Sure, it only returns in a few weeks (Super Bowl Sunday, Feb. 6), but I could sure use a good escape. What better escape is there than a show where 28 year-old actors pretend they’re still in high school.
The following is funny for the first minute… perhaps minus a certain finger gag.
For those of you who are diehard Gleeks and haven’t seen this week’s episode, I have two things to say. First, this post is filled with spoilers, so stop reading at the end of this paragraph. Second, if you haven’t seen it yet, I get to take away your Glee card and your gay card.
I spent a previous post examining the development of Kurt and would like to return to that for a moment. Arguably, he’s one of the most three-dimensional characters on the show. Despite accusations that he remains a gay teen caricature, Ryan Murphy’s genius lies in the fact that he’s managed to do the opposite, getting at some phenomenally ground-breaking observations on homosexual subjectivity.
For Gay Mormon Gleeks, this latest episode (titled “Grilled Cheesus”) chiseled a new and prominent dimension of Kurt’s character into understanding. In examining this aspect of spirituality, the episode takes an effective strategy of balancing Kurt’s serious assertion of non-believe with Finn’s silly grilled cheese-worshiping foray into belief. The result is equally balanced.
Early in the episode, Kurt explains his distaste for religion: “The reason I don't go to church is that most churches don't think very much of gay people. Or women. Or science.” In the wake of Boyd K. Packer’s General Conference talk, we can viscerally identify with Kurt’s statement; however, as we’ve been conditioned to walk the line and find a compromise between sexuality and religious authority’s hostility towards us (as well as principles such as polygamy and race), the connection with Kurt is not a complete one.
This is where the episode gets deeply philosophical. While some might see Kurt’s disbelief as an affront to his religious classmates, Murphy draws a very even-handed picture playing out in school politics, Kurt’s father’s mortality, and attempts at reconciliation of diversity among friends.
Kurt’s storyline has two foils: Sue’s mysterious childhood experiences and the aforementioned Finn plot. Frustrated with Sue’s ambiguous motives and successful ban on spiritual songs after Kurt’s father collapses and is taken to the hospital, Emma marches into Sue’s office demanding, “Please tell me Sue what horrible, horrible thing happened to you that made you such a miserable tyrant.”
Sue’s response as she closes the door for a moment of sincerity echoes Kurt’s sentiments of concern over spirituality being foisted upon him:
Since I was a little girl I've had exactly one hero. My big sister. You know how much I worshipped her? She was the sun and the moon to me.
And while I was still very young, I noticed that other people didn't feel the way I did. People were rude to her. They were cruel. They laughed at her.
And so I began to pray. I prayed every night for her to get better. And nothing changed. So I prayed harder. And after a while I realized that it wasn't that I wasn't praying hard enough.
It was that nobody was listening. Asking someone to believe in a fantasy however comforting isn't a moral thing to do. It's cruel.
Just as the show demonstrates range in emotion, tone, and musical genre, this scene establishes a range of motivations for disbelief which a lot of us struggle with. How many gay men and women have you known who have attempted to “pray away the gay” or faced ridicule in Sunday School for effeminate gestures? Sue’s revelation shines light on Sue’s even more complex character as well as her paradoxically sympathetic motives for her supposedly cruel actions:
Emma: (interjecting) Don't you think that's just a bit arrogant?
Sue: It's as arrogant as telling someone how to believe in God, and if they don't accept it, no matter how openhearted and honest their dissent they're going to hell. Well, that doesn't sound very Christian, does it?
Emma: Well, if that's what you believe, that's fine. But please keep it to yourself.
Sue (sternly): So long as you do the same.
Simultaneously, belief and non-belief are put in balance with each other as the show’s attempt to reflect true diversity comes to light. As these two ideas are placed in opposition with one another, they are also placed on equal footing. This is evident in the warm conversation between Sue and her sister later in the episode:
Sue: Do you believe in God, Jeannie?
Jeannie: Do you?
Sue: No, I don't.
Jeannie: Why not?
Sue: Because when we were little girls you were perfect in my eyes and and I watched the world be cruel to you.
