GLEE "Transitioning" Towards Finale

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

FOX’s Glee begins “Transitioning” to the endgame  as it reaches the halfway point of its final season this week. Coach Bieste (Dot-Marie Jones) returns to McKinley as a man, where he is protected by Principal Sylvester (Jane Lynch) and his players. But Will’s (Matthew Morrison) new glee club doesn’t share the same spirit of tolerance and compassion, going after Bieste to psych out the New Directions. This, while Rachel (Lea Michelle) is mourning the loss of her childhood home and Blaine (Darren Criss) is wondering if his future should bring him back to Kurt (Chris Colfer).

I stated in a recent review that it makes no sense, given the past history of the character, that Bieste would have gender reassignment surgery. That still holds true. However, the emotional execution of the story in “Transitioning” and the powerful performance by Jones almost make one forget that, feeling the character’s pain, and seeing Glee highlight yet another group of people are misunderstood and deserve acceptance.

When Glee starts down this route with Bieste, my immediate thought is, “Why isn’t Unique (Alex Newell) the one going through this?” It’s never stated on the show, but my guess is that a high schooler getting the surgery likely crosses some ethical lines and Unique isn’t yet a candidate for such a transition. Thankfully, Unique does return this week to offer emotional support, her first appearance this season, and organizes a three-hundred member transgender choir to make Bieste feel like he belongs. It’s touching, and despite a weird locker room scene between Bieste and Unique, by and large works.

An ongoing story this season is Will’s uneasy adjustment to Vocal Adrenaline. The group is led by Clint (singer Max George), a jerk of a student who doesn’t like or respect his coach. Will gets fed up and decides to quit when trying to reach the kids doesn’t work. It’s a tough decision that he makes with his supportive wife, Emma (Jayma Mays, finally back!), realizing he will never fit in to the culture of the school that pays him so well. But it’s satisfying when Will agrees to return to McKinley as an unpaid mentor who will surely get back his old, beloved job when Rachel inevitably returns to New York at year’s end.

Glee‘s handling of Vocal Adrenaline has been uneven, much like the rest of the show. They are introduced as villains originally, but evolve into something much better over time. While they do eventually run Unique off, there is a period where Unique is their lead. It’s regrettable to see this backslide, and it sucks that a teacher as dedicated as Will would give up on the kids. But without administrative support or the control needed to make real changes, it’s understandable that Will leaves and this group is firmly a two-dimensional bad guy at the end.

Rachel’s “Transitioning” involves giving up her childhood home, which affects her because it’s where she retreats after her early career failures. It’s a safe refuge, so while it may be a bit immature of Rachel to cling to it, I can also see why she does. Letting go of the place is part of the show’s final theme, moving on to the next stage of life. Sam (Chord Overstreet), Mercedes (Amber Riley), Kurt, Blaine, and the kids help Rachel get through this in a journey the audience is invested in as well.

It is weird that the alumni party with the students, though since none are actual faculty, merely outsiders serving as mentors, and Glee has always promoted student-teacher friendships, it kind of works. I’m glad the bar is closed in Rachel’s basement, despite how the New Directions used to drink down, there because that would have been highly inappropriate for Rachel to give kids booze. It’s also weird that Rachel and Sam are becoming a couple and that Kitty (Becca Tobin) is grouped with the alumni in helping Rachel. However, these inconsistencies, the worst parts of this hour, are overshadowed by all of the moving stories unfolding, so it doesn’t ruin “Transitioning.”

The one thing that really bothers me is that Rachel almost does an Ohio singers-themed lesson, which is abandoned. Despite being set in the Buckeye state, Glee gets almost nothing about Ohio right, and it would have been gratifying if the writers finally did some research and paid tribute to the setting. Sadly, this will not happen, though I did somewhat enjoy Glee poking fun at some of its own weaknesses around this part of the episode, a tongue in cheek acknowledgment it hasn’t done Ohio justice.

In the final subplot, Blaine kisses Kurt. But after Blaine and Karofsky (Max Adler) break up in a terrifically done scene, Blaine finds out Kurt is still dating Walter (Harry Hamlin), and so unavailable.

This is only temporary, of course; Kurt and Blaine will end up together. Once Cory Monteith, and, by extension, his character, Finn, passes away, Kurt and Blaine replace Rachel and Finn as the show’s favorite twosome. Santana and Brittany are awesome and I’ll always love them, but Klaine is who most viewers are particularly invested in. Walter is merely the last obstacle to be overcome, and hopefully he will be at least half as understanding as Karofsky of the situation.

By and large, the music in “Transitioning” is good, too. Blaine and Kurt’s “Somebody Loves You” isn’t their best work, but it’s serviceable. Mercedes and Roderick (Noah Guthrie) are a perfect pairing in “All About That Bass.” Sam and Rachel make me forget how weird their coupling is when they sing “Time After Time.” Vocal Adrenaline, assholes that they are, rock “You Give Love a Bad Name.” And, of course, Will and Unique’s “Same Love” and the trangender choir’s “I Know Where I’ve Been” are incredibly sweet, powerful stuff.

There have been many times in the past few year’s where I have regretted taking on Glee as a weekly column (you can find a review of every single episode of Glee ever by clicking the “Gleekonomics” link at the top of this page). That regret is melting away as Glee begins to nail its final season. The story isn’t air-tight, nor has it ever been, but the ensemble usually excels at emotional stuff, and there is plenty of that in “Transitioning” and season six. A couple of missteps early in the year worry me, but if the last six installments are anything like this one, Glee will end strong.

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

GLEE Should Have Skipped Christmas

Article first published as TV Review: 'Glee' - 'Previously Unaired Christmas' on Blogcritics.

Seven episodes into season five, Glee is still telling a story set last spring, which makes it difficult to do a Christmas episode. The solution? Have Sue (Jane Lynch) record an introduction in which she says the latest installment, “Previously Unaired Christmas,” was the first holiday special made last year, but considered “too controversial” to air (while putting coal in stockings for Lynch’s award-show competition). Now, though, it’s been edited so it can finally be broadcast.

This does adequately explain how there was still a Christmas special last year and another this year set at roughly the same time. But it also takes us out of the story and reminds us that Glee is just a television show. It would be one thing for a variety series to this; it’s quite another when a serial dramedy does so, interrupting flow and feeling very fake.

Yes, Sue’s statement is a total lie, “Previously Unaired Christmas” being freshly filmed only months ago. The most obvious tell is that Heather Morris and Cory Monteith do not appear as Brittany and Finn, respectively, the former actress no longer being on the show, and the latter having passed away. Their unmentioned absences make the premise impossible to accept. Add a very staged way to get Santana (Naya Rivera) in the New York scenes, as her character had not moved there yet, and no mention of Brody (Dean Geyer), whom Rachel (Lea Michele) is serious with at this point of the story, and it just doesn’t hold up.

Now, Glee has always been a little bit cheesy, and some might say that’s part of its charm. The tongue-in-cheek reference when Rachel tells Santana she should drop out of college and come live with them is a fun little poke. And the matter of having religious displays at a public school is brought up and dropped, acknowledging that ridiculousness of the premise, kind of works. But Glee can do better than this, and it leaves one with a sour taste after viewing.

The story begins in New York when Santana brings gifts for Rachel and Kurt (Chris Colfer). She stays a few days in their apartment, and the three get temp jobs working as elves at the mall for an alcoholic Santa. Santana ends up filling in for the red suit, which is both antastic and a terrible idea. They try to salvage the situation with the help of a new “friend” (Bryce Johnson, Popular, Pretty Little Liars), but he just gets them drunk and robs them, leaving Kurt in a naughty, pretty wrong state.

The songs in this thread are good, if thin. “Here Comes Santa Claus” is a pretty straight-forward take, and “The Chipmunk Song (Christmas Don’t Be Late)” is mostly lip-synched, but at least the staging for both is fun. It’s less thrilling that this trio sings “Away in a Manger” with the McKinley crew, a trope that is already feeling tired, but overall, the NYC plot is enjoyable fluff.

In Ohio, the New Directions compete for the best Christmas tree in the school and to participate in a living nativity scene. The former of those stories just gives the show an excuse to tug the heart strings, as driven winner Tina (Jenna Ushkowitz) finds compassion and hands over the prize to poor Becky (Lauren Potter), who really wanted to win but didn’t understand the assignment of a “green” tree. This also gives us a tame “Rockin’ Around the Christmas Tree.” The latter is where the offensiveness that Sue referenced at the start finally becomes apparent.

