"Get" Glee: Ep.11 "Hairography"

Reviewed by Ike Holter
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Did you cry or vomit while watching the sign-song choir preform "Imagine"?
A little bit of both?
That's totally fine. I'm right there with you.
This week, I watched "Glee" in the (formerly haunted) bar/music venue "The Spot". On two jumbo screens, I was allowed to openly geek out with fellow (I will NOT call them "Gleeks")like-minded-homies, who drank nearly as much as I did.
And thank God I was at a bar.
Watching this episode was like being i the back of your drunk-driving Aunt's pinto as she swerves her way through Thanksgiving Day Traffic.
There were so many moments that walked the tightrope of "wonderful", only to fall into the deep pit of "vomit."
Ian Brennan, the writer who was smart enough to have a whole football team preform "Single Ladies" mid-game, gave us "Hairography"an introduction to the art of faking it.
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1.
Eve and the Dancing High School Strippers
30 barely-legals dancing in yellow tops with black tights to a Destiny's Child song that's over 10 years old. Rachel dubbed their performance as a simply act of "Hairography": by putting emphasis on their wild and flowing hair, they're taking your eyes off of their mawkish and half-assed high kicks.
2.
Baby-Mama-Drama
Terri continues the WORST plot line on the show by buying her husband an old car so he won't fuck her.
What is this, the 90's?
3.
Quinn and Puck vs Cheaper By The Dozen
In a sub-plot straight out of "Saved By The Bell", Terri convinces Quinn to babysit her kids so Quinn will realize the evils of pre-adolescence. Quinn decided this would be a perfect time for a performance of "Papa Don't Preach".
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The pregnancy story-lines need to disappear.
Completely.
Let's be honest here. While sitting at The Spot, looking around the room, I realized what Glee's target audience really is.
-Gay men.
-Gay women.
-Straight women with big bank accounts.
-Straight men who are dragged along in the process.
That's it. When the show panders to this "will she give up the baby" mama-drama, the entire tone of the show shifts.
It becomes about boring adults issues, and, worse, boring STRAIGHT PEOPLE issues.
The gays don't carry if you don't want to have a baby.
In these scenes, the show seems like a Monday night CBS dramadey staring Tyne Daly.
NOBODY CAME HERE TO SEE TYNE DALY.
However, the musical numbers truly saved this episode. From the Destiny's Child opening down to the "Crazy in love"/"Hair" mash-ups, the songs kicked the scripted narrative's ass. Adam Anders, the mixer/composer, has been doing excellent work in making over-used jingles seem fresh as well as touching up old standards.
It seems that the episodes which concentrate merely on plot "Wheels" and let the numbers sit in the background have a more consistent tone then the break-out-into-insanity freak shows like "Mash-Up"; which seem to be made to merely sell itunes.
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"GLEE" G.P.A.
MUSICAL NUMBERS
A
GAYNESS
C+
DIALOGUE
B
STRUCTURE
C+
GRADE:
B-