Glee attends "Sadie Hawkins" dance

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

The latest installment of FOX's Glee is called "Sadie Hawkins." Tired of being single, and with her eye on a boy, Tina (Jenna Ushkowitz) pushes for a Sadie Hawkins dance at the school. She gets it, but it doesn't solve her problem the way that she hoped it would.

With many of the fan favorite characters having graduated from McKinley last spring, sometimes Glee chooses to focus on the characters I consider the "B team." Tina is very much one of those characters, and unlike some, which flourish under the additional screen time, Tina has yet to do anything that improves my opinion of her. In fact, just the opposite.

Tina's crush in "Sadie Hawkins" is Blaine (Darren Criss). I know it's natural for young girls to fall for gay guys, not fully understanding relationships and sexuality yet. But Tina is introduced to Blaine as Kurt's (Chris Colfer) boyfriend. All of the time that she has known Blaine, there has never been any sign that he is even a tiny bit straight, nor interested in her. It's fine if she is attracted to him, or harbors a secret that she keeps to herself, but making a move on him is stupid and weird.

That's not to say I didn't enjoy Tina's "I Don't Know How to Love Him." She does have a pretty good voice, and I like that song. But that's the only part of her story in the this episode that I liked.

Which leaves me hoping that Tina does not go to New York and continue on the series next year. I don't mind if she pops in occasionally, as most of the alumni do, but to interweave her into the main saga longer than necessary would not benefit the show. Unless they improve her character, because I do think the actress could handle better.

Blaine, for his part, also has unrequited feelings. He is interested in Sam (Chord Overstreet). It's not hard to see why, and the two do have good chemistry. Unlike Tina, however, Blaine knows it's simply a fantasy that will never come true, and thus, keeps it to himself until Tina really needs to hear it. He's acting much more reasonable.

Glee already went down this path, having students lusting after others who don't share their sexual preference, in the early days of the show, when Kurt had a thing for Finn (Cory Monteith). It doesn't need revisited.

One could make the argument that these characters are in high school, and their recent actions are reminiscence of how teenagers actually behave. The problem is, Glee is not consistent with that behavior, so when a plot like this comes around, it feels uneven, and does not make for the best episode.

The best part of the entire "Sadie Hawkins" plot is that it returns Lauren Zizes (Ashley Fink) to the show! Her role is brief, and she should have already  graduated, I think. She also acts completely out of character from what we've seen of her before, and I don't buy that her man messed her up this much. It just doesn't feel like the woman that character had grown into when we last saw her, even if that's how her character was originally introduced. But I've missed Zizes (and Fink) so much that I am willing to overlook the writing flaws if they will only make her a recurring player again (or better yet, a series regular), and then effort can be spent on taking her back to her former glory.

Why is Sugar (Vanessa Lengies) in the Too Young to Be Bitter club? She can be annoying (to some, I actually like her), but she's hot, and looks trump personality in a high school setting. Someone would have wanted to go to the dance with her.

Marley (Melissa Benoist) decides to fully go after Jake (Jacob Artist) this week. I feel like their back and forth isn't progressing, but they're good together, and I Marley and the rest of the girls, including Unique (Alex Newell), sing quite an enjoyable "Tell Him." I hope this isn't one of those will-they-or-won't-they stories that is stretched out over three years, even though that's probably exactly what it is.

Meanwhile, Kitty (Becca Tobin) wants Jake, but after he resists her sexual proposition, settles for elder brother Puck (Mark Salling). This pairing can't possibly last, but for where both of these characters are right now, it makes sense for the plot. They will probably have lots of energetic sex. Let's just hope that history doesn't repeat itself and Puck knocks up another Cheerio.

The dance itself is kind of eh. We've seen so many dances on Glee, and I can't say that this one is special. The performances of "No Scrubs," "Locked Out of Heaven," and "I Only Have Eyes For You" are good, but not great, and aren't very memorable. Also, like in the past, the fact that the New Directions get to perform at their school dance, and the student body appreciates this, stretches believability way too far.