See, Unique (Alex Newell), Marley (Melissa Benoist), and Tina all want to play the Virgin Mary. That’s weird, because they choose to audition with a mostly-out-of-character, scandalous, vaguely Jamaican rendition of “Mary’s Boy Child.” Marley wins, but she realizes Kitty (Becca Tobin) holds the role in high regard, and so the girls get even worse with “Love Child,” a hilarious and very wrong number, to force Kitty to step in and save the day.

As far as making one feel the Christmas spirit, “Previously Unaired Christmas” does that in the most basic sense, with the annual softening of Sue and the generous acts by others. But the quality of the musical numbers is definitely down, and the tale feels unnecessary and not quite in keeping with continuity. As such, perhaps it would have been better for Glee to take a year off, as much as the format of the series lends itself to holiday cheer more than most shows on TV.

Glee will return February 25th on FOX.

GLEE's "Twerk" is Oh So Right and Oh So Wrong

Article first published as TV Review: 'Glee' - "The End of Twerk" on Blogcritics.

Glee somehow manages to deliver some of its best stuff and its worst in this week’s episode, “The End of Twerk” this week. Much of the hour was a very inane statement about freedom of speech and “twerking,” while the rest was about rebelling in a good way, the best of ways, really, standing up for yourself and fighting back when things aren’t fair.

Since when did a particular obscene dance move count as free speech? And assuming that it does for a moment, as that’s really neither here nor there, when did public schools have to hold freedom of speech over decency standards? Most K-12 institutions would never be considered on the cutting edge of what’s acceptable, taking a much more conservative approach. It feels like a strange battle and an even stranger battleground.

Will (Matthew Morrison) comes out of the gate strong which his argument that the kids should be allowed to twerk, leading what seems like the whole school in a rendition of “Blurred Lines.” The number is highly inappropriate, not to mention, where did all these other students who are joining in the dance come from? It feels staged, false, and is bound to make some, this reviewer included, terribly uncomfortable, based on the setting.

I actually respect Sue (Jane Lynch) for dressing down Schue afterwards. Firing him is going too far, though it’s very strange how the rest of “The End of Twerk” acts like Will still has his job. Even the school board meeting scene is Will fighting against a twerking ban, with nary a mention of his career. So as much as I enjoyed both the point Will makes about different dance styles and his mocking the principal with a Sue-style tantrum, Sue is in the right here, and story is mostly poorly concocted.

I could also complain about the reference to “Western Ohio,” but I feel like I’ve got nothing new to say about how no writer on Glee apparently has heard of Google, and how disappointing it is to see a series get just about everything about the Buckeye state wrong, so I won’t.

The other bit that sucks this week is Marley (Melissa Benoist) finding out from Bree (Erinn Westbrook) that Jake (Jacob Artist) is cheating with the Cheeri-o. As mentioned in last week’s review, this seems out of character and comes from nowhere. Not to mention, it just isn’t entertaining story. We get a decent performance of a terrible song as Marley croons “Wrecking Ball,” but other than that, this plot is irredeemable.

Thank goodness the other major McKinley story, this one involving Wade “Unique” Adams (Alex Newell), is fantastic! Bullied by his classmates, Unique seeks a bathroom he can use in peace, and instead finds himself in the middle of a battle that results in Sue bolting down a purple porta-potty in the choir room. The New Directions come together to support Unique, and by the end of the episode, I dare anyone to not be moved by this student’s story.

I can’t imagine any other series giving viewers as real a portrayal of a transgendered teenager in the modern era. Glee broke new ground a few years back with its depiction of homosexuals, but Unique is even bolder territory. It’s easy to see how and why stupid adolescents would pick on Unique, but the brave way the character is used makes Unique feel fully realized and sympathetic.

The climax of this thread happens when Unique laments “If I Were A Boy.” The most moving number in quite some time, we feel the pain. Newell is very much like Unique in real life, as those who watched The Glee Project will attest, and I think that brings a level of rawness an actor separated from the part would struggle with achieving. Unique’s tears are the tears of many a kid out there, and should be required viewing for all high school students. Who could still pick on a person like Unique after watching this and feeling her frustration and hurt?

Kudos to Glee for standing up for what is right and humanizing an issue that is far too often reduced to political or religious squabbling.

In New York, Rachel (Lea Michele) and Kurt (Chris Colfer) feel stuck in their lives, still lamenting Finn’s (Cory Monteith) passing, and decide they need to make some bold changes in order to feel like they are alive again. To do this, first Rachel fakes a new hair style without checking with her director, Rupert (Peter Facinelli), which doesn’t go over so well until she proves she’s still sexy in a charged performance of “You Are Woman, I Am Man” with Paolo (Ioan Gruffudd). Then, Rachel and Kurt get drunk and get tattoos, which doesn’t quite go how either expects.

I like both that Rachel’s “haircut,” which actually fits the part she’s playing very well, causes a problem, but also that it does not become a big, lasting thing. Her attitude that she is untouchable is a little too diva-ish for a young actress getting her first break, but I can see what she is going for, and by donning a wig, not actually trimming the locks, she shows she is smart enough to leave an escape hatch. Rupert has every right to be mad at her, but when he decides he likes the change, that’s a satisfying pay-off, too.

Also, while not a big fan of the side tattoo, Rachel having the name Finn scrolled on her is a sweet tribute. It’s not like she got the tattoo of a boyfriend while he was still alive; it’s a memorial to a loved one who died too soon, making it all right, even as she will eventually move on with someone else. Keeping it a secret may seem a little strange. but it’s really no one else’s business, anyway, a mark done truly only for her own benefit. Very nice.

Kurt’s tale with the tattoo place is actually even more unexpected and cool. At first, Kurt lashes out at the artist (Bradford Tatum, Magic City) for a misspelling that is actually Kurt’s own fault. While some tough guys would kick Kurt’s butt, this particular man sympathizes, offers wise advice, and even helps Kurt out. It’s a surprising pairing, surely a single episode guest stint, but it’s also a really neat one that gives Kurt just what he needs. Well done.
Oh, and then there’s the big finish number of “On Our Way.” Not particularly stand-out, but a feel-good ending in the series’ own style, so it works.

When Glee sticks with its more mature stories, the ones in New York, it does right by its fans. When it continues the original mission of promoting tolerance, diversity, and acceptance of others, as it does in a fresh way with Unique, it soars. There are some things Glee does wrong, and much of the criticism it gets is justified. But there are also things it does exceedingly well, and those should be acknowledged, too. “The End of Twerk” has both, and as much as I might wish for more of the latter, at least it’s true to form.

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

Blu-ray Review: ‘Glee – The Complete Fourth Season’

Article first published as Blu-ray Review: ‘Glee – The Complete Fourth Season’ on Blogcritics.

Season four is when everything changes for Glee. Post-graduation for many of the students, the story became split between McKinley High School and New York City, with practically none of the alumni leaving the cast, and a bunch of newbies added in. It was a busy, full year, with many great installments, as well as some pretty weak ones, especially in the spring. Now, all twenty-two episodes are available in the four-disc Glee: The Complete Fourth Season.

The move to New York was a breath of fresh air for the show. Rachel (Lea Michelle) was always meant for bigger things than Ohio could offer her, and as she embarked upon a college career at NYADA, the series grew along with her. Following arguably the lead character of the ensemble show was great, and it provided the opportunity to bring in actresses like Sarah Jessica Parker and Kate Hudson, who added a terrific new element. The fact that Kurt (Chris Colfer), and later Santana (Naya Rivera), joined Rachel in the Big Apple was even better.

At McKinley, it was a little confounding at first that Artie (Kevin McHale), Tina (Jenna Ushkowitz), and Sam (Chord Overstreet) were only now getting to their senior year, since I swear they had been established as being older before, but combined with Brittany (Heather Morris) having to complete a fifth year of high school and Blaine (Darren Criss) sticking around, they provided cohesion, allowing some of the setting to stay the same. And, of course, Will (Matthew Morrison) and Sue (Jane Lynch) remained on staff.

They were soon joined by new cast members Marley (Melissa Benoist), Jake (Jacob Artist), Kitty (Becca Tobin), Ryder (Blake Jenner), and Unique (Alex Newell). Despite these fresh faces seeming a lot like the not-so-fresh faces, repeating stories and dynamics from earlier seasons, the quintet did resonate, eventually each earning promotions to series regulars for season five.

Pretty much all of the graduated seniors remained in the cast, even those who were not followed to New York. Finn (Cory Monteith) ended up working at McKinley, a twist that made no sense and wasn’t at all realistic, but allowed him to have a journey viewers wanted to see. Others, like Puck (Mark Salling), Mercedes (Amber Riley), and Mike Chang (Harry Shum Jr.), only briefly dropped in from time to time, which is why it came as no surprise that this would be their final year as full-time characters.

