The "New" GLEE

Article first published as TV Review: 'Glee' - 'New New York' on Blogcritics.

It’s finally here! We’re done with Ohio, a state I dearly love, but which has been played out on FOX’s Glee, and the story has shifted entirely to New York City. I’ve mentioned for weeks in these columns my hope that things will improve when this happens. Now that the first episode solely in the big city has aired as of last night, has the show gotten better? In a word, yes.

“New New York,” the most recent installment, is not the best episode of Glee ever. Other than a great, big opening number, “Downtown,” which shows Blaine (Darren Criss), Sam (Chord Overstreet), and Artie (Kevin McHale) joining Rachel (Lea Michele) and Kurt (Chris Colfer) in New York, nothing huge happens. It settles into what will likely be the fairly conventional stories of these people for the near future. Yet, it lacks most of the stuff that didn’t make sense before, as well as the cheesiness, making for a higher-quality series.

Rachel’s plot in “New New York” is about losing who she is. Talk about white girl problems! Gifted a town car and driver by her production, she suddenly realizes that she’s locked in a gilded cage, not experiencing the city or its people. In Rachel fashion, realizing this does not mean she truly grasps reality, still wrapped up in her sheltered, privileged attitude, but at least she makes efforts to work on this, and ends the episode with a terrific “People” performance, beautifully staged on the street.

Rachel enlists the help of Artie to keep her reigned in. Artie is having his own problems. We don’t yet see where he lives (not a dorm, since he has to commute to school), but he does spend lots of time hanging around the other McKinley grads, the new clique in New York, and has to ride the subway. This goes south when he is mugged. Rachel decides riding with him will help him feel safe, and he is a straight talker, so he can call her on her crap.

I have to admit, it feels mighty strange to see Rachel and Artie together, since they’ve shared very little screen time in the past. They are not close friends. But I guess in a city of millions, you cling to the familiar, and so it makes sense they’d begin to hang out more now. Their “Don’t Sleep on the Subway” duet is surprisingly fun, and even though it’s pretty far-fetched that they find Artie’s mugger and get revenge (as well as his stuff back), that is a hallmark Glee plot twist, so it doesn’t feel tonally off.

The rest of the players aren’t getting along as swimmingly. Kurt and Blaine start off fairy tale-perfect with “You Make Me Feel So Young,” but things quickly deteriorate from there. Kurt feels smothered by Blaine, now together all the time, in class and at home. Blaine doesn’t feel like the loft is his home since Kurt won’t let him make it his own. It’s hurting their relationship, and unless they can change the status quo, they risk losing what they have, something neither of them want.

Both end up going to Elliott (Adam Lambert) for advice. Kurt, because Elliott is one of his best friends, and they jam out to “Rockstar” together. Blaine, thinking Elliott may be trying to steal Kurt, but quickly finding a new pal in his own right as they share a moment and a little guitar improv. Elliott is not only wise, but he cares about them both, and so he helps them find a solution, which just reinforces that he should be upgraded to main character immediately. In the end, Blaine decides he needs to move out, it being too soon for the couple to live together, especially with the pressures of school and Blaine having just moved to the city, and then they can continue to happily date.

The dissolution of Blaine and Kurt’s co-habitation is well-handled. It would be very easy for this to seem like a step back or the first stage of a break up, but that’s not how it comes across. These guys are pretty self aware, at least when they have a sounding board to help them see themselves, and they’re smart not to rush things. This is a very dynamic time in their lives, and it’s not a bad thing if they both want to work on themselves as individuals before spending the rest of their lives together. This not only makes sense, but is more than most guys of their age could ever figure out. They will survive this.

Sam is also a source of tension between the two, though Kurt likely uses Sam as an excuse more than actually being annoyed with him directly. True, Sam is crashing on their couch and playing video games all day, but Blaine fixes that when he takes him out to sing “Best Day of My Life,” an energetic performance that inspires Sam to cut his hair and go back out on the job hunt, soon landing his first modeling gig. Unfortunately, the agency-provided housing is full of drugs and bad peer pressure, so that doesn’t solve all of their problems.

The solution may be a bit too-neat, but it works in rounding out the new cast. Mercedes (Amber Riley) announces she’s moved to the city that never sleeps to join them, and conveniently has a spare room she’s willing to let Sam and Blaine share, thus solving the housing crisis. Perhaps there isn’t a real good reason to bring Mercedes back now,  but she’s been missed and I hope she sticks around. The tension between her and ex-boyfriend Sam is interesting, and she herself has always been a character I’ve liked, even when the show takes her arc in unrealistic directions, as her recording contracts have done.