Jeannie: God never makes mistakes. That's what I believe.Do you want me to pray for you, Sue?
Sue: Yeah. That would be nice.
While Sue might not agree with her sister, she loves, respects, and even values her beliefs. Interestingly, that’s the utopian vision of the show in a nutshell as presented via its primary villain: you might be a certain type of person, believe a certain way, or prefer a certain style of music, but despite any differences we might hold, you are loved, respected and valued because of who you are and who we are.
Kurt realizes this very lesson as he learns the value of his father’s love and his friends’ beliefs at his ailing father’s hospital bedside:
“I should have let those guys pray for you. It wasn't about me. It was about you and... it was nice.
“I don't believe in God, dad.
“But I believe in you.
“And I believe in us.
“You and me—that's what's sacred to me.
“And I am... I'm so sorry I never got to tell you that.”
In the wake of all of the pain and misery caused by differences in beliefs and understandings of homosexuality, I hope everyone might take to heart the message of valuing others for their differences not only in character but also in faith. The lives of many would be enriched and saved from the tragedies to which we’re slowly growing accustomed.
(NOTE: This is an timely message as today marks the 12th anniversary of the death of Matthew Shepard).
Jimmy Fallon + Glee + Tina Fey + Betty White =
Taking a page from my boyfriend's playbook (who loves his puns), I've decided it's time to in-glee-tiate myself with the masses with some Glee-based posts. Here's a "How to" video with one particularly fine moment involving rope.
Even today, some shows remain pretty removed from the political side of things. We stand in awe of some shows like Glee or Futurama take on topics like homophobia and gay marriage—topics addressed by Dorothy, Sophia, Rose, and Blanche two decades earlier. This post will highlight just how ahead of its time The Golden Girls managed to be in the 80s and 90s.
In 1991, Blanche’s brother Clayton visited the girls in Miami to announce his commitment ceremony:
It speaks to the timelessness of this show that this scene still resonates and to the times that this message is still needed. That said, there are plenty of issues brought up on the show that seem rather dating based on the topics.
Here’s a list of topics and episodes both timeless and dated:
I really wish conversations like this in Utah happened like this in Utah.
Even though he was on Glee this week, this honor is a long time coming for the former Dr. Doogie Howser. He’s stuck in my mind ever since hosting the Emmy Award Ceremony last September.
I guess what sticks out is his smirky smile, renaissance-man talent, and sense of humor.
Also, I really fell for a very handsome, soft-spoken young man earlier this year who looked a lot like him (only nerdier). I didn’t make the connection until afterwards, but it really drew up a red flag:
“GMB has a crush on NPH!”
The following is a response to Lee Wind’s question on the subject:
In the context of stereotyping, the show definitely started out with some broad brush strokes. “Gay kid, Aretha, Wheels, Asian…” Sue labels a set of characters in an earlier episode. That said, I believe the emphasis here is on growth and development. On a weekly basis, the students are reminded of the binary typologies they’re supposed to fit into—popular/unpopular, smart/dumb, attractive/frumpy, lead/backup singer, etc.
As the show has progressed, though, I tend to view these divisions being chipped away through character development first, by pointing out the stereotypes as Sue did, assembling a diverse group of students for her musical number; and second, as the kids begin to question the places they’ve been consigned as Mercedes did when she pointed out to Mr. Schu, “You only trot me out at the end of every number so I can wail on the last note.”
Musically, she’d in many ways fit the stereotype of black backup singer just as Kurt fit his respective stereotype in his feminine falsetto. In the Madonna episode, that came into question as they busted out a new sound together. She took an empowered lead, and his vocals (and look) were arguably more masculine.
Now, these challenges to their stereotypical identities did propel the show a bit, but did not change the fact that their characters are largely dictated by said stereotypes. I’d say the “frustrating mix of stereotype and not-stereotype” is more relatable to men and women going through struggles with identity. A gay teen may not fit the stereotypes portrayed in Kurt, but he still faces them in others’ expectations.
I see this trend of complicating stereotypes continuing in the next season as Kurt’s love interest (closeted and masculine, perhaps) will certainly provide some contrast to the issues Kurt faces.
