Corey Monteith: Glee's hotti- er- lukewarmie

The television show Glee is about resurrection of a struggling high school Glee Club. Mr. Schuester, a Spanish teacher, was a member of Glee in its heyday as a high school student. After the former leader was fired, Mr. Scheuster volunteers for the position, hoping to return the club to glory. In a search to find more male voices, Mr. Scheuster discovers Finn – football team quarterback and secretly great singer. Mr. Scheuster convinces Finn to join Glee, making Finn the savior for two reasons. One, his joining opened the floodgates and led to more students joining. And two, he has a good enough voice to complement Rachel Barry, the star of the club with a powerhouse voice. The problem is that Corey Monteith, the actor who plays Finn, does not have that voice.

As far as the actors go, Monteith, may have the worst voice in the club. What makes matters worse is that Finn is often told how incredible he is. Mr. Scheuster tells him that “it’s not easy being special,” but Finn doesn’t seem special at all. Monteith, fits the “gentle jock” bill well enough, but is not a great singer and does make a very intriguing character. It appears he was cast more for jock-believability than ability. Ryan Gosling doesn’t look like a football player, but I bought it in Remember the Titans. So many characters in the show fawn over Finn. Rachel and Kurt are both in love with him and I just can’t figure out why. Finn is not supposed to be a very bright character, but I wouldn’t expect him to be so dull either. So much of the show’s drama revolves around Finn, but the characters who obsess over and admire him are far more dynamic themselves.

Now I should concede that I’ve fallen slightly in love with Rachel Barry- yes, the character- and am a bit jealous of Finn because she likes him – yes the fictional character. But juxtapose Finn with Troy Bolton. Hate on HSM all you want, but Zac Efron is a charming performer, more than adequate singer, and believable enough athletic star. Finding another Efron is easier said than done, but Monteith doesn’t even have prior singing experience (and it shows). I have a hard time believing that of the thousands upon thousands of actors struggling to make it, not one of them would make a more exciting Finn.

Glee's Love Isn't Fair

The television show Glee deals with high school students on the margins of popularity. The show seeks to shine the spotlight on this group of students (which is diverse in race, gender, physical ability, and sexuality) in a way that is quite admirable, but still falls short. Glee’s handling of Kurt, a homosexual character, is a bit insensitive.

The struggling Glee Club receives its savior in Finn, the football team’s quarterback with a heart bigger than his brain and a wealth of untapped vocal potential. Finn is dating Quinn, a cheerleader and eventual Glee Club member herself, but other members of the Glee Club develop feelings for him. One, Rachel Berry, is the abrasive-yet-actually-pretty-hot starlet of Glee Club and the other is Kurt.

Early in the season, it becomes clear that Rachel’s feelings for Finn are at least a little mutual, but Finn’s relationship with Quinn complicates the ensuing love triangle. Rachel and Finn’s relationship is portrayed as one that should be rooted for, a forbidden love in the vein of Jim and Pam from The Office. They seem to be at their best when they are with one another and their intimate moments come complete with delicate background music.

Whenever Kurt and Finn interact, the portrayal is quite different. Finn does not display any tendencies other than heterosexual and does not foster any romantic feelings for Kurt. Scenes containing Kurt and Finn often focus on Finn’s discomfort around Kurt for comic effect. I take no issue with Finn’s discomfort because it simply reflects the reality that many in this world are not comfortable with homosexuality, but the humor in their interactions is very unsettling.

Kurt’s feelings are not taken seriously until a brief confrontation with Rachel late in the season. Hopefully later seasons will give some humanity to Kurt and his feelings because the first season treated them as little more than a running gag. Glee spends so much time developing the Rachel-Finn relationship that Kurt seems insignificant. I understand that Rachel and Finn are main characters and there is more to develop in a relationship in which feelings are mutual, but we push for Rachel so much that we forget her success with Finn would also cause heartbreak for Kurt. Even if they are not central to the story, Kurt’s feelings are just as real as Rachel’s and should be treated as such.

Glee Spins its "Wheels"

One episode of the television show Glee entitled “Wheels” has been widely hailed for its ethics, but critics should not be so generous with their praise. In the episode, all of the members of the Glee Club are required to spend time each day in a wheel chair to better understand how Artie, the paraplegic member of the Club, struggles with high school life.

The premise is admirable and the show very sensitively portrays a handicapped character. Physical handicap is one very underrepresented demographic in film and television so I am glad to see such a character even included in such a popular show.

The thing that bothers me most about Artie is his casting. Kevin McHale, the actor who plays Artie, is not handicapped. He is a fine actor and does very well in the wheelchair, but a handicapped actor should have been given the opportunity to represent the physically handicapped on national television.

I have never been involved in television or film casting before, but I’m guessing that handicapped people aren’t cast for roles unless being handicapped is written into that role. A producer might cast an actor with glasses even if he didn't envision glasses for a character. But if a role calls for a tall, dark, and handsome man and the tallest, darkest, and handsomest man turns out to also be in a wheelchair, I would wager that he does not get the role. The producers might think something along the lines of “Well he may be the best, but I didn’t plan on my character being in a wheelchair. That guy was almost as good and he can walk, let’s give him the role.”

So if the only role that a handicapped actor has a legitimate shot at is a handicapped character, why take that role away from him or her? Glee’s treatment of Artie is a great step forward for television (especially for a show that involves dancing and performing) and I am very happy that the show has become so successful. I just think that the show should give a handicapped performer the chance to shine, just like the fictional Artie receives his chance. Glee had the chance to take a step for handicapped performances, but didn't take it.

