Editors’ Note: episode reactions at Deconstructing Glee will now be coming from a rotating panel of contributors from all around the globe. Let us know if you’d like to help, here.
So . . . in “Sadie Hawkins,” Kurt considers joining the Grand Guignol Club, among other things. This style of theater (I’m not an expert here so help me out if you can) appeared around the turn of the last century in Paris and later, London, and featured staged violence with
notably gory special effects in their notoriously bloody climaxes. These plays often explored the altered states, like insanity, hypnosis, panic, under which uncontrolled horror could happen . . . People came to this theatre for an experience, not only to see a show. . . they wanted to be filled with strong “feelings” of something. Shockingly, many attended the shows to get a feeling of arousal. . . (source)
Reviewers of the performances in London didn’t know what to make of the plays, because there was “more emphasis on the totality of spectacle and action than text.” This either describes your experience of Glee . . . or its fandom. Or both. Regardless, the reference to a form of staged violence is sort of interesting in an episode about one character’s prior history with real violence. And let’s be honest: there are body parts all over the place this week.
So what else happened?
We finally meet Adam’s Apples.
And discover that there’s more to NYADA than students (and by “students” I mean “models”) dressed in black! Plus the group’s performance of “Baby Got Back” gives us two sets of parallels to think about. One, the Apples’ performance versus other NYADA performances we’ve seen, such as in Rachel’s dance classroom. The Apples are colorful, playful and full of personality—so opposite from the sort of faceless dancers backing Cassie the first time we are introduced to the culture of the school (not that Cassie isn’t amazing). Second parallel? The Apples’ versus the Warblers’ singing to Kurt. The Apples aren’t rockstars, and Adam isn’t Blaine. But, you know—Adam sure is tempting. Damn! But what’s the penalty for plucking the apple from the tree?
Lots of people crush on other people.
Tina proudly proclaims that the dance was her idea while she sits in the science classroom, her head in the clouds (as planets hang everywhere). Tina watches Blaine’s ass, while Blaine watches Sam’s lips. Again: plenty of body parts on display, even if they’re being, um, injected with steroids.
But what about those crushes? Tina asks Blaine to the dance in the locker room, which reads, “Attitude is Everything.” As Blaine lets her down, the room floods with young men. Even as the pair agrees to go to the dance, they both know it’s fantasy and going nowhere, and yet . . . there’s a moment. While the girls are literally dressed in feathers and dancing like birds, so to is Blaine, strutting to “No Scrubs,” talking about saying no while his body language and words convey something else to Tina.
Assorted imagery and other observations.
Snowflakes and peacocks (and other birds everywhere). And Warblers. The Peacocks replace the Warblers, don’t they, as Glee mascot? They’re proud and wise and royal. And not caged.
And Dottie and Lauren and bow ties. Lots of them.
In other news, Marley asks Jake to the dance, Puck looks way, way older than Kitty, and Rachel thinks she’s being Very Grown Up by asking Brody to move in with her (and apparently, Kurt?). Wait until Kurt finds out!
By the way, Tina tells Blaine that Sadie Hawkins dances are sometimes called Snow Balls—and snowball is what’s going to happen to these new stories as the momentum builds . . . maybe “uncontrolled horror” isn’t off the table after all.
What did you think of the episode? Of the new characters we met, or the new relationships forming?
Sheryl (sothinky), Writer’s Club, A/V Club