Sam is on a mission in "Sadie Hawkins" to prove that the Warblers cheated at the competition and get them disqualified. I'm confused. Didn't the New Directions get third place? Knocking the Warblers out would not automatically put them back in. I'm sure some plot contrivance will occur where the other group also can't compete, and the New Directions do get to continue, but why doesn't Sam realize that? What's his purpose? Just to get even with bullies? Also, steroids might help with the dance moves, but I can't imagine it's good for the voice, so why would the Warblers use these drugs?

In New York, Rachel (Lea Michele) has a tiff with Brody (Dean Geyer). Their argument is dumb, and Rachel is acting petty. I'm really not sure what the purpose of this scene is other than that Rachel asks Brody to move in, and because they wanted a moment that lasted longer than ten seconds, the writers tossed in a fight. Not the strongest bit of this episode, and that's saying something.

Kurt, however, has a wonderful story in "Sadie Hawkins." He is enticed by the Adams Apples, the NYADA version of glee club, and especially by their leader, Adam (Oliver Kieran-Jones, Episodes). But he is told that the are the losers of the school, and that he should stay away from them. Kurt decides not to listen to public opinion.

It's a great Glee story, true to the series in every sense. The New Directions are losers, too, when viewers are first introduced to them, and they become something great. The Adams Apples may look like a ragtag bunch, but their "Baby Got Back," presumably sung in Jonathan Coulton's style to make them seem more odd, is terrific. It's hard to believe that they are shunned by their peers, unless the style of music is just considered a lesser art form, but I'm sure Kurt will turn that around.

Kurt has always marched to the beat of his own drum, so it's really no surprise that he would ignore advice and join up with the Adams Apples, especially when there's a cute boy involved. Adam is a senior, so any romance will probably be temporary, tiding Kurt over until Blaine can get to the Big Apple next spring. I'm fine with that, as Kurt deserves a little happiness, and Adam should be a fitting placeholder.

Unfortunately, "Sadie Hawkins" is not a bright spot in the season. Zizes, Adam, and "Tell Him" don't make up for the school dance itself and other weak numbers. The plot gets hokey, and goes off the rails a bit. However, it's not a terrible installment, and if this is the weak point in season four, which I would argue that, so far, it is, it will still make for a fine season overall.

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

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"Prom-asaurus" comes just before Glee's senior class goes extinct

 This week's Glee, "Prom-asaurus," is lame. There is no other way to say it. With only four hours left in the season, four hours left total for many of the major characters, one of those hours is wasted. This is pretty darn odd, coming just after a couple of fantastic installments. Hopefully, this is because much effort was put into making the final three totally amazing. Hopefully.

A huge part of the problem with "Prom-asaurus" is how casually senior prom is treated. Last year, junior prom is a huge event, with various couples putting much time and effort into selecting dates and campaigning for queen. This year, prom appears without warning, and no one has to scramble to find someone special to ask. Those who have significant others go with them, while those who don't are present, but ignored. And the queen campaign sees very little screen time.

What's more, "Prom-asaurus" skips over many things that make the Glee universe authentic. Which, admittedly, is realistic only when it chooses to be. For instance, while viewers are told over and over again just how unpopular the New Directions members are, four of the six nominees for king and queen come from this group. Admittedly, the New Direction have nominees last year, too, but the whole thing is just too casual this time around.

Another complaint is the way Brittany (Heather Morris) takes over the event at the last minute, and it still comes together wonderfully. Her run for class president is a major plot point earlier in the season that is ignored the rest of the year, until now. Tasked by Principal Figgins (Iqbal Theba) with making something of her position or risk being responsible for the permanent elimination of it, Brittany fires the prom committee and starts from scratch only a short time before the dance. Yet, music, costumes, food, and all go off without a hitch. Really?

The music at prom is very eh. Once more, the New Directions are asked to perform for their classmates. Why? No one likes them!

Brittany's "Dinosaur" is weird, and seems to be the whole inspiration for her prom theme, because her claims of motivation earlier make little sense, even for a ditz like her. Despite its oddness, though, "Dinosaur" is at least interesting, which can't be said for the other two numbers. "Love You Like a Love Song" is boring, probably owing to the fact that it's a Selena Gomez number. "What Makes You Beautiful," sung by what is essentially the guys' B team, isn't any more inspiring.

