Last week's TV - the inthenews.co.uk view
Glee made a fine start on E4 last week
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Monday, 18, Jan 2010 10:33
Something has happened to television, both here and in America, and that is music. Music television may have been around since 1981, but it is only recently that we have seen it transcend into a plethora of mainstream TV shows and movies.
It all started with the return of the talent show at the start of the Noughties. Little did we know back then, that Pop Idol and Popstars would create a new era of High School Musicals and Hannah Montanas whereby music is at the core of the storytelling and commercial power.
The latest is the all-singing all-dancing Glee. However, E4's latest US import is so much more than a squeaky-clean serialised High School Musical cheese fest. The genre is now beautifully parodying itself. Glee revolves around the singing group at William McKingley High in Anytown, Ohio, run by the idealistic Mr Schuester (Matthew Morrison). Almost every character is a walking cliché from the budget-fixated head to the picked-on camp kid, but that is the point. The writers are clearly having fun indulging in every possible stereotype whilst packaging it in the same manner as if it were all in earnest.
The show may be slick and as well choreographed as a fancy dance routine, but its strength is a sharp and provocative script. In the first two episodes alone, it tackles the issues of disability, ethnicity, homosexuality, eating disorders and the politics of high school sex. It may be obvious that the jokes are there to mock the characters that deliver them, but it doesn't matter.
The musical performances are polished and feel in no way forced, slotting in nicely to the flow of the action. There are no sudden bursts into song in the middle of the school cafeteria for instance. The songs are clearly one of the show's greatest strengths. Artists are queuing up around the block to have their songs featured in the show, knowing full well that by doing so they are now guaranteed chart success. Sunday's chart saw Glee's version of Don't Stop Believin' chart at number 5, while the original by Journey charted at number 6.
Glee is fantastic fun and set to have a fundamental impact on popular culture this year if last week's huge 1.3 million audience on E4, and the current chart success of the music is anything to go by.
While Glee fired on all cylinders, Material Girl was plagued with problems. Watching the BBC's new fashion drama felt like a year of ever-changing weather, rather than a pleasurable hour of sunshine. The show lacked any real hook, I found myself repeatedly checking my watch to see how much of my life was passing by whilst I had to endure the unstylish mess.
If Material Girl was attempting to send up the fashion industry it failed miserably. The first episode saw young designer Ali working backstage at a high-end fashion show in Paris. However, there was no real style to the catwalk at all, the costumes were nothing special and looked decidedly cheap, surprising considering the show reportedly cost £6 million.
The usual moral dilemmas of whether fashion makes you a bad person were thrown in for good measure, along with an angst-ridden love story and a sea of name-dropping. However the dull characterisation and a lacklustre script made this one show not worth staying in for.
I'd much rather watch Lenora Crichlow in Being Human, which is far more entertaining and engaging that the artificial embarrassment of Material Girl.
Law and Order UK returned last week, feeling as if it had never been away, though that may be down to the fact that it is the second half of season one. The story focused on the death of homosexual copper Nick Bentley, shot dead by a druggie and left to die by gay-bashing officer Ray Griffin. The plot whilst controversial felt squeezed into an hour, as we followed the Met's investigations to the crown court trial.
Bradley Walsh shone as DC Ronnie Brooks against the beautiful London skyline, but while it brings both sides of the criminal justice system together effectively, the show does feel a little dry, despite tackling some serious issues.
The series does however highlight the flaws in the system, which leaves senior crown prosecutor (Ben Daniels) reflecting: "We'll get them next time," although you can't help but question whether they will or not.
Matt Robinson