The RBI Report: "Born This Way"

Hello, all!  This week's Glee was bigger, longer, and more epic than ever - without relying on a single artist for their theme!  "Born This Way" was a good fit for the show, because it gave focus to the defining notion that each of these kids embraces what makes them different.  In general, the episode communicated this fact efficiently and movingly.  But of course, I have a few nitpicks in choice and execution.  To the report!

"Born This Way," written by Brad Falchuk, directed by Alfonso Gomez-Rejon

"Born This Way" had a lot going on, but the basic construct of the episode was that the involved characters were expressing various levels of denial about their identity: Rachel with her nose, Quinn with her unpretty past, Emma with her OCD, and Santana and Karofsky with their sexuality.  Each of these characters were forced to confront these emotions through one of Glee's motivational staples: encouragement, or blackmail.  Of course, all of this was set against the backdrop of Karofsky's redemption, Kurt's return to McKinley, and the quest for Prom Queen.  So let's just go one-by-one, yes?

Rachel Berry and the Nose Job
Rachel Berry got clocked in the face within the first minute of the entire episode, and was left to simmer in the background wrestling with the decision to get a nose job.  This storyline worked well start to finish, although it was strongest when Rachel was in direct interaction with Quinn.  The show made it very clear that Rachel's nose issues stemmed strongly from the contrast to Quinn's traditional beauty, and the belief that everyone (Finn included) would choose Quinn over Rachel.  Since the emotions directly linked Rachel with Quinn, the actions that manifested those emotions played well in - you guessed it! - direct interaction with Quinn.

We got that mostly in the beginning of the episode, with some lovely shot direction by Alfonso Gomez-Rejon, who constructed parallel shots with Quinn and Rachel, and effectively used mirrors and photographs to illustrate the idea of self-reflection and external representation in both girls.  Compelling stuff, right?  Right!  But honestly, I wish this duet had come later in the episode, after Quinn and Rachel were given more time to actually interact and have a conversation that could highlight the similarities in their relationships with self-definition and the idea of external expectation.  It would have been allowed a stronger meaning, tethering the two girls together in similarity and difference.

But unfortunately, that didn't really happen.  Rachel's storyline spiraled away from Quinn's in the second half of "Born This Way," and while Kurt, Puck and the rest of the club were there to stage a darling Barbravention (sans Barbra, though, because they're in a mall in Ohio) to convince Rachel to keep her nose, Quinn's storyline didn't fare so well.  Which leads me to...

Quinn, and Lucy "Caboosey" Fabray
The idea that Quinn Fabray doesn't love herself is not terribly far-fetched.  The show has repeatedly presented the idea that Quinn Fabray is actually, to borrow a phrase from Shonda Rhimes and Meredith Grey, "dark and twisty."  But what I don't understand from the writers is why they refuse to confront this rather compelling notion and instead paint Quinn Fabray in two single dimensions: a pretty face with a white-knuckle grip on popularity.

What should have happened with Quinn in this episode is the reveal that even traditional beauties can feel like crap about themselves.  Even a Quinn Fabray can feel like a Rachel Berry without ever having looked like her.  And while I certainly concede that perhaps it is easier to be a blonde-haired, blue-eyed beauty in this society that defines attractiveness as such, I find that saying that Quinn chose to be that way as an easy fix for her self-worth problems is limiting.  

The reveal of Lucy "Caboosey" Fabray really throws me for a loop.  It's basically a half-assed justification for the writers' own refusal to treat Quinn like a real character since she's been off the Cheerios (pt deux).  The writing reduced Quinn to a pretty face with shallow intentions for the purpose of Finn's arc, Rachel's arc, and almost Lauren's arc - only to have it spun back around on her with the comedic excuse, "Oh, she used to be heavy and pimply and a brunette, too!"

It completely weakens the character.  It ignores the depth given to her in previous episodes, cements her two-dimensional representation, and almost permanently excludes her from the show's message.  You know who wasn't born that way?  Quinn Fabray.  Because it's apparently out-of-the-question that someone who looks like Dianna Agron could have insecurities about herself.  Cue an epic eyeroll from me, please.  (And also, please know that I don't look like Dianna Agron.  But everybody's got insecurities; I don't care how typically gorgeous you are.  And past that, no character, or human, should be defined by their looks - and wasn't that the true point of this episode?)