The season started pretty strong, but it soon became clear that Glee was now two shows, and the New York part was stronger. It didn’t help when some members of the New Directions would disappear for weeks at a time, and a Will / Emma (Jayma Mays) walk down the aisle kept being delayed artificially, including a terrible plot in which Finn kissed Emma. The worst, though, was when Finn disappeared, the actor entering rehab, and the writing never taking the time to explain his obvious absence. Sadly, Monteith passed away over the summer, and this will never fully be resolved.

The most polarizing episode of this season, and of Glee ever, was the spring installment “Shooting Star.” It begins as any normal episode would, but then gunshots rings out in the halls of McKinley High School, scaring the crap our of students and viewers alike. For a large chunk of the episode, the show becomes a super-intense, on-edge story that hits very close to home at a time when school shootings happen on a semi-regular basis. While it is arguable whether something like this belongs in a series like Glee or not, the hour is finely produced and not to be missed.

There are lots of special features in this release, including multiple extras dealing with the New York addition to the show. We get the Jukebox, deleted scenes, and more. Basically, no one should be disappointed here.

I’m a fan of Blu-ray, and always want to watch programming in high definition. Glee isn’t particularly visually stimulating in the way that it must be seen in HD. There are great costumes and choreography from time to time, but those can be enjoyed in a standard definition picture, too. The songs will obviously sound better with a sharper soundtrack, and Glee does have a lot of music, so for those who care more about audio, the argument is there. But for viewers who are only concerned about picture, I guess it’s up to personal preference whether you go DVD or Blu-ray, without a huge difference between the two. I still prefer the latter.

Glee: The Complete Fourth Season is available now.

Glee Finale Definitely Not "All or Nothing"

Article first published as TV Review: Glee - "All or Nothing" on Blogcritics.

"All or Nothing" is an excellent mid-season finale or February sweeps ending for FOX's Glee. Too bad it is the season finale. Because, despite the title, the episode did not give us either all or nothing, but instead, just plenty of great stuff with a lot of unresolved stories.

The New Directions make it to Regionals, where they kill with the combo of "Hall of Fame," "I Love It," and original song "All or Nothing." This is enough to beat the pleasant bit of "Rainbow Connection" we see from the Waffletoots and the large performance by the Hooiserdaddies, led by Frida Romero (American Idol's Jessica Sanchez), of "Clarity" and "Wings." Of course, we know all three groups must perform three numbers, much of which we don't see, but the New Directions are good enough to make their win believable.

I won't get into the reality problems that only having three groups in the competition brings again, but instead, this week's complaint stems from the fact that "All or Nothing" only takes us to Regionals. And they win! I assumed, this being the season finale, that this would mark the end of their show choir season, with a guaranteed loss. Instead, they are on track to continue.

This middle-of-the-story-stop is a constant theme in "All or Northing." Rachel (Lea Michele) has a wonderful callback for Funny Girl when she slays "To Love You More," but we don't find out this week if she got the part. Sue (Jane Lynch) makes an appearance at McKinley, but her job status is not addressed. Finn's (Cory Monteith) absence from Regionals is still not acknowledged. Blaine (Darren Criss) buys a ring, but doesn't yet propose to Kurt (Chris Colfer). The seniors are still months away from graduation. These are all threads expected to be tied up this week, but are not.

Does this mean Glee's fifth season (it has been renewed through season six) will start during this same school year? If so, will it just stay there for an episode, a few episodes, or the entire season? If not, will it really be satisfying to jump so far ahead and only hear, in the distant aftermath, what happens?

My guess is Glee probably will pick up in this current school year for at least one hour because of the lack of goodbye to those graduating. Artie (Kevin McHale) is poised to join the New York contingent for his college years, and practically everyone hopes Blaine will, too, but Tina (Jenna Ushkowitz) and Sam (Chord Overstreet) would have no closure at all should this time period be skipped over. Glee usually takes care of its main characters, so I doubt Tina, an original cast member, and Sam, who has been quite central this year, would get ignored like this.

The one senior that does get to finish her tale, and it looks like "All or Nothing" will be her last episode, is Brittany (Heather Morris). Revealed as an eccentric genius, MIT offers her early admission, asking her to drop out of high school immediately to join their campus.

I don't know how realistic it would be for a high schooler with bad grades to be allowed to skip the rest of their (second) senior year, and Brittany being brilliant comes out of nowhere. But this is a really sweet, satisfying story to conclude her run, giving her a happen ending. As such, it's a fitting way to say goodbye to her character, and while she will be missed, at least we know she's doing well.

Plus, the fact that her exes, Sam and Santana (Naya Rivera) put aside their differences to unite to help Brittany, whom they both love, makes this story even better!

We also get finality for Will (Matthew Morrison) and Emma (Jayma Mays) when they finally tie the knot. It's true that their romance has rekindled far too quickly, not to mention off screen, but it's still great to see them married. They've had enough drama and ups and downs. It's time for them to settle in as man and wife and be happy together.

Having their wedding in the choir room, with the kids, including returning alumni in town, is perfect. It sucks  that not all the former students are there, but it's understandable. Bieste's (Dot Marie Jones) abesence is a little less excusable, since she's local. But Emma needs the smaller ceremony, and we know her family causes her headaches, while she enjoys being around the New Directions, so it works very well. Not to mention, her vows are fantastic.

Love is in the air all around, and Blaine and Kurt get to have dinner with an older lesbian couple (Patty Duke and Meredith Baxter). This does diverge a little into preachy territory, yet, it's hard to complain when the public so desperately needs to see the argument for gay marriage portrayed in such positive tones. It's a scene that doesn't completely mesh with the rest of the hour, but still makes the viewer feel good, and comes across as incredibly enjoyable, so it can be forgiven.

All of the plots I've mentioned so far are seriously good, well-executed stories, making "All or Nothing" a wonderful episode overall. It does have one weak point though, and that's the outing of Unique (Alex Newell) as Ryder's (Blake Jenner) "catfish."

The fact that Unique is the catfish actually makes sense, and I liked Marley's (Melissa Benoist) attempt to protect Unique. However, even as both Unique and Ryder's attitudes and reactions are realistic and believable, I feel saddened that this new class, so recently formed into an enjoyable clique, now faces a schism. I assume Unique and Ryder will eventually make up and Ryder will be persuaded not to leave glee club, at least not for long, but until then, their arc will be depressing.

I also didn't like how Sugar (Vanessa Lengies) and Joe (Samuel Larsen) just show up this week without mention as to where they've been, missing weeks of rehearsal leading up to Regionals.

In the end, "All or Nothing" ends up being a pretty great outing, serving a lot of various characters and threads, and tossing off the sting of the last couple of bad installments. I just wish it didn't leave us in such an unfinished state.

Glee will return to FOX next fall.

Glee Shoots More Than a Star

Article first published as TV Review: Glee - "Shooting Star" on Blogcritics.

FOX's Glee broke far out of its comedy mold this week with "Shooting Star." After a couple of songs and the continuation of the normal plots, gun shots ring out in the halls of McKinley. Students and teachers alike are terrified, and wait with bated breath for the all clear.

Glee is a light-hearted series, and "Shooting Star" betrays that tone, stretching viewers far outside of their comfort zones. I liked the hour very much  as an episode of television. It was very well made, and the raw emotions feel genuine. But I do not believe it conforms to what Glee is supposed to be. I find it likely that some viewers, especially those who watch with their children, are not going to be happy with this development, seemingly coming out of nowhere.

On the other hand, school shootings often happen with little to no warning, and it is a realistic story for Glee to tackle, which is why I'm torn about whether to condemn it or praise it. School violence and gun control are important issues that should be talked about, and Glee picks an opportune time to speak to society about this.

For more on my thoughts of series breaking genre, check out this week's Jerome-ing the TV Landscape column.

Bottom line, "Shooting Star" is a powerful episode that makes quite an impression. Whether you think that Glee should have gone there or not, I see both sides having reasoned arguments. But it did go there, so let's move on with the episode review.

The full act, during which the shooting occurs, is amazing drama. All the actors prove they are up to the task, and the emotion between the kids is palpable. Even the mistakes, Sam (Chord Overstreet) trying to get out of the room, a student crossing the floor to get to someone else, feel like something a teenager would unthinkingly do. Artie's (Kevin McHale) cell phone videos and Will (Matthew Morrison) asking the students to text what's going on without giving away their location are timely, and the latter is great advice should one ever encounter that situation. Even that annoying metronome, which I kept hoping someone would shut off, feels perfect in the moment.