This is just what it looks like courtesy of GleeFan.com. Can you believe how close we are?!
Who knew that Mark Stalling used to look like Zack Morris?
Okay everyone—sorry for the cliffhanger. The final installment is coming soon. It’s difficult to write because it involves a big first and also involves tying together the stories I’ve been telling. Of any post that I started or completed to this point, I feel this one has the most at stake in every sense.
In other news, writing continues to be bogged down by emotions, and some time commitments for two huge academic and community projects (those of you in Utah: you’re welcome to participate in the latter of the two—just email me).
Instead of something substantive or personal today, I share something that you’ve probably run into on other blogs, but here is one of the best Glee-related videos to date:
Two of the best shows on TV are coming back in less than a month.
Some previews:
Doctor Who is back April 17.
And Glee April 13.
I stumbled upon these recently, and it brought to mind many memories of discussing and introducing GLEE to friends. They're clips of viral/flashmob campaigns in Italy and Spain for the show.
I anticipate a return to substantive blogging in the dear future. The past weeks have been complicated by a number of things including some grant applications, a visit to a dear friend, and principally a growing concern for friends in Chile.
In all honesty, I was just feeling lazy. The next post in the series is about my worst date ever and I wanted to get it right (in writing, that is-- that date could never have gone right). That said, I was just in the mood for something random and Glee-related.
This is a commercial for the premiere of the show in Japan:
I’ve heard from some friends in Latin America who love the show. Asia doesn’t surprise me either. Maybe it’s the key to world unity and peace?
Put the guns away and watch ‘teenagers’ sing and try to win each other’s hearts. That sounds like a plan to me.
Bear with me for a moment, but I didn’t have enough time for a regular post. Also, the scheduled post didn’t seem like it suited the day very well.
This is one of my all-time favorite movie scenes. Back in the day, Rupert Everett was a real hottie. He would have made into my sweet sixteen list, but he hasn’t been as attractive lately. This song’s always been a pick me up, though:
Can you feel the endorphins rushing through your neural receptors?! )I'm sure someone will correct my terminology). At a restaurant tonight, we broke into song as a group of friends. It felt like all was right with the world.
Remember those “This is your brain… this is your brain on drugs” commercials? Well, this is “I Say a Little Prayer for You” on Glee (which goes to mean “even better”):
Oh, Santana, Quinn, and Brittany, how I love you after but half a season. (Those are very accurate Portuguese subtitles by the way).
The PSA warning for the following might go something like “This is your brain. This is your brain on Glee:
That’s not a bad thing at all. I’m so crushing on the boy, though. He's going to have a career as a drag queen somewhere fabulous.
Have a great Sunday. I know I sure am.
Back to AfterMARK tomorrow.
For all of those going through Glee withdrawals, I have a musical fix for you. I remember showing this Anti-Smoking PSA to my friends in high school. It’s a tad morbid, but to justifiably cynical ends.
By no means do I intend for this to become a regular thing, but I have to share this amazing recipe. It comes from the magazine Sunset: Living in the West. The recipe is a spicy soup with a southwestern flair.
Jacqueline and Cole came over for dinner and brought along a few guests. If I were to rate my recipe, it would definitely get a 4.5 out of 5 (because I’m impossible to please as many will tell you…. Just kidding… sort of… ask Cole).
They brought along some special guests who helped us cook and enjoy the meal. 
Here’s the recipe (again, from Sunset: Living in the West):
Time: 45 minutes. This dish, using canned hominy, takes a fraction of the time needed for regular posole. Serve with warm corn tortillas.
Yield: Serves 4 or 5
3 large poblano chiles (1 lb. total)
6 garlic cloves
1 large onion
2 cans (14 1/2 oz. each) white hominy
1 1/2 pounds boned, skinned chicken thighs
1/2 teaspoon kosher salt
2 teaspoons dried Mexican oregano*, divided
2 tablespoons olive oil
3 cups reduced-sodium chicken broth
3 tablespoons ground red New Mexico chiles*
Garnishes: sliced avocado, lime wedges, cilantro sprigs, and sour cream
1. Preheat broiler. When hot, broil poblanos on a baking sheet until blackened, turning as needed, about 15 minutes.
2. Meanwhile, in a food processor, whirl garlic to mince. Cut onion in chunks and pulse with garlic until chopped; set aside. Drain hominy; set aside.
3. Cut chicken into 1- to 1 1/2-in. chunks and sprinkle with salt and 1 tsp. oregano. Heat oil in a 5- to 6-qt. pan over high heat. Brown half the chicken lightly, stirring occasionally, about 5 minutes. With a slotted spoon, transfer meat to a plate. Repeat with remaining chicken.
4. Reduce heat to medium-high. Add onion mixture and remaining 1 tsp. oregano to pan and sauté until onion is softened, 3 minutes. Meanwhile, in a microwave-safe bowl, microwave broth until steaming, about 3 minutes. Add ground chiles to pan and cook, stirring, about 30 seconds.
5. Add broth, hominy, and chicken to pan. Cover and bring to a boil, then reduce heat and simmer to blend flavors, 10 minutes.
6. Remove stems, skins, and seeds from poblanos and discard; chop poblanos.
7. Stir poblanos into posole and cook 1 minute. Ladle into bowls; top with garnishes.
*Find Mexican oregano at well-stocked grocery stores, along with ground red New Mexico chiles.
As part of an ongoing series, I intend to examine certain social phenomena and how they have become integral parts of gay culture. As a community, we tend to identify with certain types of narratives, people, places, ideas, etc. In this series, I will approach the question “Why do we like these things?” Of course, since the GLBT community is as diverse as any other, please note that I speak in a very general sense that does not apply to everyone.
On a weekly basis, my friend Stuart hosts a bunch of GMBs in his house to watch Glee. These days, it’s the only show I don’t watch via Hulu a day later. We sit down and joke, make random comments, and snack on whatever Stuart has prepared. (I also tend to watch people’s reactions). Why do we like it so much to set aside this time with work and school, then? (Aside from the man candy…).
From episode one, we were blown away by the music. Frankly, I can’t listen to the original “Don’t Stop Believin’” by Journey because the Glee version is so good I watched it about four times in a row the first time I saw it. Music’s pull is obvious on gay men, but goes a bit deeper.
Almost all of the music helps drive or uncover important elements of the plot. It’s almost never expository (for example, singing “I’m Getting Married in the Morning” because that’s what will happen in a couple of scenes). The music brings depth to characters that might otherwise be considered stereotypes.
One of the most amazing scenes was when we first saw Quinn without her Cheerios uniform. Wearing a white pregnancy blouse and singing “Keep Holding On.” Some real tenderness between her, Rachel, and Finn is apparent as they hold hands briefly. And the tears get jerked out of your socket when Quinn lets out a heaving sigh at the end.
The music allows us to empathize with the characters and that’s part of what makes us like it.
One of my favorite random blogs, Bri-Tunes: Life on Shuffle, presents a weekly Glee-cap. Brian, the blog’s author, offers some pretty hilarious takes on the show and I tend to agree with him too much. For instance, we share a common appreciation for minor characters such as Britney the cheerleader.
This has a lot to do with the set of stereotypes the show often references. Aside from the adults (perhaps), each character fits (initially) into a distinct stereotype. There’s the jock and the cheerleader. There’s the diva and the loser. And finally a set of minorities that one character nicknames individually “Santana! Wheels! Gay Kid! Asian! Other Asian! Aretha! [and] Shaft!”
Paradoxically, the show plays into these stereotypes to get around them. The cheerleader (Quinn) and football players’ (Finn, Puck, et. al.) initial popularity is stripped of them. Even as an outsider the “Gay Kid” (Curt) teaches the football players how song and dance can fix their game.
We get laughs out of the challenges to these expectations which equate to growth in the characters.
Alright, this one might be a bit of a stretch. This show presents a pretty hopeful vision of the future.
While these students challenge their assigned stereotypes and break down barriers, we notice progress towards a world where everyone is accepted, welcomed, and supported despite differences.