So, while "I Feel Pretty/Unpretty" was lovely and heartfelt, it really wasn't there for Quinn so much as for Rachel - even though it was supposed to be, based on thematic setup.  But in the end, Quinn was a "miserable little girl" who only loves herself now because she's traditionally pretty.  There was no ounce of regret given to her actions, just the notion that she has been duly punished for her transgressions.  The writers made an example of Quinn Fabray.  From Quinn herself, we can only really surmise that she accepts now that the truth is out, and the idea that other people don't have to change themselves if they don't want - based on her interactions with Lauren, and Finn.  But, there was no resolution with Rachel - and for as heavily as they set up their duality in the first third of the episode, there needed to be.  It was left completely dangling.  

Truthfully, the emotional resolution was given to a Finn/Quinn scene, when in fact it should have been a Quinn/Rachel.  Then, perhaps we would have gotten a stronger idea about Quinn's true feelings about her past self and current self - and her identity as an erstwhile Rachel Berry.  Perhaps the show can salvage this convoluting reveal about Lucy Fabray and let Quinn be a three-dimensional character again.  She's more than just a pretty face - remember the girl who made a mistake, got pregnant, was ostracized by her family, struggled with acceptance, and gave her baby up for adoption?  She's more than just a pretty face.

Emma and her OCD
I have long been head-scratchy about the way Glee treats Emma's OCD.  I don't really claim to know a lot about the sociology of mental illness, but I do know that Emma's OCD was introduced largely as a "character quirk" for her - played largely for comedy and mostly trivialized for the purpose of, as Will pointed out this episode, "being cute."  So when the show takes it seriously, and regards it as something that's part of Emma that needs to be "fixed," I get cagey - especially when it's Will trying to "support her" by saying so.

Much like Rachel, Emma resisted the idea of embracing her "problem" for much of the episode, finally breaking down in a therapy session.  Man, but Emma has displayed a serious lack of coping skills lately, hasn't she?  She was singularly in denial about her condition, and my heart broke for her when she pleaded her case, that she doesn't want to pop pills so she can be how others want her to be.  I wish this scene were earlier in the episode, not necessarily to crack Emma's denial prematurely, but rather to introduce a rather intriguing concept for a "born this way" episode - how do you know if you actually were born this way?  Does promoting self-acceptance work if you were born with something that's not genetic, physical, or sexual - like a bad attitude, or obsessive compulsive disorder?

It raises interesting questions, and like I said, I don't profess to be an expert about the societal implications of OCD and what that means for Emma's storyline.  I did appreciate very much the fact that Emma's therapist blatantly stated that there is a stigma that goes along with mental illness, which colors how we process information about those conditions.  That is true, and perhaps even has an effect on how the writers are manifesting the storyline itself.

The one thing that makes me wary about Emma's arc is the idea that her OCD is preventing her from being who she is.  That's a 100% valid, and beautiful, expression, but if "who she is" could be replaced with the phrase "with Will," then cue a million eyerolls from this cynic.  The message should not be that Emma needs to get past her OCD just so she can have a relationship with Will.  It needs to connect to Emma's identity and her capacity to live her life - which, may I remind the writers, seemed to improve naturally while she was dating Carl.  It's tricky waters to maneuver here, and it's going to take some sophistication to make the Will-Emma-OCD construct to work fluidly.

Santana, Karofsky, and Sexuality
Naturally, "Born This Way" gave us a Santana and a Karofsky speaking openly about their sexuality, but still refusing to confront it and wear it proudly.  For the most part, Santana and Karofsky's emotional arcs worked with the context of the episode.  I have reservations about the return of Karofsky in combination with the return of Kurt, but we'll get to that in a second.  In terms of sexuality, "Born This Way" gave Santana and Karofsky progress - but certainly not any resolution.  Sure, they've given up bullying in favor of bearding and beret-wearing, but at the end of the day, they're still sitting in the audience when everyone's onstage touting their differences.  Although - Santana's at least wearing the shirt, even if she's not dancing, which is a lovely character choice. 

In general, the writing for Santana was on-target in this episode, although they seem to be going a bit overboard on reminding us that Santana is both a bitch and also gay.  We get it, we promise!  Although, it is a curious distinction in the idea that Santana has no (or at least fewer) qualms about coming out to Karofsky than confronting the idea of labeling her love with Brittany.  Brittany hit the nail on the head, verbalizing the notion that Santana doesn't love herself as much as she loves Brittany, which is darling and tragic and true.  So here's hoping Santana sticks on her path towards real self-acceptance - because wearing "bitch" on her shirt instead of "Lebanese" (or "lesbian," rather) is much like Emma choosing "ginger" instead of "OCD."  It's a phantom problem.  (Santana clearly has no issues with the fact that she called her delivering nurse fat, straight out of the womb.)

Prom Queen, Karofsky's Redemption, and Kurt's Return to McKinley
Honestly, there were problems with all three plot frames the episode presented.