Brittany (Heather Morris) crying in the bathroom is moving, too, as is Tina's (Jenna Ushkowitz) frustration with being stuck outside while her friends are apparently in danger. We also get to see Marley's mom, Millie (Trisha Rae Stahl), hiding alone in the kitchen. Marley (Melissa Benoist) gets comfort at this time from an unlikely ally, Kitty (Becca Tobin), who also makes a confession, and the whole thing makes quite the impact. Excellent job.

This is all incredibly raw, and without knowing what is going on, the tension is awesomely built and sustained, thankfully uninterrupted by commercials.

My only complaint about the way the shooting goes down is that kids are seen entering the school the next day, and the police are still searching lockers and such. Shouldn't a thorough search and investigation be done before letting the students return? What if the shooter had been evil, and stashed the gun somewhere, intending to use it again? If the real police hadn't found the weapon yet, they would not have allowed anyone to come back.

Oh, and a couple of the New Directions are once more missing from this episode, but are not mentioned when those trapped in the choir room are worrying about their absent friends. Where is the group love then?

But that's mostly forgotten when the New Directions reunite to sing "Say," ending the episode on a perfect note (well, perfect other than the fact that they haven't heard that Sue has confessed, so aren't necessarily relieved yet), everyone happily back together, and glad to have one another. They come together, having been through an ordeal, and are more tightly bound because of it.

I am relived and happy with the resolution, seeing Sue (Jane Lynch) take the fall for Becky's (Lauren Potter) mistake. Becky brings the gun from a place of fear, without understanding the implications of her actions, and with no malice or intent to harm anyone. Becky's deed is understandable, if dangerous and regrettable. In this way, Glee avoids true violence and bloodshed. Sue's actions are perfectly in keeping with her character, who has always looked out for Becky. Sue proves that she is a true educator with a big heart for her students. The way everything plays out allows a powerful story to be told without bogging the series down in grief for the rest of the season.

Sue doesn't just quit for Becky, though; Becky could have gotten away with it. No, Sue stays silent for a few days, but after realizing that the kids and teachers alike are terrified and have lost their sense of security, she makes the sacrifice for everyone. This is her way to restore what McKinley is missing, and it's a very, very noble move.

Sue laments that her confession will be all that she will be remembered for, despite her many great professional accomplishments. While Sue may be willing to shoulder this burden, she doesn't deserve it. I don't want Becky to get in trouble, of course, but Sue needs to be cleared and recognized for what she has done. Realistically, she should still be charged and fired for impeding an investigation. But from an emotional perspective, she should be hailed a hero and return to her job triumphantly.

Near the beginning of "Shooting Star," Ryder (Blake Jenner) finds his online chat-mate, Katie (Ginny Gardner), walking the halls of McKinley High. Determined to make a great impression on her, he stages a performance of "Your Song" in her honor, a very sweet moment, which she readily accepts, even though she isn't the one who has been chatting with him.

This is a good time to bring this into play because it provides a possible suspect for the shooting. Knowing there is someone dishonest with motives that may not be pure in the school opens up the possibility that they would rather kill than be discovered. This builds suspense during the dark parts of the episode.

I know that Ryder is insistent and, to some gals, good looking, but why does Katie let him drag her on and sing to her? She obviously has a crush, and maybe this is a dream come true for her. But it also seems pretty unrealistic that she lets it get so far. She's a pretty girl, probably not starved for attention. Wouldn't she put a stop to it earlier? And she should definitely be freaked out about someone stealing her identity, or has this generation become so numb to online fraud that they don't mind?

Ryder's behavior, on the other hand, makes total sense. He has every reason to believe that Katie (not her real name) is the one he has been chatting with, and that she would appreciate his romantic gesture. He also can be forgiven, in his excitement, for missing the signs that she isn't getting what he's doing.

Ryder's anger and pain at being fooled is completely in keeping with a high school boy, and one's heart really goes out to him. Marley and Jake (Jacob Artist) are a great couple, and it is mean of Ryder to try to get in between them, especially considering that Jake is his friend, but he's still a sympathetic guy, especially in this situation. This story makes up somewhat for the unlikeable things Ryder has done.

During the shooting scene, he makes up with Marley and Jake, whom he accuses (seemingly falsely) of pretending to be Katie. Their falling out likely would have been stretched out far more without a life-or-death situation forcing them to re-evaluate their priorities, but I'm glad that they are able to make up. I really like the bonds between this new group of kids, and to have them so at odds with each other is a bit painful.

So who is Ryder's stalker? The obvious answer seems to be Unique (Alex Newell), though I feel like he is ruled out in the previous episode. I really don't want Unique's good name sullied, as he has been struggling with being himself, and I like to believe that he's succeeding, not having to be sneaky and hide. So if it is Unique, I will definitely be disappointed.

I don't think any major character, other than Unique, is a possibility, so maybe we'll get another new character instead. I've been pleased with the five young'uns so far this season. Adding another face to the pot, especially when we're about to have another batch of graduations, could definitely be a good thing.

The other possibility is that someone is trying to sabotage Ryder for some reason. A Regionals competitor seems a stretch, since the opposing teams are not even announced until "Shooting Star." But I can't think of anyone else who might want to throw him off his game.

I am still not a fan of Sam and Brittany as a couple, but "Shooting Star" does provide some very sweet story for the pair. Sam shows that he really cares about her, buying a Lady Tubbington, and getting the glee club to participate in a serenade of "More Than Words" to Lord Tubbington. Even as the others look at Brittany oddly, he sticks by her, and this comes out even more during the shooting. Which means they may be headed for a happy ending together.

Lastly, Bieste (Dot-Marie Jones) confesses having feelings for Will. Will rejects her, but makes sure to let her know that he does love her, just not in that way.

Why do they have to go there with Bieste? I love her character, and I adore her friendship with Will. Why set her up to fail in yet another plot? Wasn't her husband beating her bad enough?

At least we do get a few friendship scenes between Bieste and Will in "Shooting Star." They seem to repair their relationship by the end of the hour, and that's a good thing, as I would hate to lose this dynamic.

It's fantastic that Bieste gets a message from Ken Tanaka (Patrick Gallagher) on the dating profile Will sets up for her. Yes, this may just be too big of a coincidence, but I really want Ken to return to the series, and I want Bieste to find love, so this may just work out very well for both.

Overall, "Shooting Star" is one of the best hours of television I've seen in awhile, owing to the dark stuff in the middle, though I still haven't decided if it qualifies as a good episode of Glee or not, being so different from the show's standard fare.

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

Glee is a satisfying "Guilty Pleasure"

 Article first published as TV Review: Glee - "Guilty Pleasures" on Blogcritics.

FOX's Glee explores "Guilty Pleasures" this week. We all have things that we are somewhat ashamed of liking. But because this applies to everyone, you should not feel embarrassed. And as the New Directions learn, if you are willing to share that hidden interest, you may just realize that others around you have the same love.

This is a feel-good story, to be sure, but also an incredibly cheesy one. If there's one complaint I have about Glee overall is that every student in the club seems to know every song that ever comes up. This is incredibly unrealistic, but unfortunately also somewhat necessary to keep the story moving forward. It's an element very apparent this week, as their songs are supposed to be more obscure, though they pick some awfully popular "obscure" pierces.

However, setting that aside, "Guilty Pleasures" is a fun episode with some nice character moments and a lot of fun musical numbers. There may be songs you don't want to admit to enjoying, but they are enjoyed for a reason.

It all starts with Sam (Chord Overstreet) and Blaine (Darren Criss). They decide to give the club a project, since Will (Matthew Morrison) is taking the week off. Again. They pull out the guilty pleasure card, and it allows them to get some unspoken things out in the open.

After watching Tina (Jenna Ushkowitz) harbor an unrequited crush for Blaine for months, we now see Blaine hold Sam in the same regard. Thankfully, Blaine is far less creepy than Tina, and Sam and Blaine's friendship feels more natural than Blaine and Tina's. I don't know if the writers think they misfired with the Tina/Blaine story and decided to try it again with Sam, but for whatever reason it came about, I like seeing the two guys together.

At first, Blaine hems and haws, avoiding talking about his feelings towards Sam. But Sam coaxes them out into the open, letting Blaine know this changes nothing between them. It's a message many high school guys should hear, that its OK to find another man's attention flattering without risking your masculinity, and that there is still a path to friendship there.