In fact, nearly the only thing about prom that comes off as awesome in "Prom-asaurus" is getting to see Blaine's (Darren Criss) fuzzy head when Brittany demands he attend without hair gel. But that could have been accomplished without the lengths Glee goes to.

Rachel (Lea Michele) does get a decent story this week. She is downtrodden after her NYADA audition. Not being nominated for prom queen hurts, too. Then, seeing the king and queen posters campaigning for both Finn (Cory Monteith) and Quinn (Dianna Agron), who used to be the school's power couple, sends her over the edge. She mentally flashes back to who she used to be. As a reaction to this, she plans an even lamer anti-prom, that is a poorly attended event in a hotel room.

Michele captures Rachel's pain and depression without anything too over the top. Her "Cry" and "Big Girls Don't Cry," the latter sung with her gays, Blaine and Kurt (Chris Colfer), are moving. Rachel's conversation with Quinn in the hall, while providing some awkward dialogue, effectively conveys her feelings, too, in a very sweet way.

However, this isn't the Rachel of old. While Santana (Naya Rivera) is right in accusing Rachel's anti-prom of being petty, when the seniors have so little time left to spend together, Rachel doesn't argue or defend herself. She doesn't throw a fit. As Finn comes to her, after a stupid misunderstanding that has little to do with Rachel, she admits her mistake, and leads her pals to the real prom. This is a Rachel that viewers have not seen that much of, and it really completes a nice growth arc for the character.

Santana,  too, shows her maturation. She and Quinn come to an understanding while they are counting the ballots that neither of them needs the title of queen. They both have their runs at McKinley, staying popular despite their inclusion in the glee club, and they've got what they wanted out of high school. Instead, they rig the election to give the crown to someone who really needs something good right now: Rachel. It is a crowning moment, so to speak, for "Prom-asaurus," nearly the only thing in the episode done right.

This week, Quinn is able to stand up again in front of her peers! Yet, somehow, it's hard to care. Her character is interesting for some of Glee, but is once more forgettable at the end. Ah, well. Too bad, really.



Puck's (Mark Salling) last minute friendship with Becky (Lauren Potter) seems off. Does Glee really expect the two to end up together? It certainly seems so. Hopefully, this is just a partnership of convenience, as each help the other get what they want. Puck crowns Becky queen of the anti-prom with a cut up beer box, which she actually wears to the real prom (!), and Becky distracts Sue (Jane Lynch) while Puck spikes the punch. Victory is theirs!

But, in spite of the fact that it would be nice to see both characters get happy endings, they don't belong together any further than that. After all, Puck should be with Zizes (Ashley Fink), who had better (but probably won't) make a return before graduation!

A final note, Will (Matthew Morrison) and Emma (Jayma Mays) seem tossed into the prom sequences. Were their bits quickly filmed in a half hour and cut into the larger scenes later? There is little reason to have them there, as they only provide reaction shots, and don't interact with anyone. What's more, why are they dancing all night like any other attendee instead of keeping an eye on the kids, as chaperones are supposed to do?

Overall, "Prom-asaurs" is a lackluster effort for Glee. Next week, Glee will be two hours long, beginning at 8 p.m. ET, the second hour finding the kids competing at "Nationals." And in two weeks, the seniors say "Goodbye" in what will be a series wrap for many of the beloved characters. Watch Glee on FOX.

 If you like my reviews, please follow me on Twitter! Click here for all of the Glee reviews I've ever written. To purchase Glee DVDs, streaming episodes, music, and more, please click here. Article first published as TV Review: Glee - "Prom-asaurus" on Blogcritics.

Glee The Concert, on Blu-ray and DVD, great for those missing Glee this week

     It is no secret to fans of FOX's Glee that the cast of the beloved series does a concert tour every spring, at the completion of filming the TV show. Last year's concert was packaged into a film, released in theaters in 3-D. Most people don't own 3-D televisions, but the special is available on Blu-ray and DVD, and the set comes with a digital copy, so it can at least be partially experienced on a variety of platforms. With Glee taking a break tonight, now seems like the perfect opportunity to take a look at this must-have for all true gleeks.

