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Fox's “Glee” Portrays Homosexuality Honestly

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Interested in writing TV, music, movie, concert, restaurant, book reviews and more? Write for the Lifestyles section! For more information, e-mail /LIHVW\OHV [email protected]. Fox’s “Glee” Portrays Homosexuality Honestly Hit show “Glee” does SDUW EXW KH ZDV WRR LQWULJXHG ZLWKKLPWRMXVWOHWKLPJR away with stereotypes of 0XUSK\VFUDSSHGWKHSODQQHG homosexuals FKDUDFWHU5DMLVKDQGZURWHLQWKH QHZFKDUDFWHU.XUW+XPPHO By Ryan O’Callaghan ³*OHH´ SURYLGHV DQ KRQHVW Sta! 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  • Chris Colfer

    Chris Colfer

    Las 10 de chris colfer Chris Colfer es un actor y cantante estadounidense nacido en Clovis, California, el 27 de mayo de 1990, nominado a un premio Emmy y 1 ganador de un Globo de Oro. Su papel de Kurt Hummel en la serie Glee se ha ido ganando el cariño de todos los fans de la serie con cada capítulo, consiguiendo cada vez EL SIGLO DE DURANGO 29 • Enero • 2011 2 más protagonismo en la misma. 3 Todo su esfuerzo fue reconocido cuando el actor se alzó con el galardón a Mejor Actor de Reparto en una serie 3 Musical o de Comedia, en los Golden Globes de este 2011. El actor, tras llegar al escenario y recibir el premio de manos de la actriz de Gossip Girl, Leighton 4 Meester, dio un emotivo discurso que fue aplaudido por toda la audiencia. Su amor por la actuación y dirección continuó en la escuela secundaria cuando A 5 escribió una parodia de Sweeney Todd, titulado Shirley Todd, en su último año de IC preparatoria. Su personaje es contratenor y uno de los personajes más MÚS 6 populares de la serie, distinguido por su fino gusto de la moda y sus prendas de diseñador. Además de su inigualable sensibilidad hacia su padre. Colfer es abiertamente gay y compartió a Access Hollywood que sus padres lo 7 aceptaban, pero fue intimidado en la escuela con frecuencia por los grandes deportistas. Audicionó para el papel de Artie con la canción Mr. Cellophane pero Kevin McHale fue 8 seleccionado. Los directores del casting quedaron tan impresionados que escribieron el personaje de Kurt Hummel especialmente para él.
  • As Heard on TV

    As Heard on TV

    Hugvísindasvið As Heard on TV A Study of Common Breaches of Prescriptive Grammar Rules on American Television Ritgerð til BA-prófs í Ensku Ragna Þorsteinsdóttir Janúar 2013 2 Háskóli Íslands Hugvísindasvið Enska As Heard on TV A Study of Common Breaches of Prescriptive Grammar Rules on American Television Ritgerð til BA-prófs í Ensku Ragna Þorsteinsdóttir Kt.: 080288-3369 Leiðbeinandi: Pétur Knútsson Janúar 2013 3 Abstract In this paper I research four grammar variables by watching three seasons of American television programs, aired during the winter of 2010-2011: How I Met Your Mother, Glee, and Grey’s Anatomy. For background on the history of prescriptive grammar, I discuss the grammarian Robert Lowth and his views on the English language in the 18th century in relation to the status of the language today. Some of the rules he described have become obsolete or were even considered more of a stylistic choice during the writing and editing of his book, A Short Introduction to English Grammar, so reviewing and revising prescriptive grammar is something that should be done regularly. The goal of this paper is to discover the status of the variables ―to lay‖ versus ―to lie,‖ ―who‖ versus ―whom,‖ ―X and I‖ versus ―X and me,‖ and ―may‖ versus ―might‖ in contemporary popular media, and thereby discern the validity of the prescriptive rules in everyday language. Every instance of each variable in the three programs was documented and attempted to be determined as correct or incorrect based on various rules. Based on the numbers gathered, the usage of three of the variables still conforms to prescriptive rules for the most part, while the word ―whom‖ has almost entirely yielded to ―who‖ when the objective is called for.
  • The Glee News

