May is a bittersweet month; in the nice weather I can eat lunch outside and avoid my least favorite subway stations by walking, but at the same time I have to say goodbye to the vast majority my favorite TV shows for nearly 4+ months (or indefinitely, RIP Chicago Code, we barely knew ye.)
Now the Glee kids are coming into town, stuff is happening on Bones (finally!), and as a sick reminder that I have only True Blood to look forward to in the coming months, the big four networks start to publicize their fall lineups by hacking down any under-performers and hyping pilot scripts in development.
But the biggest hit of the 2011/2012 season won’t be a sitcom or drama, like the newest J.J. Abrams venture or The Playboy Club on NBC (really NBC?).
It will be a reality show: The 2012 presidential elections.
As Benjamin Svetkey wrote about on EW’s PopWatch last week, despite the Republican’s weak field of candidates and President Obama’s return to awesomeness following the death of Osama bin Laden, the 2012 election still promises to be an entertaining one.
With this cast of characters how could America not be enthralled: Sarah Palin (and Tina Fey), Newt Gingrich, Mike Huckabee, Michele Bachmann, Ron Paul and anyone associated with the Tea Party, President Obama, Vice President Joe Biden, and of course, Donald Trump and that fox that lives on top of his head.
The 2008 elections were no doubt thrilling, with the candidates setting the bar high by poking fun at themselves on Saturday Night Live and appearing on everything from the national news programs in prime time to the The Daily Show with Jon Stewart and The Late Show with David Letterman. But America can do better.
November 6, 2012 is still 17 months away and there is plenty of time to comment on the dramas of the next presidential election, but with Obama already gearing up a new campaign, releasing not only his long form birth certificate but a video of his actual birth (which we can all thank The Donald for), and Newt announcing his candidacy via Twitter, there is no question that the 2012 election promises to be the stuff of Hollywood legend.
High schoolers singing show tunes and renditions of Fleetwood Mac, a white guy rapping “Bust a Move,” teenage dramas about love lost and lead solos… Who would watch this premise? Pretty much everyone it seems. Glee’s post Super Bowl episode drew 26.8 million viewers and its weekly average hovers around 9 to 10 million viewers.
So what’s so special about this group of high schoolers living in Lima, Ohio? To use Sue Sylvestor’s — world-reknown cheerleading coach of Cheerios squad — roll call, “Santana. Wheels. Gay kid. Asian. Other Asian. Aretha. Shaft.”
Has Ohio always had this many minorities in one school? In the small group of 12 or so students participating in show choir two are Jewish, two are Asian, two are black (in the first season), two are gay (in the second season, only one openly so), one Latina and one is paralyzed from the waist down.
The brilliance of the of Glee is in its use of stereotypes, where it layers not only adult perceptions — both Asian’s are on the academic decathlon team — with traditional high school labels like nerd, jock, goth, and diva. Can you have a goth Asian girl? A Jewish jock who sings Neil Diamond songs? The gay kid wins the football game for the team?
The expected stereotypes are all still there, of course. While Mercedes (curvy black diva) is hanging out with Kurt (gay) and Blaine (somewhat less obviously gay) she hallucinates literal femininity coming from the two men:
Created by Ryan Murphy, the same guy who also brought us Nip/Tuck, Glee undoubtedly pushes boundaries; now in its second season, we’ve seen two boys making out, teen pregnancy, and witnessed the repercussions of underage drinking all while bopping along to Madonna’s “Like a Virgin” and Justin Bieber’s “Baby.”
One would guess Glee’s audience would be primarily tweens who’ve never heard many of the original songs remixed on Fox’s dramedy, but as New York Magazine’s culture blog Vulture pointed out in March, the average age of a Glee viewer comes in around 38.
The result we find in this mesh of hormones, adult problems and endearing performances (see: John Lennon’s “Imagine” duet with students from nearby school for the deaf ) is audiences welcoming these characters into their homes, and like any good television show, Glee challenges our “widely held” perceptions without us even realizing it and reiterates to the younger audiences that high school labels only exist in high school. Murphy skillfully balances the serious to ridiculousness, parody to reality, in such a way that the impact of both become magnified, and we realize it’s ok to be a loser.