     Glee The Concert is about eighty minutes in length, showcasing many musical numbers on stage, mixed in with backstage interviews and inspiring stories of Glee fans. Recorded during a live show in East Rutherford, New Jersey, it is clear from the beginning that Glee The Concert does not present an entire concert. Hints of witty banter to bridge songs are seen, but not much. Which is a shame. The small parts that are shown fit more into the spirit of what the live show must be than the packaged profiles and interviews. While it's fun to get a little backstage look at some of the stars, many of whom stay in character, it's also disappointing to be robbed of the full experience. Transitions make sense, but it feels like there's something missing. Not to mention, given the film's short running time, there are probably songs cut out.

     The three teenagers that tell their stories in between the songs of Glee The Concert are moving stories full of optimism and accepting people for who they are. Which is exactly the theme of Glee. There is a gay guy (of course), a girl with Asperger's, and a popular cheerleader who happens to be a dwarf, and is eventually crowned Prom Princess. For those not inspired by the regular Glee show, or American Idol profiles, these come across as cheesy and unnecessary. For those gleeks caught up totally in the mania surrounding the show, and think that a simple television program impacts their lives in deep ways, it's a treat to eat up. As such, opinion will be divided on the value of including these features, and both sides have valid arguments. It's a 'love it or hate it' situation.

     Many of the songs performed in Glee The Concert are favorites from the show. The movie, predictably, opens with a welcome performance of "Don't Stop Believin'." Also included are "Empire State of Mind," "Born This Way," and "Loser Like Me," all of which are big group numbers that succeed wonderfully. If one stays past the first couple minutes of ending credits, one is rewarded with "Somebody to Love."

     Most of the major characters are featured in solo or duet performances. Brittany's (Heather Morris) "I'm a Slave 4 U" is a great fit that really pumps up the crowd and showcases her dancing and body. Those missing Zizes (Ashley Fink) this season, this reviewer definitely among them, will love Puck (Mark Salling) wooing her with "Fat Bottomed Girls." Rachel (Lea Michele) busts out her "Don't Rain On My Parade" and "Firework," both stunning performances. Finn (Cory Monteith) shines in "Jesse's Girl." Artie (Kevin McHale) gets to ditch his chair and groove out to "Safety Dance." Kurt (Chris Colfer) fans will swoon to his soulful "I Want to Hold Your Hand," still a highlight of the second season. Substitute teacher Holly Holiday (Gwyneth Paltrow, the sole adult appearing) even pops up to belt out "Forget You."

     Those who prefer more than one singer will not be disappointed. Kurt and Rachel duet "Happy Days Are Here Again / Get Happy," while Mercedes (Amber Riley) and Santana (Naya Rivera) slay "River Deep - Mountain High," as only they can. And, to the delight of girls everywhere, Blaine (Darren Criss) leads the Warblers in a trio of songs comprising a short set in the middle of the film. In fact, a highlight of Glee The Concert is a young boy dressed as Blaine performing in front of his TV, which is revisited in the ending credits. In short, Glee The Concert makes some great musical choices, and they are extremely well performed, as fans would expect them to be. Energy is high, and no lip synching is evident.

     That being said, there are a couple of issues. For one thing, Artie performs too much. Sure, he gets "P.Y.T. (Pretty Young Thing)" more as a way to highlight Mike Chang's (Harry Shum Jr.) dance moves, but it's still McHale singing. It's not disappointing that Tina (Jenna Ushkowitz) is not featured, but Quinn (Dianna Agron) deserved her own song, rather than being reduced to a duet of "Lucky" with Sam (Chord Overstreet), as great at that number is. However, those are small complaints in the overall picture.

     Glee The Concert comes with a handful of special features. Two songs not appearing in the film, "Dog Days Are Over" and "Friday," are included, as well as extended versions of "Ain't No Way" and "Happy Days Are Here Again / Get Happy." Which is beneficial, because both numbers seem short in the picture. "On Stage With the Cast" provides a couple of cameos by Sue Sylvester (Jane Lynch) that probably should not have been cut, as well as a wonderful proposal between Kurt and Blaine that hints a major season three development to the audience. "Backstage With the Cast" is what you would expect, a few minutes of speaking with the performers behind the scenes. Shazam also provides content to a mobile device, if one is tech savvy and wants even more content.
     Glee The Concert will not replace the show, but it's a nice companion, and revisits some favorite musical numbers. Buy your copy on Blu-ray or DVD today.

