Absurd plot twists, inexplicable deaths, and an appalling double standard on bullying its characters — any other show would be on its way to TV heaven for abusing fans like this, but Ryan Murphy‘s Glee is a showtune-singing cockroach that will never get cancelled. The co-creators are so sure of their survival that they’ve hired on several prominent TV writers, including Marti Noxon, who got her start writing for Buffy and Angel. At this point, Glee‘s got nowhere to go but up, but Noxon’s also got the experience to steer this disaster back to being somewhat beloved.
She’ll put an end to the “will-they-won’t-they” Finn/Rachel drama. Noxon ensured the hatred of hundreds of Buffy/Angel ‘shippers by helping to sever that forbidden love by sending Angel to LA. That tough-love approach is what Glee needs: Stop dithering around — with all the couples, really — and refocus on how the music unites these outcasts.
She’ll inspire action in key episodes. Noxon was hired as a consulting producer, which was her most recent gig on Mad Men. For the latter, she consulted on 20 episodes in seasons 2 and 3. In fact, she was part of the acclaimed season 3 finale “Shut the Door, Have a Seat,” which saw Don and co. creating the new agency Sterling Cooper Draper Pryce, and Betty finally leaving Don. I couldn’t tell you what happens in the Glee season finales other than them losing at regionals over and over. Stuff happens when Noxon’s involved, and she’ll push the same change for Glee.
She’ll put herself out there for comedy. One of Glee‘s problems is taking itself way too seriously. During her time in the Whedonverse, Noxon has shown that she’s game for anything, including silly musical cameos in “Once More, With Feeling” (she’s the “Parking Ticket” lady) and Dr. Horrible’s Sing-Along Blog (she’s one of the newscasters in “So They Say”). There’s no guarantee that Murphy will put her in a scene since the solos seem to go just to the kids, but hopefully she’ll still be able to make the actual singers follow her example.