As much as the Sam/Blaine thing works as a story, it also helps with Glee's continued themes of tolerance. Gay bullying has never been more of a problem, but as society begins shifting away from this prejudice, it's nice to see such a positive portrayal of homosexual teens on television, not new for Glee, but in using Sam, someone who is very straight, rather than a girl or another gay man, it feels fresh. For this alone, "Guilty Pleasures" is a valuable episode, even as it manages to also be entertaining.

Plus, Blaine and Sam bring us "Wake Me Up Before You Go-Go," a beautifully staged and performed retro number by the whole glee club. I wish the same treatment would have been given to "Copacabana," or better yet, see the story told in the song acted out. But both are good numbers as they are. And Blaine's "Against All Odds (Take a Look at Me Now)" also works.

While the boys work out their friendship, the girls rediscover the Spice Girls. I don't know that today's high schools are really familiar with the British girl group from quite awhile ago, but those of us older viewers certainly appreciate a dusting off of "Wannabe." Any chance we can get a full Spice Girls episode at some point?

The Spice Girls segment also allows Kitty (Becca Tobin) to prove she is a member of the group and can play nice. She's been a bit of an outsider, but has been trying to fit in. Cooperating with Unique (Alex Newell), Marley (Melissa Benoist), Brittany (Heather Morris), and Tina allows her to walk the walk, and hopefully puts her in a better place in the ensemble going forward. Every series needs an antagonist, of course, but redemption is also a satisfying tale.

Lastly at McKinley, Jake (Jacob Artist) gets major flak from the girls when he wants to sing a Chris Brown song, given Chris's treatment of women. His eventual choice of Bobby Brown's "My Prerogative" gets a little bit better reception, perhaps because the memory of Bobby has started to fade, but Marley is still mad at him for doing it.

Jake argues that we need to separate art from the artist, which is a tough call to make, and one hotly debated in society. Can we appreciate a good song by a bad man? Some people have in the past, and will likely do so again, while others rail against such behavior. There isn't an easy answer, as Jake learns, and I wish Glee would devote more time to the question. But at least they've raised it here.

In New York, Santana (Naya Rivera), Kurt (Chris Colfer), and Rachel (Lea Michele) bond as roommates after the truth about Brody (Dean Geyer) comes out. I do wonder when and how Santana moves back in, after she storms out in the previous episode. However, Santana is feisty and has a temper and it's not surprising she's back, even if the show skips showing us the resolution.

I really dig the chemistry between these three. Santana can be herself a lot easier in a small group, and gets to show her softer side more often. The three of them bond with arm pillows and movies, and I can't wait to see what happens with them next. It's kind of like the zany sitcom spin-off someone would suggest when viewing an earlier season, fully realized and integrated into the series.

It's a shame that their "Mama Mia" is shared with the high school group as the episode's closing number. Since it's the only piece the New Yorkers get in "Guilty Pleasures," it would have been great for them to really have a showcase, even if the end result is hard to complain about.

It's also too bad that Rachel lets Brody off the hook, to an extent. She says they're done, but she's nicer to him than she should be, and I feel like this leaves the door open for a return of their pairing, albeit in secret from Rachel's roommates, down the road. If she wants to be on the right path, she should ditch him altogether, but I guess everyone makes mistakes.

Speaking of mistakes, the Rachel / Brody duet of "Creep" is the one musical misstep in "Guilty Pleasures." It's certainly a different tone than the other songs, and I found it somewhat boring and out of sync with the rest of the hour.

Glee is going into re-run mode for the next two weeks, but will return Thursdays at 9 p.m. ET on FOX to finish out their fourth season.

"Feud" disrupts Glee

Article first published as TV Review: Glee - "Feud" on Blogcritics.

Glee takes off the gloves this week and focuses on the "Feud" between Will (Matthew Morrison) and Finn (Cory Monteith). Will wants to forgive Finn for kissing Emma (Jayma Mays), but finds himself unable to do so, making the atmosphere of the glee club toxic. The students challenge their two directors to sing out the tension.

It's a solid idea, I guess, to have Will and Finn battle it out musically. That's the kind of show Glee is, using music to express and solve everything, so it makes sense. But it does feel awkward, and despite using two great songs for their sing-off, "Bye Bye Bye" and "I Want It That Way," the plot never quite gets to be cohesive. The mashup doesn't gel right, especially the cut scenes of Finn and Will physically fighting, and neither does the story.

In the end, though, I'm glad "Feud" doesn't solve the problem between these two men. Finn did something that can't be forgiven in a week or two. Eventually, it would be nice to be done with this dumb side trip of an arc and have the two back to being pals, but for now, it feels completely authentic that Will can't bring himself to let Finn off the hook. The heated words between them are raw and real.

So what's Finn to do? He can't stay at McKinley. Marley (Melissa Benoist) suggest he go get a teaching degree. The surprising thing is this clearly hasn't occurred to Finn, since it's such a "duh!" suggestion, but he appears to be considering it. Of course, that would keep him away from the show's action for four years, so I doubt the writers will really commit to it. But from a character stand point, it would be a good decision.

Which begs the question, what will season five look like? Presumably, some of it will take place at McKinley the very next year, as Glee has done a fine job of setting up a new crop this season, which I'll get to in a minute. But we'll want more characters to make their way to New York (at least Blaine (Darren Criss)), which limits who can stay in the show. It's been fun to see lots of the old favorites this year from time to time, but it might be necessary to slim the cast down a bit.

Another idea could be to time jump the series. This way, Finn could be done with his degree, and others could move into other roles as well. Finn is a primary, important character to the show. Unless they're ready to let him go, which would make sense on their current path, at least for a few years, he needs to find some entirely new story that somehow connects to this, which will be difficult. If he doesn't, it's likely going to feel awkward to keep him in focus.

Back to the glee kids, it does feel manufactured that Ryder (Blake Jenner) now has a feud with Unique (Alex Newell) all of the sudden. It springs out of nowhere, as does Ryder's chat with the girl on the computer (which is definitely someone we know, right?). The results of this plot, including the mystery of who Ryder is chatting with and a heartwarming scene in the choir room among the five newbies is great, but it's a little weird getting there.

Ryder's real beef is with Jake (Jacob Artist) and Marley, whom he has wronged. It's a testament to Jake that he can be the bigger man and give Ryder a second chance, especially when it's totally unfair of Marley to put Jake in that situation, trust or not. This is nice, to see that the guys' friendship may not be over.

But why does Unique get involved? I'm not exactly complaining; I love the character. It just feels a bit forced. As does Kitty's (Becca Tobin) last minute inclusion, even though, again, I really like the chemistry and camaraderie of these five, and hope it sticks.

Unique and Ryder's sing-off is a mashup of "The Bitch Is Back" and "Dress You Up." It's well sung, but not especially memorable, like most of the music in this episode.

If there's one complaint I have about "Feud," which has a decent story, is that the musical performances are lackluster. From the opening, "How to Be a Heartbreaker," to the closer, "Closer," nothing really stands out. Unfortunately.

The sing-off that comes closest to making an impression is the annual Sue (Jane Lynch) song. This year, she channels Nicki Minaj with "Super Bass," drowning out Blaine's attempt of "I Still Believe." This would be great if Sue didn't feel so out of place in the role. Maybe it's because she doesn't fully commit to the dance moves, which I definitely believe Lynch can handle. While showy, the number still falls flat.

They sing this piece as part of Sue's attempt to blackmail Blaine back onto the Cheerios. I kind of like this twist because we haven't gotten much of the Cheerios lately, and it gives Blaine something to do besides pine over Kurt (Chris Colfer). He makes a fine cheerleader, and making the story go a little deeper, that he has a goal of destroying Sue, is at least fun adjacent. I look forward to seeing the two clash.

When Sue calls Blaine "Clark Kent" it occurs to me that Criss needs to play Superman in some form. He has the look, both for the hero and the mild-mannered performer. This is a role that must happen for him at some point.

In New York, Santana (Naya Rivera) creates her own "Feud" with Brody (Dean Geyer) in the name of protecting Rachel (Lea Michele). Rachel's pregnancy scare is, thankfully, a false alarm, but that doesn't satisfy Santana, who doesn't like what Rachel is becoming and blames Brody for the transformation.

I don't know if Santana is entirely right. I mean, Brody is definitely a bad dude, and all love for him has been lost with the confirmation that he is a male prostitute. But I think Rachel's problems go deeper than that. Having lost Finn and trying to fit into a world that doesn't completely connect with her high school persona, she is attempting to figure out who she is in the Big Apple. Santana is right, what Rachel is doing isn't working, but it's more about her than the guy she is seeing.