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Glee embarks on "The Purple Piano Project"

     FOX's Glee season premiere is "The Purple Piano Project." Will (Matthew Morrison) gets three purple pianos, and randomly places them around the school. He hopes spontaneous performances by the New Directions will help identify students that just cannot stay away from music. This is needed, because the club has lost three members, including Quinn (Dianna Agron), who has a whole new look, and is hanging out with the "skanks." But Sue (Jane Lynch) is now running for Congress on an anti-arts education platform. Sue tasks new co-Captain Santana (Naya Rivera) with destroying the pianos, leading Santana to be kicked out of glee club.

     Last year, Santana quits the Cheerios because Sue goes too far, siding with the New Directions. This year, she does an about face. While Quinn is actually the one who inexplicably burns a purple piano, Santana is blamed for the incident, and doesn't deny it. What happened to the girl who loved glee club, much as she hated to admit it? Surely she's still in there. Could she only have been participating for Brittany (Heather Morris), and once rejected, care less about the music? It certainly doesn't appear so in the multiple numbers this week that Santana jumps up and shakes her booty around. As such, hopefully the exile will only be temporary.

     Quinn's defection, from both the New Directions and the Cheerios, is more understandable. After all, she has had a rough couple of years and just wants to start over. Hanging out with the group that she chooses isn't the best idea, but it also isn't unrealistic for a teen girl who is long struggling to find her identity. With all of the set backs Quinn must overcome, one is left hoping that she finds happiness more than wanting her back in any specific club. That could happen, when Shelby (Idina Menzel) returns with Quinn's daughter, demanding that Quinn clean up before the two can have a relationship. At least, that's what the preview for next week appears to be setting up.

     Sam (Chord Overstreet) is also gone as of "The Purple Piano Project." Overstreet chose to leave Glee when not upgraded to series regular, and the script reflects that Sam's father got a job and they had to move. This makes sense, given the financial state the family is in when last seen. Zizes's (Ashley Fink) defection makes less sense, as she is a valuable part of the club, and brings a unique personality to the mix. Then she just up and leaves, breaking poor Puck's (Mark Salling) heart in the process. Bad form!

     Sadly, the talent pool at McKinley does not provide quick replacements for the four missing members. Only one girl, newcomer Sugar Motta (Vanessa Lengies, Hawthorne), tries out. She has Asperger's, and thinks she is far better than the rest of the New Directions. Her rendition of "Big Spender," completely out of tune, begs to differ. Will is faced with the possibility, for the first time, of not letting a student who tries out into the group. But finding something for her to do besides sing does not go over well.

     The one bright spot in the membership game is Blaine's (Darren Criss, now a series regular) transfer into the public school. A performance of "It's Not Unusual" quickly secures him a position in the glee club. He transfers because he loves Kurt (Chris Colfer), who practically begs him to switch schools, until Blaine does, and then Kurt worries that this will hurt their relationship. Truly, picking a new high school is an extreme choice for a teenage beau. This could seriously backfire in the long run. And yet, Glee's penchant for happy endings, as well as strong fan feelings for Kurt and Blaine's pairing, might just assure that it works out.

     Kurt's major worry in "The Purple Piano Project" isn't his love life. He and Rachel (Lea Michele) learn, much to their dismay, that the Julliard does not have a musical theater program. Emma (Jayma Mays) suggests another NYC school, and sends them to a mixer for wannabe applicants near by. The two go in with much confidence, but a fantastic performance of "Anything Goes / Anything You Can Do" by Harmony (The Glee Project contestant Lindsay Pearce) and her friends leaves them feeling more than a little intimidated.