Santana (Naya Rivera) and Brittany (Heather Morris) are absent from “New New York,” so the hour doesn’t give us a full picture of what Glee: New York Edition will be. However, the make up of the group they have now is fantastic, the songs are all wonderful, not a dud among them, and it feels right to get back to the basic chemistries that first compelled the show. Artie still drags things down a little, but since he’s the only lame character left, that can be overlooked, especially the way they use him to balance out Crazy Rachel. I am not ready to declare victory for the reborn show just yet, but early signs are positive.

Glee airs Tuesdays at 8 p.m. ET on FOX.

A "Trio" of Uneven GLEE Stories

Article first published as TV Review: 'Glee' - 'Trio' on Blogcritics.

FOX’s Glee‘s latest episode, “Trio,” is uneven, as is par for the course of Glee installments lately. The New York scenes are mostly excellent, depressing, but frustrating, with solid character definition and development. The McKinley stuff is silly fluff that doesn’t make sense. But with the end of the high school setting so close, all viewers can do is grit their teeth and wait it out.

Let’s hit the good parts first. Rachel (Lea Michelle), still furious at Santana (Naya Rivera) for being her understudy and at Kurt (Chis Colfer) for remaining neutral, meaning he didn’t side against Santana with her, latches onto Elliott (Adam Lambert) as her new gay bestie slash personal assistant. Santana strikes back, paying Elliott to run scenes with her. This battle continues until Elliott and Kurt throw up their hands and tell the ladies to go away until they can work out their issues, kicking Santana and Rachel out of the band.

This part of “Trio” is excellent because, as heartbreaking as it is to have Rachel and Santana at each other’s throats once more, acting like they are back in high school, Glee stays completely authentic to both characters. Rachel is overreacting, she’s always been a bit of a drama queen, and is too proud to back down. Santana doesn’t apologize because she doesn’t want to appear weak, and when threatened, resorts to her old lashing out coping mechanism. Santana didn’t mean to hurt Rachel, but now that she has, neither can back down.

There’s a scene in this episode where we see the girls softening towards one another, and they’re almost vulnerable, admitting they don’t have any other gal pals around. Had Kurt and Elliott not walked in, interrupting, they may have made up, rather than trying to save face as they did, driving them further apart. The question is, can that friendship be found again, or will circumstances keep eroding it until it’s too broken to heal?

I love Rachel and Santana as friends, but they also make great enemies. Fans desperately want them to work it out, so they probably will, eventually. But the presentation of two such powerful voices, conflicted by circumstance, is an enticing one, and I’m glad Glee chose to explore this path, even if, hopefully, it’s only temporary.

I think the main difference between now and high school is that neither Rachel or Santana have any enablers. Their friends, Kurt, Elliott, and even Santana’s girlfriend, Dani (Demi Lovato), recognize that this feud is between two good people, and all move to isolate the women until they can come to their senses and realize the importance they have to each other. Cut the oxygen off to the fire, and it will die out.

I have to admit, I’m expecting Santana to instigate the reconciliation. I do think Rachel needs a big slap in the face to knock her down a peg, so I don’t want to see Santana defeated or to have to bow down. I just think Santana is the one who has to be the bigger person here, having caused the rift in the first place, even if it wasn’t intentional, and is more likely to do so.

This part of the episode results in some pretty solid music, as well. I’m not a big fan of Elliott and Rachel’s “Barracuda” just because it doesn’t feel like a Rachel song, but it showcases Lambert well. “Gloria,” an all-out battle between Rachel and Santana with Elliott caught in the middle, is much more entertaining, allowing both girls to showcase their vocal talent. Kurt, Dani, and Elliott’s debut as One Three Hill, “The Happening,” is plain fun, light and amusing, as well as well sung. And then they all participate in the closing song, shared with the McKinley cast, which is awkward, as usual, but it’s a good number.

Back in Ohio, Tina (Jenna Ushkowitz), Sam (Chord Overstreet), and Blaine (Darren Criss) are celebrating and mourning their final weeks together as seniors. They decide they need to do something epic and memorable, and so after Sue shuts down their idea for a lock down, they sneak into the school at night, because apparently McKinley is the only high school left in the nation without a security alarm or cameras, and party down, only to be interrupted by Becky (Lauren Potter).