Santana ends up confronting Brody at NYADA when she bursts in and performs "Cold Hearted." It's weird that the dancers fall in line behind this girl they don't know, but that's Glee and I can forgive that. What's harder to forgive is that we finally get a Santana performance, and it's this mediocre. Sad.

For her trouble, Santana is kicked out of the apartment by Rachel and Kurt. I get that they feel she has invaded their school and threatens their place in it, and Santana forces her way into the apartment in the first place. However, I really like having her there, and the three of them together makes for an interesting dynamic. Once Santana is proven right, Kurt and Rachel need to beg her forgiveness and shower her with thanks, bringing her back home.

Santana's plot doesn't quite end there, though, when she lures Brody to a hotel room and gives Finn the chance to beat on him. This is a more adult plot than Glee usually treads down, but considering the circumstances, I like it. It's very satisfying to see Finn sock the slime ball in the face, and it's very Santana to set up the pins and walk away triumphantly as they fall down behind her. Hopefully, there will be no legal ramifications, as Brody has every right to have the pair arrested for this.

So, in summary, loving Santana in New York, enjoying the new batch of kiddos at McKinley, but the songs are weak this week, and some of the writing really stretches believability. In all, a middling episode, kicked slightly into the good end of the spectrum by the hotel room scene.

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

Glee Goes to the Movies

Article first published as TV Review: Glee - "Girls (and Boys) on Film" on Blogcritics.

FOX's Glee is certainly frustrating. After a great fall run, they completely dropped the ball during February sweeps, one of the most important times of the year for television, with several weak episodes in a row. Now, the ratings push being over, Glee returns with another good episode, "Girls (and Boys) on Film."


Part of why this week's installment works so well is the music that is used. The episode features the 500th musical performance ever on the show, as well as many other great numbers inspired by movies. From "Shout" to "In Your Eyes" to "Come What May" to "Unchained Melody" to "Footloose," Glee chronicles some of the best know moments in film involving song. They also toss in a couple of mashups, such as "Diamonds Are A Girls Best Friend" / "Material Girl," the same combo used in Moulin Rouge, and a Tom Cruise tribute of "Old Time Rock and Roll" and "Danger Zone," as well as the old style, beautiful looking dream opening "You're All the World to Me."

That list in the preceding paragraph is quite a long one, and without a weak link in the batch. Many are used effectively for the ongoing stories, while others are entertaining choir room performances. Many of the cast are featured in these numbers, rather than just a couple of them, and everyone must have had a ball filming "Girls (and Boys) on Film," which really translates on screen.

It does strike me as odd that the rest of the student body really gets into "Shout" as the New Directions run down the halls and dance on tables in the lunchroom. Were I their classmate, I would probably groan and say "Here they come again!" rather than clap and bob my head. However, it's so entertaining that I can't complain much, and I'm glad it's included.


I'd also like to mention how much I loved Unique (Alex Newell) headlining "Diamonds Are A Girls Best Friend" / "Material Girl." He has been such a pleasure to have in the cast this year, and her voice is amazing. I do have a little trouble deciding which pronoun to use sometimes when discussing the character, as evidenced by the previous sentence, but whether identifying as male or female, Unique brings something fun and powerful and, well, unique, to the show that I wish was used more.

Several of the romantic duos get screen time this week. Marley (Melissa Benoist) confesses to Jake (Jacob Artist) about her kiss with Ryder (Blake Jenner), which ruins their relationship. I'm disappointed by this plot in general because it does feel like a retread of season one. The quicker Ryder gets out of the picture and Marley is with Jake for good the better, even as I knowGlee won't be quick about it because they have to stretch out the drama.

Even more unsatisfying is Finn (Cory Monteith) telling Will (Matthew Morrison) about kissing Emma (Jayma Mays). It is a dumb mistake in a bad moment on Finn's part to kiss her, and he does everything he can to make up for it since. I understand Finn doesn't want it to come out later, but who is he helping by telling Will now? It just upsets Will, who gives his "pal" the cold shoulder, as Finn deserves. I guess that's what Will gets for befriending a student so closely.


I do like the way Will and Emma resolve their differences. Having her leave him at the alter sucked, but she has a point that Will has changed and has been away for awhile. Yes, she should have talked to him before the ceremony, but I'm glad they're choosing to work through it, hopefully meaning an actual wedding, maybe smaller this time, in the near future, a much better option than a permanent breakup.

It is a little weird that Emma's parents (Don Most and Valerie Mahaffey) pop up this week in "Girls (and Boys) on Film," rather than during the wedding episode. It is firmly established they are at the wedding, but we don't see them. One could argue there isn't really a plot for them in the wedding episode, but then again, there isn't really here, either. Just a confusing choice by Glee.

In New York, Adam (Oliver Kieran Jones) is worried that Kurt (Chris Colfer) may still have feelings for Blaine (Darren Criss). Clearly, whatever is going on between Adam and Kurt is more than just a fling for the senior. Sadly, I'm not sure Kurt sees it that way. What is up this year with Kurt hurting boys who like him? It's sad, and I hope his character gets a reality check soon because neither Adam nor Blaine don't deserve to be strung along. They're good guys, and they deserve better than how Kurt is being right now.


Also in the apartment, Santana (Naya Rivera) begins a campaign against Brody (Dean Geyer), whom, after rifling through everyone's stuff, she suspects is a drug dealer. It's nice to have Santana there to confront Rachel (Lea Michele) about Brody, since Kurt seems to be annoyed by the boyfriend, but not doing anything about it. It does cause tension, but not so much that Santana needs to go.

In fact, Santana's snooping has a happy ending when she is able to comfort Rachel regarding her pregnancy. Rachel and Kurt seem a little distant lately, and Rachel doesn't feel like she can turn to the men in her life, not knowing who the father is. But Santana, despite her grating qualities, is a warm-hearted individual, and cares about Rachel after everything they've been through. Because of this, I think Santana is earning her place in the loft, and hope she sticks around for awhile.

What's more, this episode is genuinely funny. From Santana ransacking the apartment to Finn and Artie (Kevin McHale) pretending to be gingers to get Emma's parents to open up to them, there are some fantastic moments. More of this will only benefit the show as a whole.

That's pretty much it on the story front. "Girls (and Boys) on Film" doesn't have too much time for plot arcs since it spends so much time singing. But what plot is present is good, the songs are great, and I'm looking forward to the next installment again, something I couldn't say throughout the month of February.

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

"Dynamic Duets" do battle on Glee

Just about the only series to air a brand new episode on Thanksgiving, Glee avoided the holiday completely in the uneven "Dynamic Duets." Instead, the "Thanksgiving" episode is scheduled for next week. Did presidential politics screw up the schedule? And, if so, why not just air two episodes on Thanksgiving, getting things back on track, and filling the holiday void, especially since there were no other new episodes of anything else airing to compete with? Weird move, guys.

Sectionals is only a week away, so new interim director Finn (Cory Monteith) tries to figure out a theme for the New Directions. His Foreigner idea sucks. Bieste (Dot-Marie Jones) advises Finn to pay attention to the new superhero club that many of the students, and she, have gotten involved in. Finn does, asking the singers for "Dynamic Duets," and he finds acceptance as their leader.

Finn's plot is really well done this week. He is coming into his own, and Glee finally addresses the recent grads-acting-like-seasoned-adults problem. He also gets a really touching moment with Bieste, which, when combined with his sweater vest combo at the beginning of the episode, makes it feel a lot like Will (Matthew Morrison) has never gone. And yet, by the end of the episode, Finn realizes that he needs to be himself, in a subtle plot point. When he does, he begins to soar.

I guess that means that getting Finn to be the director that the New Directions is what it needed to prepare the group for Sectionals. They are days away, and they still haven't chosen their music. Yes, cohesiveness of the ensemble and having a defined dynamic are very important, but so are the songs themselves. In reality, groups spend months rehearsing the same pieces, not choosing their numbers at the last minute. This has been an ongoing issue with the series that continues to bug me here, even in the midst of a pretty good plot.

What gives me great hope for Sectionals is the final song of "Dynamic Duets," "Some Nights." It's an energetic, inspiring number that makes use of most of the members of the group. Rather than having a stand out star, like Rachel (Lea Michele) is for the first three seasons, the new New Directions rely on everyone to pull their weight. If "Some Nights" is any indication, they have really come together as a group, and have a great shot at the competition.

