"Glee," the underdog's favorite TV show, aired for the first time two−and−a−half years ago. Since the series' premiere, it has earned a host of accolades including Emmys and Screen Actors Guild Awards.
The show was once something of an underdog itself, but it now holds its own on the primetime line−up. "Gleeks" have come to expect more from co−creator Ryan Murphy than peppy musical numbers and the same old plots reused again and again.
The pressure on "Glee's" third season premiere, therefore, came not from its competition with other shows, but from its own hype. This summer's smash reality series, "The Glee Project," let viewers watch auditions for "Glee" itself. After seeing how funny, dramatic and truthful the contestants were, fans expect nothing less from the main series.
This season's premiere, "The Purple Piano Project," reoriented us with McKinley High's irrational and pervasive attitude toward the Glee club. Viewers were also saddened by the news that Sam Evans (Chord Overstreet) would not be returning, though his character's role has always been uncertain.
With "The Purple Piano Project," Murphy and writer/co−creator Brad Falchuk sent a loud and clear message: "Glee" was going back to its basics. The episode included the show's typical self−referentialvoice−overs and unabashedly dramatic and cheeky dialogue. There's a healthy dose of genuine drama and love, as well as a few charming songs.
Part of "Glee's" journey back to its roots includes embracing what originally pushed the show into the limelight and its viewers' hearts: its characters. The show's core focus on the characters in the first half of season one allowed viewers to empathize with Kurt's (Chris Colfer) coming out and Rachel's (Lea Michele) unbridled ambition. Centering on unique and sincere personalities is what made "Glee" interesting and set it apart from other cheesy comedies.
The season premiere offered a mix of hits and misses. One miss included the show's introduction of a new character, Sugar Motta (Vanessa Lengies), who claims to have Asperger's syndrome. Though "Glee" has previously tackled controversial topics with sensitivity, this might have been one of the most offensive moments in the show's three−season tenure. Though the show tries to make jokes about all types of people, caricaturing everyone, this joke comes off as distasteful and lacks the sophistication expected from Murphy and his creative team.
"Glee" should also learn that, with Barbra Streisand, sometimes less is more. Though Streisand is certainly an icon and a source of inspiration for many, not every actor on "Glee" can do justice to her music, nor should every episode feature a Babs number. Viewers love Michele belting out some Broadway hits like the 1964 tune "Don't Rain on My Parade," but it's ridiculous to run through every song in the "Funny Girl" (1968) repertoire that catapulted Streisand to fame. There is a long list of other, non−Streisand Broadway showtunes that viewers would love to hear Michele perform — not even she can beat the original.
All in all, the "Glee" showrunners have planted the seeds for a successful third season. Mercedes (Amber Riley) comes back with a bang, as indicated by her new boy−toy and her outstanding vocals in "You Can't Stop the Beat." Quinn's (Dianna Agron) plotline, though short−lived, provides some intriguing drama that sustains the first two episodes and could come back at any time. Finally, Will (Matthew Morrison) and Emma (Jayma Mays) are together at last, leaving that ridiculously long−lasting tension aside. "Glee" is most certainly back, and this time, with a backbone.
