camussie asked: It just insults my intelligence that RM now tries to say they funded two narratives, including giving 5 people contracts, because he had this grand vision about Finn belonging at McKinley and everyone from the network on down bought into it. Please. They kept the choir room in hopes of spawning a second generation Glee juggernaut, concert tours and all, with the newbies. No other reason. It failed (and would have even with Finn alive) so Fox mandated one narrative to reign in costs.
And they did it because they wanted to keep churning out music sales and the money that comes in with music, tours, and merchandising, ad infinitum. Melissa, Jacob, and Becca all stated in their interviews when they joined the show that the focus of their audition processes was on showing that they could sing and dance—that’s what the show/studio/network was looking for: people they could plug into a formula they thought could sustain itself while it kept churning out more song sales.
That meant they shoved stories, and acting-centered narrative, to the side and focused on big production numbers linked by loosely told stories and sprinkled with PSAs, thinking that they could keep that going on and on.
It was writing Glee as American Idol or X-Factor, with the idea that new crops of students/contestants would constantly be brought in and we’d be given loose stories about them to try to make us care about what they did and root for them in between the song and dance numbers. The show made this fairly explicit in Season 4, literally bringing the vets back to Lima in 4x08 to be paired up with the new students as “mentors.” Blaine and Marley were the two contestants set up as the ones meant to win who we were supposed to be rooting for the hardest.
Finn wasn’t even given as prominent of a role as one of the AI or X-Factor judges; he was more like Ryan Seacrest or Mario Lopez, the occasionally-seen host of the show.
And the format Did. Not. Work. At all.
The only thing sparking any real interest in the show in Season 4 was the New York side, which still had a focus on narrative as it told Rachel’s story, with a side-story for her sidekick Kurt and a smattering of Santana for comic relief.