Cursed "Moon"

I recently watched the most recent installment in the “Twilight” series – “New Moon.” Though I cannot deny the charm of the series, I was once again frustrated by its very awkward performances. I was excited when I discovered Chris Weitz would be directing “New Moon” because his movies consistently showcase strong performances, and I don’t believe by coincidence. You may not agree with “American Pie’s” crude style, but you cannot deny its charm. “About a Boy” featured some of the most engaging dialogue and character interaction of the decade. And the only thing that Weitz didn’t handle well with the difficult “Golden Compass” material was its battle scene. Weitz is not the savviest action director, but has proved highly effective in manifesting the magic of relationships - making him the perfect candidate to right the Twilight ship.

Alas, the interactions in New Moon were once again laughable. I hesitate to blame the actors because not even Michael Sheen – a proven performer- is believable in his role. The script is far from perfect, but I don’t think it’s at fault either. Melissa Rosenberg's (the writer of both "Twilight" scripts)"Step Up" script was pretty weak, but director Anne Fletcher was able to conjure and interesting relationship between her stars in “Step Up” despite lacking great actors. I honestly wasn’t even sure what kinds of emotions the characters were trying to portray during certain scenes of “New Moon.” Thus I am led to only one logical explanation: the series is cursed. If the series has failed to entertain you so far, skip the final two movies. It won’t get any better. But if it has continued to entertain you – even if not intentionally- the rest of the series should follow suit. So enjoy.

The Class

“The Class” is a French film inspired by a true story about a schoolteacher. Francois Begeaudeau, the teacher on whom the story is based, actually plays himself in the movie. Francois teaches French to a group of troublesome young teens with realistically mixed results.

Realistic is probably the best description for “The Class.” Francois and all of the students play their characters stunningly well. The characters, which the film is really about, are developed with a keen attention to realism. This is not the story of a good teacher, nor is a story of a bad one. The students are also not divided up into “good” and “bad” (even though it may appear so at first). The troublemakers develop redeeming qualities, but don’t reach perfect redemption and Francois - who seems slated to deliver Dead Poets Society type inspiration – stumbles along the way.

The classroom setting becomes secondary in this story of people struggling in the world. People sometimes shine, but sometimes struggle to do what’s good or fulfill potential. What is all too clear is that none of the characters can pull another out of the hole he or she is in, because they’re all in the hole, teachers and students alike. Humans can be good, but can never cease to be flawed. “The Class” makes it clear that we humans need a transcendent force to help us out, someone outside of the hole.

"Bad Romance" Musings

Lady Gaga's "Bad Romance" video has sparked many a conversation lately. Many critics applaud its production and unique idea, but others are deeply troubled by its premise. The video portrays Gaga being undressed and force-fed alcohol by two women before being displayed in front of an audience of men who bid on her. Gaga eventually approaches the highest bidder just before he and the bed he lays in burst into flames.

I will concede that the production values of the video are very praise-worthy, but I am also one of those disturbed by the video's subject matter. I would really like to sit down with Lady Gaga and find out why she chose human trafficking as the video's plot. I hope that her intention is to bring attention to a travesty that goes terribly unnoticed, but I'm afraid the true answer might be that "it makes a cool video."

I agree with critics who consider the effort put into this video to be a breath of fresh air in the realm of pop music videos. The music video is an art form that often goes unexplored in mainstream music; all night clubs now seem to blur together. But at what cost should something "cool" be created? The "Bad Romance" video does not glamorize human trafficking outright, but the line that Gaga toes is so dangerous.

I suppose it is possible to ethically justify the video that combines the horrors human trafficking (the video is appropriately dark) with the glitz and glam of pop music (sensual choreographed dancing) if it does reduce human trafficking through raising awareness. After all, the man who bids on Gaga gets what's coming to him at the end. But why include anything glamorous? Lady Gaga is a very popular artist and, if the goal is raising awareness, the video will be watched regardless of content or quality.

Is Gaga trying to raise awareness or is she simply trying to be edgy? Does it matter? Can a disturbing portrayal of a real-life atrocity be justified if it causes some good, even if that wasn't the intention?

I would prefer that artists take more responsibility for their art, but it can't be forced. I think the "Bad Romance" video has significant potential for good, but the portrayal is too ambiguous. At one moment it disturbs, but at the next it almost entices. Is the video making light of a horrible crime, merely trying to sell sex a new way, or perhaps trying introduce ourselves to the darkness within us that almost finds the "bad romance" enticing? All I can say for sure is that watching a video this controversial without meditating on its meaning can be very dangerous.

Del Negro's Bulls Win Fourth Straight

Perhaps the Bulls should have initiated coaching-change talks sooner. Vinny Del Negro, who only a week ago seemed certain to be fired, has the Bulls playing their best basketball of the season. They have won four straight games, most recently over the Orlando Magic, owners of the 2nd best record in the East and 3rd in the NBA.

Part of the turn-around can be attributed to Tyrus Thomas' return, but give Del Negro some credit as well. He had enough faith in rookie Taj Gibson to keep him in the starting lineup and bring Thomas off the bench and is being rewarded for it.

He also moved Kirk Hinrich into the starting lineup, allowing John Salmons to come off the bench. The productivity of both players has improved since the move. Salmons' size makes him the more conventional starting two-guard, but the last time the Bulls won a playoff series (2007 sweeping the reigning champion Miami Heat) Hinrich started at the two. Props to Del Negro for seeing past Hinrich's versatility (making it enticing to bring him off the bench) and having faith in starting the 6-3 combo guard against the likes of Dwyane Wade and Vince Carter. Hopefully Salmons will continue to produce offensively off the bench because his drop off has really hurt the Bulls so far this year.