It makes sense to see the seniors played up as their time comes to an end, even if that means five cast members, just promoted to series regular status in the fall, have had virtually no screen time for awhile. And the antics in the halls are entertaining, very John Huges-esque, which makes sense for the characters’ sensibilities.

Then, Becky turns up, but is never given a good reason for being there. Glee could have explored Becky’s loneliness and desire to bond with her classmates, but it doesn’t. What’s more, the seniors cruelly leave Artie (Kevin McHale) out until the very end of the episode for no stated reason, just another misstep from Glee. And worst of all, Sam and Tina make out, even though they’ve never shown any interest in one another and don’t afterwards, either. “Trio” is a bundle of stupid contrivances that don’t make sense for them.

I have to admit, their music is good, though. I don’t know how any teenagers today are familiar with “Jumpin’, Jumpin’,” but it’s a welcome blast from the past. “Don’t You (Forget About Me)” reinforces the tone the episode is trying to sell nicely, even if the performance is weak. And the end ending “Hold On,” despite unfortunately including the New Yorkers, hammers in the message of this side of the story.

The third plot this week finds Will (Matthew Morrison) and Emma (Jayma Mays) trying to conceive. He puts too much pressure on her at first and, after some advice from Sue (Jane Lynch) and Beiste (Dot-Marie Jones), backs off and concentrates on the romance instead. This results in successful impregnation.

To be sure, the pregnancy story is a little rushed, starting and ending in a single hour. However, Will and Emma have been through enough crap, so they don’t need more heaped on top of them. Plus, Mays has limited availability due to her starring role on The Millers, which is why we’ve barely seen her this season, so it makes sense to get through the story all at once.

There are some wonderful moments present. “Danny’s Song” is sweet and soulful. I absolutely love when Will puts paint on Emma’s nose and she freaks out, a play off the familiar trope bent to stay true to the characters, beautifully played by Mays. The affection between the pair is evident, and it appears their union is strong. It’s nice to see them get a happy ending.

That being said, there are parts of this that are absolutely horrid. How dare Will and Emma have sex in a school, cycles be damned? That has to be illegal and immoral and should result in immediate firing. And on top of that, they don’t even lock the door, allowing Becky to walk in on them? I admit, Sue gets some great lines out of this, but the whole thing is ridiculous and disturbing.

So Glee delivers the good with the bad. Viewers have gotten used to this, but still long for the run of multiple great episodes in a row that occasionally pops up through the series, not currently being delivered. Any chance ditching the Ohio stuff and building towards next spring’s series finale will allow them to finally shed the weird unevenness dragging the show down and allow the show to finally, five years in, reach its potential? Maybe. But for now, we’re still saddled with hours that mix terrific moments with bits that clearly have not been thought through.

Glee airs Tuesdays at 8 p.m. ET on FOX.

"Frenemies" Make for Drama-Filled GLEE

Article first published as TV Review: 'Glee' - 'Frenemies' on Blogcritics.

FOX’s Glee returns from hiatus this week with “Frenemies.” The episode revolves around three pairs of characters with very different relationships. Each work through something within the installment, providing great character moments and furthering of the larger plot arcs, as well as a couple of major shakeups. And, as usual, the New York scenes are much, much better than the McKinley story, which is heartening, since the show will soon become New York-centric.

The first pair, and the best in my opinion, is Santana (Naya Rivera) and Rachel (Lea Michele). The hour begins with them never having been closer, Santana regretting being mean to Rachel in high school, so viewers will quickly note there’s nowhere to go but down for them. After Rachel invites Santana to take part in a photo shoot, resulting in a fun “Brave” performance, Santana sees Rachel as rubbing success in the face of the former cheerleader who is now stuck waitressing. So Santana steals Rachel’s signature number, “Don’t Rain On My Parade,” and nails a Funny Girl audition, being cast as Rachel’s understudy. Rachel is so angry she calls off any relationship they have, while performing duet of a terrific “Every Breath You Take,” and moves out of the apartment.

First, for this plot to work, we must completely ignore the fact that Funny Girl is holding auditions specifically for an understudy, not having chosen one from among the ensemble or girls who previously auditioned for the lead. We also must set aside the surprise Rachel seems to exhibit when learning she will get an understudy, a staple of Broadway that she would surely have known about., Then, we have to forget that we see an absolutely terrible singer audition at a Broadway level in front of a Broadway director (Peter Facinelli). This is a completely unrealistic and dumb scenario. Almost as dumb as expecting up to believe Rachel has time to work, go to school, be in a band, and lead the musical.