Returning Kurt to McKinley is a tricky issue because the writers wrote themselves into a corner.  Inherently, as an audience, we want Kurt to "come home" to McKinley because we want to see him sing solos like "As If We Never Said Goodbye" (seriously, how good was that?  I have no words, only tears) and be with his friends and not stuck in that red-trimmed uniform, no matter how happy Dalton made him.  McKinley is where he belongs.

But the show set up the promise that Kurt could only return when the halls of McKinley High were truly safe for him.  Because Dave Karofsky threatened his life a dozen episodes ago, and is wandering around unpunished.  The writers are clearly aware of this construct, but did little to redeem Karofsky in Kurt's absence - and shoved Kurt's return (conveniently after the curtain call of Dalton's competition run) in the same episode as Karofsky saying he's changed and donning a red beret with Santana.

Oh, writers.  Show, don't tell!  I will believe Karofsky has changed when he's proved it, through actions, and not because he wants a Big Gay Beard and a chance at Prom King to boot.  And the idea that Santana got tangled up in the storyline with random intentions to seize Prom Queen from Quinn felt left of center as well - especially considering a serious flaw in logic.  Santana reasoned that if she returned Kurt to McKinley, everybody would love it and vote for her.  But isn't this the high school that was so inhospitable that Kurt had to flee to a private school?  Why would Kurt's return mean anything to anyone other than those twelve kids in Glee Club?  It's flawed logic, and clunky handling in an effort to neutralize the tension between Kurt and Karofsky, involve Santana, and simultaneously allow Kurt his place in Glee Club again.  

The race for Prom Queen was also a bit lackluster, if only because it resulted in said flawed logic, and the stomach-turning reveal that Quinn is as falsely beautiful as they come.  The only reward from the storyline was the glimmer of solidarity between Lauren and Quinn, who frankly are both strong broads who deserve a strong-broad friendship in their lives.

Speaking to that notion, there were many rewarding character interactions and moments that carried through quietly and strongly.  Points to Tina, who, as usual, charged through an entire episodic character arc in the background, in two hardly-far-apart scenes.  Even with the development offscreen and unexplained, I cheered for her statement about being an Asian sex symbol, and championed her championing of Rachel keeping her nose.  

All of Glee Club's support of Rachel was dearly welcome, from Puck cornering her in the girl's bathroom (!!!) to Mike encouraging her onstage for "Born This Way."  This episode was strong in reminding us that these characters are actually friends and care for each others' well-being.  Kurt group hug!  I got teary-eyed at his return, I won't even lie to you.

Points also to Burt Hummel, who basically expressed every audience member's reservations about Kurt coming back to McKinley - which is how we know the writers are fully aware of the stipulations of the scenario.  They're just choosing to use Burt as an outlet for them, rather than manifesting them in a storyline.  

I do also want to give credit to Alfonso Gomez-Rejon's direction.  This is his fourth episode directing Glee and what has largely stuck in my mind about that time is his work with "Grilled Cheesus."  Personally, I wasn't a fan.  But "Born This Way" seriously impressed me.  His use of reaction shots (Santana during the "born this way" t-shirt plan), interesting camera work (dutch angles during Lauren revealing Quinn's secret, the inside-the-locker shots with Finn and Quinn, the entirety of "I Feel Pretty/Unpretty"), and parallel editing (the choice to cut to black on Rachel's profile and cut up from black to Quinn's profile) - I must say, all of "Born This Way" was carefully directed with a quiet and artistic style I rather appreciated.  Even when the writing wasn't communicating emotional undercurrents, Gomez-Rejon's direction was.  Well done, sir!  Come back soon!

And finally, credit where credit is due on the songs this episode.  Every song was an A+ venture, from the softly heartbreaking harmonies of "I Feel Pretty/Unpretty" to the fierce exuberance in "Born This Way."  Every singing voice in the episode was strong, emotional, and impacting - and currently on repeat in an iTunes playlist.

In all, "Born This Way" presented a message true to Glee's essential identity, with lovely character moments for nearly everyone.  Unfortunately, the reveal of Lucy Fabray twisted Quinn's participation in the theme, and left a poor taste in my mouth.  Even with that, and some clunky handling and neglected payoffs, the bulk of the episode's content was compelling and emotionally rewarding.

The RBI Report Card...
Musical Numbers: A+++
Dance Numbers: A
Dialogue: A
Plot: B
Characterization: B
Episode MVP: Kurt Hummel, for being comfortable with himself from start to finish, showing mercy to Karofsky (even though he probably shouldn't), supporting Rachel, for a stunning performance with "As If We Never Said Goodbye," and for plain ol' COMING BACK TO US.