     The moment in the car between Kurt and Rachel is one of the surest, sweetest times shown in their friendship, and in all of Glee. It shows just how much they have come to care about each other, and with one another for support, they actually stand a chance at making it. Plus, again, Glee strives for happy endings. Surely, they have talent. Their "Ding-Dong! The Witch Is Dead" proves that. But they also need luck and encouragement, the latter of which they can help each other out with.

     Will needs no encouragement to stand up to Sue in her would-be reign of terror. Faced with losing his job and the program he loves, Will goes on a full-out campaign against his nemesis. Delivering a glitter bomb, he makes a public statement that Sue will not get away with what she is trying to do. Unfortunately, his stunt back fires, driving Sue's rising poll numbers even higher.

     This particular plot in "The Purple Piano Project" matches what is really going on in Ohio and other areas. Tea Partiers, angry at everything government, but with no plans to actually change anything for the better, demand cuts across the board. Suddenly teachers and valuable programs like arts education become the villain. With no regard to the actual benefits, and with general ignorance, they want change. Ohio has cut many teaching jobs and arts programs lately in response to that. Given Sue's personality, she is the perfect candidate to please such a crowd, much to the detriment of the public good.

     There is a positive response to Will's bold actions, though, and that concerns Emma. With her neurosis, the couple is having trouble connecting in the bedroom department. Emma is very turned on by this aggressive, passionate Will, who won't let Bieste (Dot-Marie Jones) fight his battle for him. With a few more of these activities, there should be no more problems for them, sexually.

     All in all, "The Purple Piano Project" proves to be a really good time, with fun happenings such as a food fight and wonderful performances of "We Got the Beat" and "You Can't Stop the Beat" by the New Directions. Keep up this level of light humor, along with appropriate emotional impact, and season three will be great.


     Watch Glee Tuesday nights at 8 p.m. ET on FOX.

     If you like my reviews, please follow me on Twitter! Click here for all of my Glee reviews.

 

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

 

 

Article first published as TV Review: Glee - "The Purple Piano Project" on Blogcritics.

Glee celebrates "Theatricality"

     This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.

     Theatricality is hands down one of the best episodes of FOX's Glee to date. It embraces the inner freak, encouraging the kids to be true to themselves. It also begins tackling the serious issue of gay bullying, reunites a mother and her daughter, and dwells on the emotions behind giving a child up for adoption, both before and after it takes place. There are serious, dramatic moments that bring tears to your eyes, triumphant bits to make you feel good, and several fantastic musical performances.

     Who better to bring out the freak in everyone than Lady Gaga? While "Theatricality" is not an artist-dedicated themed episode, surely the spirit of the pop star permeates most of the things that play out on screen, in ways both obvious and subtle. The biggest splash Gaga makes is the with the costumes the girls and Kurt (Chris Colfer) don the entire week, and their performance, in said costumes, of "Bad Romance."

     While some of the guys watching the "Bad Romance" performance are less than enthusiastic, that surely must be because of things going on behind the scenes, rather than a bad performance. Other boys give them the applause they are due. It's a perfect song, not only because of the message of Gaga, but also because its staging and execution are neat and unique. A number of the singers get to shine with small solos, and the choreography keeps things interesting.

     Finn (Cory Monteith) is likely turned off by Gaga because of his struggle between wanting to be in glee club, and wanting to fit in with the jocks. Azimio (James Earl) and Karofsky (Max Adler) turn up their tormenting to whole new levels in "Theatricality," offended by the fact that the New Directions would upset the high school environment by dressing so crazily. Finn doesn't seek to cause trouble with them, but neither is he a bad guy who looks down upon others for being different. After all, the glee club members are his friends.

     This simmering tension comes to a head because Finn moves in with Kurt. While Kurt has long hoped for a shared bedroom with Finn, things quickly get awkward between them. After all, Finn is not gay, and Kurt doesn't keep his feelings hidden very well. Finn tries to be polite, but it's no wonder that he erupts at Kurt. That being said, it's also not acceptable to call Kurt or his things "faggy," so it's heartening when Burt (Mike O'Malley) lets Finn know exactly how not welcome that word is in his home. It's a moment that really cements the relationship between Burt and Kurt, and by Finn's reaction, it's apparent that he knows he went too far. He didn't mean to be quite so hurtful, and he's sorry. He also realizes just saying sorry is not enough, so he looks for some other way to make it up to Kurt.