Except, where is Unique (Alex Newell) this week? I understand that recurring characters won't appear in every episode. And s/he didn't need to do the costume thing because his would have been a female, and that story would have felt like a retread of last week. But in an installment about embracing one's self, and the integration of everyone as one, having one of the most stand out members of the glee club MIA is an extremely glaring omission. Bad move, Glee.

What is really hokey about "Dynamic Duets" is the superhero theme. For viewers, it's great fun to see the characters in costumes, and the editing of the episode in the campy hero style, a la Adam West's version of Batman, is amusing. However, it would be extremely rare for a single high school student to have the guts to wear a cape and tights to school, let alone a whole group of them. It feels like a cheap gimmick, rather than a well developed arc. Not to mention, it will surely be shown only in this one installment, with no mention in episodes before or after it, making it completely ridiculous.

Luckily, "Dynamic Duets" is saved by the character development. First, there's Blaine (Darren Criss). The new captain of the Warblers, Hunter Clarington (Nolan Gerard Funk, Warehouse 13), tries to entice Blaine back into the fold with a blazer and a song, "Dark Side." Somehow, Blaine is tempted, even though it's one of the least memorable numbers the Warblers have ever performed, and his former arch-nemesis, Sebastian (Grant Gustin), is still a part of the group, albeit, less evil now.

Music aside, the real reason Blaine considers leaving is because he is down on himself. After cheating on Kurt (Chris Colfer), and never really allowing himself to feel accepted by the others, it makes sense for him to leave. It's part punishment, to help ease his guilt, and part melancholy. Thank goodness Sam (Chord Overstreet) is paying attention, though, because as soon as he steps in, Blaine not only begins to feel better, thanks in part to hokey good deeds that come out of nowhere, but it also leads to a terrific duet of "Heroes." Blaine is finally a full-fledged member of the ensemble in this episode, in a way he hasn't been all season, in the eyes of both viewers and the character himself.

It would be a crying shame to lose Blaine. He did a bad thing, but at the time, Kurt was driving him away. Plus, he has punished himself enough. At some point, Blaine has to begin to forgive. I think a large part of his alienation at McKinley this season stems from his negative view of himself because of the cheating, and it's nice to see him start to heal. Blaine is not a bad guy, and hopefully he will get a reunion with Kurt soon enough.

Speaking of Kurt, "Dynamic Duets" stays away from the New York setting entirely. It's the second episode this season so far to do so, and I have to admit, this is really working for Glee. I love seeing Rachel and Kurt's adventures in the Big Apple, but these scenes feel tonally like a completely different show.

I understand the hesitance to commit to a spin-off, putting two hours of Glee on television every week. And yet, whether the episodes take turns going back and forth (maybe with a higher season order of, like, 30 installments), or whether FOX can give Kurt and Rachel their own half hour in addition to the McKinley hour, or whether they come up with some other solution, I'd really like to see even more distance between them. It just flows better.

Back to McKinley, with the influence of Finn, and a little advice from Puck (Mark Salling), Ryder (Blake Jenner) and Jake (Jacob Artist) manage to bury the hatchet. This not only makes Jake more likable, as he pretty much stops straddling the line between good and bad, but it also gives Ryder a chance for some decent focus, proving Jenner can do better than he did in the previous two episodes. After a weak introduction, he warms up to the role more this week, and his chemistry with Jake is really great. Their duet, "Superman," is quite nice.

Jake and Ryder could easily become the new bromance of the show, and I hope that their friendship is pursued and deepens to the point where Marley (Melissa Benoist) won't come between them, whether she dates one of them or not. They are like Finn and Puck, but without the history, and less to build from. They may be different people, with different interests, but their hearts provide enough in common to start something sweet (and platonic).

On the opposite end of the spectrum, Kitty (Becca Tobin) is an absolute nightmare. Poor Marley thinks that Kitty is befriending her, and inadvertently, Kitty does help Marley. But the bulimia plot, handled better this week than last, continues to show Kitty's true colors. Even a hot version of "Holding Out for a Hero" cannot save her. Watch out Marley, because Kitty may be the most villainous student yet!

Which is a shame. Kitty has given a few hints already that she is not a completely terrible person. Such malicious acts as urging Marley to throw up her food ruin that. While minor characters on Glee are frequently cartoonish and over the top, the main ones tend to be relatively well developed. Kitty has the potential to be a central figure moving forward. To do this, we need to see what is behind her pain and hate, and begin to deal with it.

Speaking of discord, Tina (Jenna Ushkowitz) is feeling shafted again in "Dynamic Duets," as evidenced by her biting comment about Santana (Naya Rivera). I've never much cared for Tina, but it's easy to see why she doesn't think that she's considered a valuable member of the group. She hasn't shown the talent to deserve the status that she wants to be held up to, and, at the same time, her hard work over the years means that she deserves better than what she's getting. I actually do hope this boils over into a great Tina story, the first time I've ever wanted to see more of her in the four seasons Glee has done.

One last complaint; I do not like how Kitty and Ryder are inducted instantly into the New Directions, with no auditions and no discussion between the current members. Ryder definitely has an in, and could easily have joined the club in a short scene that makes sense. Kitty, on the other hand, really should have been better explained. Yes, she participates in the musical, but she acts like a jerk for most of it. Where is her campaign to convince the others that she deserves to be a part of what they have, and the secret reasons she would even want to be included? Finn claims they are added to get enough students to compete, but couldn't they have just brought in a couple of the second glee club from last season that seems to have disappeared?

The takeaway from "Dynamic Duets" is that it is a highly enjoyable episode while watching it, but it doesn't take much to find lots to complain about when looking even a tiny bit below the surface. The characters are great, but the writing needs work, with more connections shown getting from point A to point B, rather than making unsubstantiated leaps. I still think this is a good season, but, as usual, a few tweaks could make it so much more than good, if only they'd take the time to make them.

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

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episode I don't fully review, please follow me on Twitter! Article first published as TV review: Glee - "Dynamic Duets" on Blogcritics.

Glease is the word

 "Glease" is the word this week on FOX's Glee. Which is funny because it isn't actually a word. Nor does it deserve to be. In an entire episode that serves as a mashup between Glee and Grease, the music from the musical remains as classic as ever, but some of the performances are an inferior echo of the original, not because of lack of talent, but because it's such a blatant copy. It's a good thing that there's some actual Glee character development plot included, too.

"Glease" works best when the cast isn't trying to recreate scenes from the movie. Sure, Finn (Cory Monteith) taking the guys to a mechanic shop to practice "Greased Lightin'" and Kitty's (Becca Tobin) girls' sleepover "Look At Me, I'm Sandra Dee" bit may enact scenes that look just like the John Travolta / Olivia Newton John film, but they stretch the plot a little too much towards the cheesy side. Similarly, the set design in McKinley's production is way too advanced for a high school budget, though it makes "Beauty School Dropout" and "You're the One That I Want," the former a favorite moment from this episode, look nearly identical to the inspiration.

This continues a trend in season four of things that seem like a good idea on the surface, but don't quite work right when they are played out. I am referring to the way that alumni keep returning to McKinley and acting like they are adults, while still socializing with their younger student pals. Most high schoolers can't wait to move on after graduation, and those that don't are not generally regarded so highly as the ones on Glee. Letting Finn serve as Will's (Matthew Morrison) temporary glee club replacement actually does all right by the character, but Mercedes (Amber Riley), Mike Chang (Harry Shum Jr.), and Santana (Naya Rivera) really need to find some new friends and activities to get involved in.


That's what Rachel (Lea Michele) and Kurt (Chris Colfer) are doing. They do come back to watch their friends do the musical, but they are also beginning to break ties and look towards their futures. Things have changed, their chums have moved on, and the duo feel it. It's hard to imagine them flying home again for the next minor event. And that's a good thing. Whether Glee opts to shift even more into a post-high school focus next season, or drop a large number of original cast members, this balancing act often feels forced, and cannot continue indefinitely.

The continued presence of the older crowd also steals focus from the newbies. Marley (Melissa Benoist) and Ryder (Blake Jenner) barely open "You're the One That I Want" before being replaced by Rachel and Finn, and soon Kurt and the others are imagined into the scene, too. Yes, it's nice to see some more resolution will all of the recently dissolved couples, but not at the expense of some characters that are just beginning to grow on us.

Unique (Alex Newell) gets the biggest shaft in "Glease." His parents (including Chuck's Mark Christopher Lawrence) pull him from the show because they are worried about bullying, since he has a female part, even though they do accept their son for who he is. This seems a step backwards from the Kurt days, with Unique having to re-fight some of the same battles. It also means that s/he only gets a few lines of "There Are Worse Things I Could Do," a crying shame, no matter how good Rivera can handle the number.

