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'Glee' Hires New Writers, Adds Freshman Characters For Season 3

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Jun 17, 2011 | 6:30am EDT

GleeHats off to you, Glee. You finally realize that music alone does not make a show. Sure, there are programs like American Idol, and Dancing with the Stars, which have had...a following. But you know that it’s just a phase. You’re not falling for it. You’re taking the high road: STORY.

The creators behind this oddly popular Fox series have hired an additional six writers to join their staff of, virtually, three: the creators and executive producers, Ryan Murphy, Ian Brennan and Brad Falchuk.

Glee’s new staff will include Allison Adler (who will also serve as an executive producer), Marti Noxon (writer for Mad Men and Grey’s Anatomy), Roberto Aguirre-Sacasa (writer for Big Love and Marvel comics), Matt Hodgson (Eat Pray Love), Michael Hitchcock (a writer/actor you know, but you have no idea from where…think Arrested Development or anything by Christopher Guest), and Ross Maxwell (Running in Traffic).

The most fundamental change to the show will be the addition to a new freshman characters interacting with Glee club, allowing for various stories and relationships to develop between them. The producers have made past claims about beginning to "phase out" some of the older characters, as well, so perhaps this is a signal for a future shift?

In addition, showrunner Murphy expressed his desire to revert back to the style of Glee’s first season. In Season One, a major story arc involving Dianna Agron's character, Quinn, as a pregnant teen was the driving force. Plots branched off from this central storyline, involving the identity of the father and who might become the caretaker of Quinn’s child. It was a teenage soap opera riddled with improbabilities and character behavior that would in reality brand anyone criminally insane. But at least there was a story. The second season lacked this baseline, relying more on the singing of the cast as primary entertainment. There were smaller story arcs, a slew of “Be Yourself” messages, and a repeat of the whole “If we don’t win Nationals, then there’s no reason to live” motif, but nothing as founding as the first season’s pregnancy.

So, I reprise: way to go, Glee. You’re finally going to start valuing substance over style. Story over song. Pride over popularity. Respect over ratings… good luck.

Source: Hollywood Reporter

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