*Contains season six spoilers*
Quite how Glee managed to limp through its mostly-awful fourth and fifth seasons is anybody’s guess. There were times when it seemed that the whole thing would just grind to a halt and no-one would be bothered to even turn up to write, direct and act in it, let alone watch it. And yet, since the death knell has been sounded, and the sixth and final season has started, this most erratic and frustrating of series has finally found its feet once again. At its very best, Glee does not just entertain but it can also move its audience and send out a message like virtually no other programme.
I actually came to Glee in the first place about four years ago because a couple of my students were writing an essay on it, and I needed to see a few episodes. Even back then, in its first and second seasons, the writing was erratic – brilliant one week, bloody awful the following week. And yet one thing shone through despite the bland writing, forgotten narrative threads, bizarre characterisations, and awful song choices: Glee had heart. There were times when it became a little preachy to say the least, but at least it was preaching acceptance. But the erratic quality of the programme saw viewing figures fall (understandably), and the third season could easily have been the last.
But still it carried on, trying to dig itself out of the hole it had dug for itself, trying every trick in the book to win back viewers or, at the very least, keep the ones it still had. The idea to have what were essentially two parallel narratives running through the fourth and fifth seasons was interesting, but doomed to fail. Glee got more and more silly and irrelevant. It had been forgotten that the show was at its best when it was also at its simplest, but still there were moments when Glee’s best qualities shone through despite everything.
Now the show is at the midway point of its sixth and final series of just thirteen episodes and, somehow, it has returned to very near its best. Surreal humour that makes sense to no-one is mixed up with genuinely moving storylines and songs that are actually there for a reason. There are no fireworks as Glee comes to an end – no big attempt to win back viewers, but just an eagerness to let this once-loved show close out with some dignity. But this simple aim has resulted in some wonderful moments – and as a forty-one year old man, I really shouldn’t be saying that given that the target audience is probably about fifteen.
Dot-Marie Jones has been nominated three times for a Prime-time Emmy for her performances in the show and, given her performance in recent episodes that have centred around Coach Beiste’s decision to live life as a man, it’s highly likely that a further nomination will be forthcoming. Excusing the fact that his decision was made and surgery taken place all in a matter of four weeks, this storyline has resulted in one of Glee’s best episodes in years, entitled Transitioning. It’s a simple episode, in which a number of storylines get moved forward, but Jones’s performance as her character returns to work for the first time as a man is remarkable. It’s been mentioned in various places over the last few weeks that the transgender community gets forgotten or ignored when it comes to LGBT representation and politics, thus making this current narrative arc particularly welcome.
OK, I admit it, just like a Hallmark afternoon movie starring Lindsey Wagner, the climax in which transgender former student Unique sings a message of acceptance to the rather lost Coach Beiste, backed with a 300-strong transgender choir, is obviously intended to pull at the heartstrings and get the audience either crying like a baby or puking as a result of saccharine overload. And yet it’s done so well (and is so out of the blue) that even the most-hardened watchers would struggle not to be moved by the whole thing. Yes, it’s manipulating the viewer without apology, and, yes, it’s unadulterated feel-good TV – but that’s not always a bad thing. And yes, I cried like a baby.
Glee has tackled numerous issues over its six-season run – some were done remarkably well and in depth, while others were handled so appallingly that the writers should be ashamed (most notably when Ryder admitted that he was molested as a child). And, yes, there are “issues” that have, for some reason, been avoided. In a series aimed at teenagers, why did the producers seemingly go out of their way to avoid storylines relating to drugs or mental health? But the one thing it has consistently done, and done well, is ask for acceptance of the LGBT community, and this sixth season is no exception to that – quite the opposite in fact. And, as a gay man myself, I understand the importance of that message going out to a core audience of the age that is just starting to understand who they are and their purpose in life.
This final season of Glee has felt more like a beginning than an ending, and no doubt the show’s constant viewers will be watching it thinking of what could have been had the programme had been of this standard over the previous three seasons. But there is a time and a place for everything, and the series has run its course. In 2009, when it started, it was fresh, vibrant, funny and different. Now it’s viewed by most as tired and cliched. But I for one, even as a grumpy middle-aged man, am pleased that Glee has been allowed these thirteen episodes to get its arse in gear and finish with its head held high and to demonstrate just what it achieved over the last six years rather than where it failed.