Also, I don't care how dumb Brittany (Heather Morris) is, we cannot honestly be expected to believe that she thinks Mercedes and Unique are the same person.

Quick side note, Jenner is just not doing it for me as Ryder. I felt let down at his take on Danny Zuko, and his acting just isn't up to par with his cast mates. He may grow into the role, as others have done, but it seems like he got a little too much focus, a little too quickly.

I also did not care for Marley's bulimia plot. She is a gorgeous, thin girl, and while Kitty's ability to trick her into puking makes sense, it also ventures a little too far into after-school-special territory. It will be awfully hard to make Kitty sympathetic after she goes to such depths, and Marley's "Look At Me, I'm Sandra Dee (Reprise)" ends up being heart wrenching at a time when she should be enjoying her chance to shine as the musical lead. It works for the story, but I wish that the writers chose to take her in a happier direction.

Speaking of terribly evil villains, in "Glease" Cassandra July (Kate Hudson) tricks Rachel into skipping town, then seizes the opportunity to seduce Brody (Dean Geyer). It would not be surprising to learn that things didn't quite go down as Ms. July describes them. But seeing her act all sleazy, then picking up Brody's phone when Rachel calls to rub it in her face is absolutely awful. Sue (Jane Lynch) can be a bit of a monster, but even she has more humanity than Rachel's new teacher.


Not that "Glease" is a bad episode, by any means. All six of the musical numbers are very well done, no matter what my complaints are, plot wise. Blaine (Darren Criss) and Sugar (Vanessa Lengies), in particular, are perfectly cast in Grease. Newell and Benoist, and, to a lesser extent, Tobin, are solidifying their roles as the new stars of Glee, and they definitely have the chops to do so. It's awesome to see Santana and Brittany together again. Almost every actor gives a fine performance, and most of the story choices make sense, even if a few are regrettable. As such, despite my nit picking, I liked the episode a lot overall. There just needs to be some tweaks to the larger arcs to make the season gel a little better.

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

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com!  Article first published as TV Review: Glee - "Glease" on Blogcritics.

Glee - "The Role You Were Born to Play"

Glee returns from its baseball-induced hiatus with "The Role You Were Born to Play." It's time to audition for the fall musical, Grease, at McKinley High School. Some students are nervous about the roles they want to play, while others worry that a bad casting choice could hurt a relationship. But an alum, at pivotal moment of his life, returns to steer these young people in the right direction.


"The Role You Were Born to Play" is a solid Finn (Cory Monteith) episode. Though I haven't always been a fan of the character, he has really grown on me, and this installment proves his staying power. Here he is, down on himself, not believing he can do much of anything, but he still manages to provide some good advice to students who are struggling. It's a maturation moment, where Finn suddenly grows up very quickly and seems like an adult.

There is no question that Monteith can play adult. He is one, after all. But in "The Role You Were Born to Play," the character starts to seem closer to the actor's actual age of 30 than what he should be. Recently graduated eighteen year olds aren't able to show the wisdom Finn displays here. But it's forgiven because this is television, and Finn has always seemed smarter in some areas than is typical. Even the fact that the school hires him to direct the New Directions, a completely unrealistic occurrence, is overlooked because it serves his story well. And isn't that what's really important? A character's journey?

Of course, Finn also makes mistakes, and he makes a whopper of one in "The Role You Were Born to Play" when he calls Sue's (Jane Lynch) baby "retarded." It does not matter that she is fighting him on a casting choice, which, based on past revelations about her character, likely comes from a place of wanting to protect the students, rather than out of bigotry, even if she doesn't know how to express that. But Finn comes across as the real bad guy in that scene, callous and cold, even when he immediately apologizes. That is just something you do not say, and he has earned himself justified hatred from Sue. This will have consequences in episodes to come.

I think I like that Finn only has one song in this episode, a duet with Ryder (The Glee Project winner Blake Jenner). Monteith does have a good voice, but care must be taken to choose songs that really connect with him, and this isn't always the way he is handled on Glee. Luckily, the passing of the torch message in "Juke Box Hero" manages to satisfy both as a Finn melody and introduction to Ryder.

With the inclusion of Ryder, the second generation Glee core cast is complete, mirroring the original quartet at the center of the early seasons. Ryder is clearly the new Finn, Jake (Jacob Artist) easily steps in for Puck (Mark Salling), being his half-brother with a similar personality, Kitty (Becca Tobin) is a great Quinn (Dianna Agron) replacement, with a bit of Santana (Naya Rivera) tossed in for good measure, and Marley (Melissa Benoist) is the more relatable, hip version of Rachel (Lea Michelle). It may be a bit of a repeat, story-wise, but the characters are just different enough to still be enticing. Their tales shouldn't play out quite the same as their predecessors.

Which leaves Unique (Alex Newell) as the successor to Kurt (Chris Colfer). He won't be apart of the primary love triangles, but he is a fan favorite side character that draws enough attention to pull him into a status just as important as the others, even if that isn't the original intention. He (she?) also has enough of Mercedes' (Amber Riley) diva power to make another version of her unnecessary. Unique is easy to love, fantastic to root for, and his struggle with accepting himself, and earning the part of Rizzo in Grease, is both inspiring and moving.

On a side note, Unique's audition with Marley is a high point in this episode. "Blow Me (One Last Kiss)" is a great showcase for Unique's vocal strengths, and it also unexpectedly lets Marley out of her box a bit. She exhibits a side of her we have not seen before, and the growing friendship between Unique and Marley, as well as how they help each other, is Kurt and Rachel 2.0 in all of the best ways.

Thankfully, there is no one waiting in the wings to take over for Artie (Kevin McHale) or Tina (Jenna Ushkowitz). Sure, they aren't gone yet, but they might as well be. Glee would do well to focus on the characters that work the best, and one Artie and one Tina is plenty for this show's run.

With this new blood firmly established, it does seem a little strange to have the old people hanging around. Finn could slide into the teacher side of the cast (even though there should have been a few year jump to do that properly), but Mercedes, Mike Chang (Harry Shum Jr.), and Artie, who is still in high school, but feels more a part of the elder group, are mostly hangers-on. It's sweet they come back to help Finn find his way, but a satisfying turn of events would find each of them realizing their own directions and moving on sooner, rather than later. As much as I enjoy seeing Mike and Mercedes again, not everyone can stick around high school forever.

Relationship drama continues to pull focus in "The Role You Were Born to Play," as one would expect it to. Kitty and Marley fight over Jake, neither giving that must attention to Ryder, who will surely have a shot with either or both soon enough. Jake and Kitty's "Everybody Talks" is good, but most will still be rooting for Marley to get the guy. It's a little early in this drama to judge how well the various chemistries are working, or who will end up with who, but it is exactly the direction Glee always goes in, and should make fans happy.

This love fight culminates in a spirited version of "Born to Hand Jive" that is a highly memorable number for Glee. Anyone who has doubts about the selection of Grease as the fall musical should find them erased when confronted with such a show-stopping number that features many characters, and allows the drama to spill into the music, nicely pairing the two. This is merely an appetizer to what is coming.

Blaine (Darren Criss) is off on his own, separate from the others, mourning his breakup with Kurt. He does this to the Grease song, "Hopelessly Devoted to You." It's a heart-breaking sequence, and one just wants to give the poor guy a hug! Blaine is isolated without his support system now, and look for him to distance himself even further from the other New Directions soon. I smell a return of the Warblers!

Lastly, we have Will (Matthew Morrison) and Emma (Jayma Mays), who it's good to see did not actually break up like the other couples in the previous episode. They are having a big fight, to be sure, but that doesn't mean that it's the end of them as a couple. Fans have been through enough ups and downs with these two that we just want to see them together. It seems that wish is at hand, as they really do accept and support one another.

It's interesting that Beiste (Dot-Marie Jones) steps up as their counselor. Don't get me wrong; I live for Beiste scenes, and she's a much better choice than bringing in another guest star. It's just odd because her brief marriage ended so badly. However, she is a good friend to Will and Emma, knows them well, and is in a position to help them find the best in each other once more. If she doesn't officiate their wedding ceremony, I will be very upset.

"The Role You Were Born to Play" is a great return for Glee in what is shaping up to be a strong season so far. There are delightful songs, interesting character development, and it's just plain fun. It also feels more like a traditional Glee installment without the inclusion of Rachel and Kurt's tone-different New York, even though I miss them.

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

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Article first published as TV Review: Glee - "The Role You Were Born to Play" on Blogcritics.