But, where the characters are concerned, the episode soars. Rachel is being a stuck up pain in the butt. Starring in one show that isn’t even close to getting off the ground yet has gone to her head, something we’ve seen from her before, harkening back to the early days of her personality. It makes sense that Rachel would lose it here, and Santana being a convenient dumping ground to let off steam about her own insecurities, Rachel targets the doubts she has about herself and slays Santana. Plus, there is likely still lingering pain for the things Santana did in high school, and Rachel begins to lose trust in the other girl, if she ever truly had any.

Santana is not without blame for this feud. Choosing to try out without telling Rachel first is an understandable move, and one that can easily be forgiven. Picking Rachel’s song to sing is less so, a very personal blow. But Santana is just pushing Rachel’s buttons, not really launching a war. If their friendship is real, Rachel should be able to look past these things and rejoice to spend more time with her buddy.

The end of the episode is extremely sad. Santana only shows a bit of regret when its too late, and the feeling is not strong enough to spark an apology, nor should it be. Rachel is completely without remorse, storming out and burning the bridges. If things are ever to repair themselves, and they must because, as great as the drama is between them, their friendship is inspiring and an important element of these later seasons, Rachel has to swallow her pride, willingly or being humbled against her will, and say she’s sorry. This probably won’t be quick in coming, but that’s OK, as long as it does in the end.

Poor Kurt (Chris Colfer) is caught in the middle of the fight, but he does the absolute right thing by refusing to take a side, remaining completely neutral, which, given his history with Rachel, Rachel sees as betrayal. But Kurt recognizes that the bond they all share has grown too vital to turn on it, and since they’ll all still be in his band, he must play nice. Something tells me the next practice sessions is going to get ugly, if Rachel doesn’t just quit between episodes.

Besides his roommates’ falling out, Kurt has his own story in “Frenemies.” Convinced Elliott, a.k.a. Starchild (Adam Lambert), is out to take over the band, Kurt tries to be his closest friend, putting stock in the old adage about keeping your enemies closer. Blaine sees right through this and takes Kurt guitar shopping with a rousing “I Believe in a Thing Called Love.” So Elliott does seem to be what he appears – a genuine, nice, supportive person who won’t stab Kurt in the back.

Sure, there’s a chance Elliott is putting on an act and will still turn out to be a villain, but I don’t think so. Glee has always been an optimistic, cheery show at heart, and I really, really dig the relationship between Kurt and Elliott. As upset as Blaine (Darren Criss) might be when he glimpses a too-chummy photo of the two, and as much as Elliott might provide to be an obstacle in that relationship going forward, he also seems like he’s good for Kurt, helping Kurt get past skepticism and find his potential. I hope he doesn’t just disappear one day without closure, a la Adam.

Back in Ohio, Tina (Jenna Ushkowitz) and Artie (Kevin McHale) celebrate their continued friendship, despite their romantic break up years ago, with a sweet “Whenever I Call You Friend.” That lasts only until Sue (Jane Lynch) forces them to compete for the title of valedictorian. This sends Tina into another ugly spiral, sparring with Artie in the sadly under-charged “My Lovin’ (You’re Never Gonna Get It).” Tina goes too far, shoving Artie from his wheelchair, but they soon make up and celebrate their renewed happiness with “Breakaway,” though neither gets the speech at graduation.

I’ve said it before, much to the dismay of some Glee viewers, and I’ll say it again: Artie and Tina are lame, boring, unlikeable characters. Tina is a selfish jerk, as shown on numerous occasions, and Artie is a whiny pushover, forgiving Tina far too quickly for her very cruel comments about Artie’s girlfriend, Kitty (Becca Tobin). One assumes they’ll make up soon, which they do, because neither has the backbone for a continued battle. But their relationship lacks depth because how can two people who treat each other like this really be friends? It’s true that those who know you the best can wound the deepest, but I just don’t see Tina display real, sympathetic remorse when apologizing.

Their storyline drags “Frenemies” down, and they will likely continue to have an increased presence until at least graduation. I’d like to believe we’ll ditch them then, but signs point to at least Artie will be joining the New York contingent. I’ve never understood Glee‘s insistence to make the two of them continued main characters when ditching better players, but I guess we’ll probably be stuck with them til the end.

