Glee: Big Wheels Keep on Yearning

The writers of Glee put its tagline—“A biting comedy for the underdog in all of us”—to good use this week. In past episodes, the show’s incorporation of catchy tunes such as “It’s My Life,” and “Sweet Caroline,” have persistently left me feeling uplifted. Yet for a show about high school stereotypes, Glee pushed itself to a new level this week, challenging the frameworks of how we understand ourselves and the way we look, talk, and even sing or dance.  Yet the question remains: was the content too heavy for a teenage drama set in high school halls? I guess they don’t coin it a “biting comedy” without reason.

Since day one last spring, what draws me to Glee is its ability to mesh comic relief with more serious commentary on relationships and growing up. The writers have no shame flaunting their supposedly diverse cast.   In The Breakfast Club, the characters were labeled “a brain, an athlete, a basket case, a princess and a criminal.” Two decades have passed since the groundbreaking John Hughes film, and there’s a new round of pigeonholing going on—one with much greater consequences. But impressively enough, Glee hasn’t shied away from taking up mental and physical disabilities or sexual orientation. If there was any question before that this show would be only a silly teenage drama with no greater message, then this episode sought to clarify: Glee means business.

While this week’s contents were somewhat heavier than usual, I appreciated the attempt to step out of the metaphorical cable box and into a reality where wheelchairs aren’t just a fun prop in an a capella performance. And I’m not being facetious here; the Glee writers did something really important with this episode, and still managed to keep my attention and furthermore, gain my respect. So, big  props to the team at Fox studios!

And now back to your regularly scheduled programming…

The major plotline revolved around Principal Figgins telling Will that they lacked the funding to purchase a wheelchair ramp for the bus to sectionals. Mr. Schu suggests a bake sale to raise money to help out wheelchair-ridden Artie, but the club is averse to the idea because baking confuses ditzy Brittany. Artie takes to the stage in an awesome performance of Billy Idol’s “Dancing with Myself.” Will insists that they not only bake, but that each brave school in a wheelchair for 3 hours per day in order to gain perspective on Artie’s situation.

Meanwhile, Finn is angry at Quinn because she has sonogram bills up the wazoo and he has yet to find a job. She threatens to dump him, and also flirts with Puck by throwing flour and eggs at him. Puck tries to help out with money by what he does best–stealing and lying. Quinn makes him return the money to the ‘Get Artie to Sectionals’ charity fund. However, Artie selflessly decides that he would rather the money be used to help all of the disabled students at McKinley High by putting a ramp in the auditorium.

Yet instead, we find that Sue has donated the money for the ramps. Will is suspicious of her, especially when she also accepts Becky–a mentally handicapped student–as Quinn’s replacement on the Cheerios squad. In a heartwarming scene, we later find that Sue’s older sister is also disabled, when she visits her in a facility and reads “Little Red Riding Hood.” The scene humanizes the monstrous coach, and adds depths to the run of the mill notion that she merely exists as the show’s villain.

There are a couple other significant side plots. Rachel and Kurt show down in a “diva off” for the solo in the Wicked number “Defying Gravity.” Kurt ultimately blows the high F on purpose because he doesn’t want to embarrass his Dad, whose been receiving anonymous, homophobic phone calls regarding Kurt’s sexuality.

In the romance department, Artie and Tina kiss after eyeing each other the entire episode. “I still have the use of my…..”  he awkwardly informs her. But Artie rejects her when he finds out that she has been faking her stutter to account for her shyness. Turns out they don’t have much in common after all.

Although things are rocky between Finn and Quinn, Finn gets a job in order to help pay her bills and they reconcile at the end of the episode. However, it’s still clear that Finn would rather be with Rachel, and Quinn would rather be with Puck. Ah, the trials of the love square.

The episode ends with a non-traditional performance of Proud Mary, where all the Gleeks are in wheelchairs. On stage, they grin from ear to ear and do wheelies around the set, proving that they can embrace any challenge that Mr. Schu puts on their plate.

Overall, this was a different sort of episode, but not in a bad way. Rest assured next week will be more lighthearted to make up for this week’s provocative plot. Also, Emma (yay!) and Terri (boo…)  make their return.

For another take on this episode, read Social Concept for the Couchridden by Matt Turnier.

Season 1, Episode 9: Wheels (originally aired November 11, 2009)

For more on Glee, click here.

Wednesdays at 9pm on Fox

Photographs courtesy of Fox and IMDbPro