take, involving hundreds and hundreds of people at a time.  Generally they are done by college and high school kids, and some of them are more fun to watch than anything else you can do with your clothes on.

If anything was tailor made for Glee, it's the LipDub experience.  So if you are a Gleek like me, then let's starting beating the bushes and make this happen.

And if you aren't a Gleek like me, then here's what you missed on Glee!

1 comment: