The GLEE Journey
The season finale of Glee aired last night bringing to end an exciting, if uneven first season.
Daddycatcher thinks that Ryan Murphy and the creative team should take a look at some tips from New York Magazine on how to make season two even better:
Find a better role for Figgins: We finally realized he’s effectively a human plot device, present each week only to give Schue and Sue another reason to fight. It’s wearing thin. Each time he says, “My hands are tied!” we feel our brain might explode.
Change up the season objective: New Directions has a second chance at success, which again seems contingent upon winning a championship. So does this mean the arc of season two will just mirror season one — a lesson each week, then slightly anticlimactic sectional and regional performances? We already know there’s a third season, creators — give us a little more meaty plot to work with, please?
Get more selective with the celebrity cameos, and embrace theater people! Everyone and their mother wants a guest spot on Glee, but does everyone with a big name deserve one? No, no, no. See Molly Shannon’s two-episode stint: largely forgettable, tangential to plot development, and generally a role that did not mandate Molly Shannon’s specific talents. Neil Patrick Harris, on the other hand — right on! You’re the popular kid in school, now, Glee: keep your inner circle tight! That should include more Groffs and Idina Menzels, both of whom could sing, act, and add a certain something to the show that felt missed when it wasn’t there.
Don’t sacrifice plot for glitz: We’re willing to defend most of the crazier decisions on Glee, but we couldn’t get past two major plot points ripe for drama which were hardly, if at all explored: Jesse and Rachel’s breakup, and Quinn and Mercedes’s nascent friendship. Glee has delved into character development in its best episodes, but this happens all too sporadically — give us some consistency and frequency!
Let the secondary cast sing: We understand that Heather Morris was hired as a dancer and that Dijon Talton and Harry Shum Jr. were originally meant to be day players on set. But all three have stuck around, to the show’s great credit, and we know Morris will become a main player next season. So if Cory Monteith — a drummer with no real vocal experience prior to Glee — can belt it regularly (and far less impressively than Kevin McHale, Chris Colfer, and Mark Salling), why not these three? We’re sure the results would be, at the least, amusing enough to make up for any vocal deficits. Besides, they’ve got quite a few months for some voice lessons.
If you’re considering another single-artist episode … : May we suggest Led Zeppelin? Because that’s what Brad Falchuk and Ian Brennan told us they wanted after the Madonna episode, and we think it’s an excellent idea.
Taking a cue from NYMag, Daddycatcher would like to see the following theater people casting choices for the second season of Glee.
MARISSA JARET WINOKUR – What if Mr. Schuester got sick and needed a substitute!?! Just ring up Matthew Morrison’s Tony-winning co-star in Hairspray! Huge hair, huge voice, and a huge bolt of energy will hit McKinley High!
CHEYENNE JACKSON – He was supposed to be in the Acafellas episode but then he got really sick. His part was recast. Maybe the school district gets rezoned and he is the director of a different show choir at sectionals. Maybe he can co-direct with…
LIN-MANUEL MIRANDA – The Tony winning composer and rapper of In the Heights should become the new Spanish teacher, taking that off Mr. Schuester’s hands. You know what else he can take – Mr. Schuester’s rap numbers!