Sue is ridiculous in this episode. I like her meta-references, which point out completely real flaws in the show, but her silliness just does not make up for bad writing and story structure. Plus, there’s no way she can make the third place student valedictorian, as much as I enjoyed Blaine’s cheeky quote about getting everything just handed to him. She is not being a fit or realistic principal, and its time to get her back out of that office.

I also don’t buy that the judging panel of Will (Matthew Morrison), Beiste (Dot-Marie Jones), Figgins (Iqbal Therba), and Sue is deadlocked on choosing the valedictorian. For one, both Tina and Artie’s speeches (which start touching, and then veer off into terrible and inane) are basically identical, and knowing Will and Beiste, they’d argue to let both of them share the honor. The only way this result occurs is if Sue just declares that’s not an option and makes a unilateral decision, which is likely what happened, but I wish we’d seen it play out.

In short, “Frenemies” has some heartbreaking, but really great, drama in New York, and a weak, stupid sequence at McKinley. This unevenness has always bugged me about the show. I hope when they finally commit to the Big Apple, which has proven to exhibit some much higher-level storytelling, the series improves again before it comes to an end.

Glee now airs Tuesdays at 8 p.m. ET on FOX.

GLEE Needs Work to Master Puppets

Article first published as TV Review: 'Glee' - 'Puppet Master' on Blogcritics.

Glee aired a brand new episode on Thanksgiving entitled “Puppet Master.” It’s odd that a series would present fresh programming on a major national holiday, but since that is the case, I guess it’s appropriate that the episode was trippy and surreal. Those tuning in with a full belly of turkey will be forgiven for thinking that the weird story had something to do with their food-induced haze. It did not.

In “Puppet Master,” Kurt (Chris Colfer) is excited to book Pamela Lansbury’s first gig. It’s at a Broadway bar, though, and they are a Madonna cover band, so his band mates aren’t so excited, arguing that this is a bad place to launch themselves. Kurt has other ideas, imagining a packed crowd as he, Rachel (Lea Michele), Santana (Naya Rivera), Starchild (Adam Lambert), and Dani (Demi Lovato) perform a rousing “Into the Groove,” much to audience’s delight.

This is just a dream. In fact, only on person shows up to the actual show. But it’s someone who has a connection, and the performance (which, unlike the dream sequence, we don’t see) is enough to earn them a second booking at much more appropriate venue.

Interestingly, Dani is in the back when the band plays, and is barely in the episode, sitting out more scenes that the other four are in. I wonder if it has to do with Lovato’s availability. Otherwise, it’s annoying to sideline someone who should be a part of the plot, much as the Ohio-based stories so often do.

Kurt is the “Puppet Master” of the group since he’s the one in charge. The others do what he tells them to, and they let him have the final say. This does tie into the title and theme of the overall hour OK, just perhaps not quite as strongly as other subplots.

It’s odd when Glee chooses to show Kurt’s inner vision. It’s not that the show hasn’t done something like this before; in fact, many of the musical numbers seem enhanced by fantasy, not quite realistic. This one just feels different, more out of place.

In fact, this label applies to just about every song in “Puppet Master.” Three of the four McKinley numbers are gas-induced hallucinations. I guess that’s why “Into the Groove” is off. There is no gas leak in New York, so why is a character there experiencing something very similar to what his former classmates are seeing in Ohio?

Even stranger is Blaine’s (Darren Criss) story, in which he suddenly gets bossy, is rejected by his friends, and retreats into the world of puppets. He first sees his classmates in felt form singing “You’re My Best Friend.” Then Blaine builds a Kurt puppet to talk to, and later, constructs versions of the rest of the cast, all exactly matching the ones in his mind.

I really enjoyed the puppet versions of Sam (Chord Overstreet), Will (Matthew Morrison), and the others, and the closing number of the episode, “The Fox (What Does the Fox Say?)” is fun, split between Lima and NYC. However, forcing the connections between the two settings feels just that – forced – and it doesn’t exactly make for the best or most cohesive story.

Blaine has been part of the New Directions’ leadership, but he’s never been one to really try to take over. As such, this “Puppet Master” arc comes out of nowhere. I absolutely get that a kid could be having a rough time and speak up to try to assert some form of control, which is what Blaine seems to be going through. What’s weird is that everyone else acts like this is how Blaine normally is, which just isn’t true. And Tina (Jenna Ushkowitz) quickly forgives him for his creepy interactions with Puppet Tina, who is, for some reason, wearing the exact same clothes as Tina when she finds her.