![[mattress13.bmp]](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrSKSCDvx_B7PW_cn6yzmac_Iz_2dN9I4stS7m-4R0u8O_ik_X7FNlygRBx9RAe5q5FtevO1gsQ4qiSw1bpQDzW-na7MZb-yWFEQqxMUdLKoWbIOnMbSeoGzwvr0BOlLgj4cDeFjx2hIQD/s1600/mattress13.bmp)
Despite the prejudice that the kids face in their society and the terrible things adults do to each other (like faking a pregnancy), they find a way through the latest drama as they help each other. Hopefully, that’s a vision we all hold for the future.
After a rather heavy set of posts, I’ve decided to lighten it up a little. I’m just going to indulge a bit. As I deal with a very busy life (family, friends, work, rehearsals, roommates, dating and related personal crises), I am putting the serious on hold for a few days at the very least.
As I write this, I tease my roommate about his crushes on Michael Phelps and Josh Groban. “I have many famous boyfriends.”
Today, I’ll indulge in a little fantasy of my own. In something I will call my:
—(I’ll avoid any polygamy jokes based in Utah history or the Old Testament…)—
Everybody has those guys they really find irresistible for whatever reason. Suppose you were to choose… say… ten guys to have to yourself. I’ll leave to your imagination the process.
Following a discussion with the author of Finding Your Path and In the spirit of People Magazine’s Sexiest Man Alive Issue , I present to you my own selection.
This one was a little obvious. I proudly must say that I fell for Mr. Schu far before many of you when he was playing Fabrizio in Adam Guettel’s The Light in the Piazza. Even though, he’s often compared to a cartoon charater, he has it all: curly hair, pothole-sized dimples, and vocal and dance moves to boot.
Mr. Welling was probably my first, unrealized man crush. In high school, I never missed an episode of Smallville. I thought I was just jealous of how fit he was.
I didn’t say that they had to be alive, now, did I? He’s a leading man that transcends time.
Okay, so I couldn’t help choosing another Gleek for my list. My choice, probably takes a few of you off guard. Let me just say: this kid has moves! By the way, trivia experts, his actual name on the show is Mike Chang.
Who knew that the kid from 3rd Rock would turn out normal let alone… um… yeah. Watching 500 Days of Summer ,I just wanted to take him and his hipster vests and tell him everything would be okay.
He has that understated charm and comedic timing that’s just irresistible. All I really need to say, though, is he has a smile to die, un-die, and die again for. I’ll go back to writing my Pushing Daisies fan fiction now….
I wish I could wear skinny jeans like him. Who knew that falsetto could be so sexy? What makes him even sexier is the mixing and composition that goes into his work. He is a visionary.
Distracted, again, from my current series I came across a track list for the next Glee CD. Naturally, I thought I wouldn't be the only one who would appreciate this fortunate news. Having jammed out to "Glee: The Music Vol. 1" all week long in the car, my anticipation of Vol. 2 has grown to perhaps an unhealthy degree (much like my crush on Mr. Schu). If my pumpkin homage isn't enough for you, I guess I'll share with you the tracklisting for "Glee: The Music Vol. 2″: "Proud Mary" [courtesy: http://www.playbill.com/] Of the 17 new tracks from "Homo Explosion," I'm particularly excited for "I'll Stand By You" and "Lean on Me" although that suggests that there's some drama on the horizon for our favorite rejects. The one track the sticks out, though is "And I Am Telling You I'm Not Going." We've heard Jennifer Hudson, but it looks like it looks like we'll soon be blown away by Mercedes and her show-stopping chops.
"Endless Love"
"I'll Stand By You"
"Don't Stand So Close To Me"/"Young Girl"
"Crush"
"(You're) Having My Baby"
"Lean On Me"
"Don't Make Me Over"
"Imagine"
"True Colors"
"Jump"
"Smile" (Lily Allen cover)
"Smile" (Charlie Chaplin cover)
"And I Am Telling You I'm Not Going"
"Don't Rain On My Parade"
"You Can't Always Get What You Want"
"My Life Would Suck Without You"
2009: Manifestation of Gleekiness, No. 1