    The Glee News

    Inside:The Times of Glee Fox to end ‘Glee’? Kurt Hummel recieves great reviews on his The co-creator of Fox’s great acting, sining, and “Glee” has revealed dancing in his debut “Funny Girl” star Rachel Berry is photographed on the streets of New York plans to end the series, role of “Peter Pan”. walking five dogs. She will soon drop the news about her dog adoption Us Weekly reports. Ryan event. Murphy told reporters Wednesday in L.A. that the musical series will New meaning to “dog eats end its run next year after six seasons. The end of the show ap- dog” business pears to be linked to the Rising actors Berry and Hummel host Brod- death of Cory Monteith, one of its stars. Chris Colfer expands way themed dog show In the streets of New York, happy to be giving back. “After the emotional his talent from simple the three-legged dog to the Rachel uncertainly leads mother and her son. The three friends share a memorial episode for an actor and musician a dozen dogs on leads group hug, happily. Monteith and his char- to a screenplay wiriter through the street. Blaine Sam suggests to Mercedes acter Finn Hudson aired and Artie have positioned that they give McCo- “Old Dog New Tricks” is as well. last week, Murphy said themselves among some naughey to someone at the written by Chris Colfer, who it’s been very difficult to event, but Mercedes tells lunching papparazi, and claims his “two favorite move on with the show,” him to not bother - they’re loudly announce her arriv- cording things in life are animals the story reports.
  • US, JAPANESE, and UK TELEVISUAL HIGH SCHOOLS, SPATIALITY, and the CONSTRUCTION of TEEN IDENTITY By

    US, JAPANESE, and UK TELEVISUAL HIGH SCHOOLS, SPATIALITY, and the CONSTRUCTION of TEEN IDENTITY By

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by British Columbia's network of post-secondary digital repositories BLOCKING THE SCHOOL PLAY: US, JAPANESE, AND UK TELEVISUAL HIGH SCHOOLS, SPATIALITY, AND THE CONSTRUCTION OF TEEN IDENTITY by Jennifer Bomford B.A., University of Northern British Columbia, 1999 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH UNIVERSITY OF NORTHERN BRITISH COLUMBIA August 2016 © Jennifer Bomford, 2016 ABSTRACT School spaces differ regionally and internationally, and this difference can be seen in television programmes featuring high schools. As television must always create its spaces and places on the screen, what, then, is the significance of the varying emphases as well as the commonalities constructed in televisual high school settings in UK, US, and Japanese television shows? This master’s thesis considers how fictional televisual high schools both contest and construct national identity. In order to do this, it posits the existence of the televisual school story, a descendant of the literary school story. It then compares the formal and narrative ways in which Glee (2009-2015), Hex (2004-2005), and Ouran koukou hosutobu (2006) deploy space and place to create identity on the screen. In particular, it examines how heteronormativity and gender roles affect the abilities of characters to move through spaces, across boundaries, and gain secure places of their own. ii TABLE OF CONTENTS Abstract ii Table of Contents iii Acknowledgement v Introduction Orientation 1 Space and Place in Schools 5 Schools on TV 11 Schools on TV from Japan, 12 the U.S., and the U.K.
  • 14. Swan Song

    14. Swan Song

    LISA K. PERDIGAO 14. SWAN SONG The Art of Letting Go in Glee In its five seasons, the storylines of Glee celebrate triumph over adversity. Characters combat what they perceive to be their limitations, discovering their voices and senses of self in New Directions. Tina Cohen-Chang overcomes her shyness, Kurt Hummel embraces his individuality and sexuality, Finn Hudson discovers that his talents extend beyond the football field, Rachel Berry finds commonality with a group instead of remaining a solo artist, Mike Chang is finally allowed to sing, and Artie Abrams is able to transcend his physical disabilities through his performances.1 But perhaps where Glee most explicitly represents the theme of triumph over adversity is in the series’ evasion of death. The threat of death appears in the series, oftentimes in the form of the all too real threats present in a high school setting: car accidents (texting while driving), school shootings, bullying, and suicide. As Artie is able to escape his wheelchair to dance in an elaborate sequence, if only in a dream, the characters are able to avoid the reality of death and part of the adolescent experience and maturation into adulthood. As Trites (2000) states, “For many adolescents, trying to understand death is as much of a rite of passage as experiencing sexuality is” (p. 117). However, Glee is forced to alter its plot in season five. The season begins with a real-life crisis for the series; actor Cory Monteith’s death is a devastating loss for the actors, writers, and producers as well as the series itself.