Perhaps my favorite part of Blaine’s bit is Blaine’s conversation with Brad (Brad Ellis), the piano player. Five seasons in, Brad has appeared in dozens of episodes, but has never had a line of dialogue that I can recall. In “Puppet Master,” he has several. They could be part of Blaine’s imagination, but whether they are or not, the meta feeling one gets seeing Blaine ignore Brad who deserves a little attention, which can be construed as a commentary on Brad’s overall role in Glee, is great.

Jake (Jacob Artist) also has visions. Continuing his recent thread, he wants to get back with Marley (Melissa Benoist), who resits. After a pregnancy scare with Bree (Erinn Westbrook), Jake imagines himself and the two ladies doing a mash up of “Nasty” and “Rhythm Nation,” complete with many female dancers. It’s a pretty enjoyable number, referencing Janet Jackson and her work, which seems a good fit for Jake’s character.

If Jake wants Marley back, he has to get over his pride. I feel like the player persona he gives off is purely a coping mechanism that he reverts to when rejected. But it’s exactly this side of himself that is so unattractive. Now that he’s lost his main plaything, Bree, despite that fact that he claims to be sleeping with the rest of the squad, too, maybe it will be a wake up call for him. He desperately needs one.

Sue (Jane Lynch) has her own rude awakening when Superintendent Harris (Christopher Cousins, Breaking Bad), whom she’s been flirting with, thinks she’s a dude. Sue doesn’t take it well, and tries to find her femininity (with a little help from Unique (Alex Newell)). Her own brush with the poison gas has her dancing with Will to “Cheek to Cheek,” but whether in a dream or reality, she doesn’t quite find herself comfortable or able to pull off a traditional lady look.

Let’s be honest, one would have to be blind to think Sue is a man. Even in her track suits, there is definitely something woman-ish about her. Whether she conforms to stereotypes or not, her gender is not something that anyone has ever questioned, nor could they. The whole thing with Harris is dumb, even if it’s great to get a little bit of vulnerable Sue and a fantastic flashback to her first donning of the current look.

It turns out, the gas leak is a ploy by Figgins (Iqbal Theba) to wrest his office back. This is completely unacceptable. No matter how much Sue deserves to be de-throned, any halfway decent principal would never do anything that poses a danger to the students, and that exactly what Figgins does in “Pupper Master.” He proves himself unfit as principal, and even as a janitor. Sue can’t prove anything, and I assume she doesn’t try because she realizes this. And, admittedly, the episode doesn’t explicitly name Figgins as the cause of the leak, however, it seems to be implied. Because of this, the story is infuriating.

To be honest, in the end, it seems like Glee had the opportunity to have puppets made of most of its key cast members (a trend other shows, such as Angel and Community, have already done better), and decided to come up with, at the last minute, a quick story that made use of them. Perhaps that’s why the installment is sloppy and a bit of a train wreck. Some large plots do get a little screen time, and the musical numbers aren’t all bad. Yet, this episode is not good by almost any general measure. Maybe they’ll do better with Christmas next week?

Glee airs Thursdays at 9 p.m. ET on FOX.

TV Review: ‘Glee’ – ‘A Katy or a Gaga’

Article first published as TV Review: ‘Glee’ – ‘A Katy or a Gaga’ on Blogcritics.

This week’s installment of Glee, the first episode to air in several weeks (and only the fourth of the year) stunk. Glee is all about embracing yourself for who you are, not changing for others or allowing yourself to be pigeonholed. The episode, titled “A Katy of a Gaga,” insisted that each of the students was one or the other, and when one didn’t want to change for an assignment, she was punished.

First of all, I didn’t know there was a rivalry between Lady Gaga and Katy Perry fans. The performers don’t seem that different. Yes, Gaga is definitely more over the top and out of the box, but Katy is no girl next door, letting whip cream shoot out of her boobs. Glee tries to draw a clear distinction between the two, but the comparisons falls flat, and the entire premise doesn’t make sense.

Not to mention, for an episode focused on the music and style of two major artists, there are a scant four songs involved, only two for each, which doesn’t feel right, either.

At the beginning of the hour, the New Directions are concerned with a never-before-heard-of super group who somehow is going to crush them at Nationals. Since this group is all Gaga, Will (Matthew Morrison) divides his club in two and demands that each play to the opposite of their strengths, expanding their range and mastering all genres. There are some funny jabs that Will makes up assignments on the spot, a tongue-in-cheek comment that rings true, and despite this new group stupidly coming out of nowhere, the set up is solid enough, with a sound idea.

Unique (Alex Newell), Kitty (Becca Tobin), Tina (Jenna Ushkowitz), and Jake (Jacob Artist) identify themselves as Gaga. Of course Unique is on this list, and Kitty, sure. But while Tina does act that way now, it makes me groan and roll my eyes at the inauthencity, and I really don’t understand why Jake is included.

The four spend the whole hour trying to come up with a Katy number to showcase how “toned down” they can be, and yet all of their brainstorming sessions reveal only outrageous thoughts. These are not stupid kids; surely they understand the assignment enough to not be so ridiculous.

In the end, the four settle on performing “Wide Awake” while sitting atop stools. It’s a pleasant, sweet song that they do really well. Too bad it comes at the end of a convoluted mess of a story.

The Katy side is even worse. Artie (Kevin McHale), Blaine (Darren Criss), Sam (Chord Overstreet), and Ryder (Blake Jenner) have no trouble going all Gaga in their over-the-top, well-outside-of-school-budget  production of “Applause.” This is all well and good.

But Marley (Melissa Benoist), feeling pressured to have sex with Jake, refuses to let her inner wild child out. First of all, when did Marley become so goody two-shoes? Secondly, when did Jake stop appreciating Marley for who she is, so much so that he runs off and cheats on her with Bree (Erinn Westbrook)? Third, when did Will become so cruel that he would suspend Marley for a week for staying true to herself, or at least the version of herself in “A Katy of a Gaga?” Fourth, when did not participating in a single school assignment qualify as suspension-worthy?

While this plays out, Sam is still attempting to win over Nurse Penny (Phoebe Strole), whom I thought he had already won over. Inexplicably, she shuns his good guy image early in the hour, then shuns his bad boy persona later. This episode doesn’t know who Penny is or what she wants, which ruins the entire subplot.

Then, after all this, Sue (Jane Lynch) storms into the choir room and re-declares war on Will, suspending the kids, who defiantly fight back with “Roar.” I missed the villain Sue, and she makes a good obstacle for Mr. Schue and the students. And she’s right, the glee club’s costumes, besides being completely unrealistic in how good they are, are totally not school appropriate. One week’s suspension seems far too harsh, again, going outside the realm of believability as much as Artie swinging in a vine from his wheelchair does, but the emotional cues in this sequence are nailed. Too bad it’s too little, too late for the episode.

The only thing that slightly bothers me about Sue lashing out is that she does need the New Directions to succeed to make her look good as principal. However, we’ve seen her tough-love approach before, and she may think they’re floundering and need this kick in the pants to rise to the occasion of Nationals. If she wants them to win, she might want to start with making the rest of the glee club, mostly MIA for half a season, actually show up to practice.

As usual, the New York City part of the episode is much, much better. Kurt (Chris Colfer) starts a band, which Dani (Demi Lovato) and, to a lesser extent, Santana (Naya Rivera), eagerly agree to participate in. Rachel (Lea Michele) tries to beg off, citing how busy she is, but can’t resist offering suggestions, and eventually comes around.

Rounding out the group is Elliott ‘Starchild’ Gilbert (Adam Lambert, American Idol), who kills in his audition of “Marry the Night,” but whom Kurt is reluctant to let in for being too flamboyant. It’s Rachel, the best friend, who drags out of Kurt what is really bothering him: he wants success, and thinks mainstreaming it is the only way to get some. Rachel talks him down from his ledge, and they gleefully welcome Starchild into their midst.

The five participate in “Roar,” too, and it is icing on the cake for their tale. As bad as the McKinley stuff is, the New York thread is solid. Kurt’s crisis of confidence is completely understandable and in character, and Rachel plays the perfect adviser. I don’t hate Lovato as much as I expected to, and anyone who listens to her has to admit that she can sing! Add the incredibly talented Lambert to the mix, and this is a story I want to see more of.

Rumor is, Glee may soon drop the high school setting all together and focus exclusively on the Big Apple. For the sake of the quality of the series, let’s hope this comes in the very near future. The show has outgrown its roots, and it’s time to move on.

Glee airs Thursdays at 9 p.m. ET on FOX.