     It's likely because of this confrontation, and the build up to it, that Kurt finally finds the courage to stand up to his bullies. He is frustrated at home and at school, and can only take so much. Azimio and Karofsky don't take back talk very well, and want nothing more than to put Kurt in his place. Even Finn coming to the rescue in a shower curtain doesn't stop them, but facing the entire group does. Finn's courage, finally, to stand up for what is right is a fantastic moment, and one that does much to repair his relationship with Kurt. Finn may not want to jump into bed with his mother's boyfriend's son, but he does want a friendship. This is how he will get one.

     Because of Finn's reluctance to do Gaga, the guys search for a similarly outlandish male role model. Or rather, models. They choose Kiss, whose look is surely at least as shocking, even if the band sticks with one basic image the entire time. "Shout It Out Loud" doesn't have the same impact that "Bad Romance" does, but it does provide something that may be a tad more relatable to the guy members of the New Directions.

     Luckily, Kiss has a second song up its sleeve in "Beth," which Puck has the guys sing for Quinn (Dianna Agron). It's a tear-worthy moment, when Puck (Mark Salling) declares he is there for Quinn in any circumstance, and demonstrates the maturity needed to be a father, even if only biologically. It's no surprise that Quinn is moved by the performance, much in the way viewers at home are. Puck is not generally the most responsible individual, but here, he shuns that image to act like a man. It is most welcome.

     The final two songs in "Theatricality" are "Funny Girl," a Shelby (Idina Menzel) solo, and "Poker Face," a Gaga duet shared between Shelby and Rachel (Lea Michele). The first serves two purposes: to showcase Menzel's talent, and to let Rachel figure out that Shelby is her mother. The second is a moving goodbye from a parent who has just found her daughter, but can't deal with the ramifications, so is letting her go. Sung in a very melodic style, "Poker Face" has appropriate lyrics, and is done in a way that really showcases the feelings of the two women.

     Shelby is sincere when she tries to begin a relationship with Rachel, but finds she cannot handle it. She isn't used to having a daughter around, and when facing the reality of picking up after sixteen years apart, she backs away. It's understandable, but still sad, especially for Rachel, who always wonders about her mother. Shelby leaves before Rachel can ask many of the questions on her mind, or get to know exactly which characteristics she inherits from her mom. Hopefully, this will be rectified when Shelby returns for a longer arc in the upcoming third season of Glee.

     One thing that does bother me about this episode, though, is that Will is OK with Rachel and others spying on Vocal Adrenaline, and even stealing their Gaga idea. Yes, he scolds them, but then he lets his kids do Gaga, and asks what they learned from their spying. Considering how hurt the New Directions were at Sectionals by similar behavior from rivals, it doesn't make sense that Will would allow this to go. Or that the kids would engage in the espionage in the first place.


Random Bits:
 

• Lauren Zizes (Ashley Fink) is shown to be the leader of the school's Twilight-loving vampire group. This doesn't really gel with anything else we see in her character before or since. But it continues Glee's trend to stick Zizes in whatever silly group of the week it wants to show. Thank you for Zizes, but no thanks for the stunt.

• Fun is fun, but Figgins (Iqbal Theba) believing in vampires, and that Tina (Jenna Ushkowitz) is one of them? Beyond ridiculous.
   
• I'm not sure Tina really fits the goth stereotype. Sure, her clothes are often black, and sometimes her hair and makeup borders on that genre. But she isn't really goth in personality or action, so it kind of ruins that label being affixed here.
   
• Rachel and Shelby's talk, sitting in different rows of the auditorium, looks great, but isn't the least bit practical. Thank goodness Rachel comments on it, showing that Glee is self-aware about its own cheese sometimes!
   
• A moment along the same lines occurs when Rachel calls for Brad (Brad Ellis) to play the piano for "Poker Face." Again, Glee diffuses the weirdness with a joke. Bravo!
   
• Did the New Directions girls and Kurt really wear those same costumes all week? They must smell quite bad by the end of it!
   
• I know it's established to be temporary, but really, Kurt and Finn are expected to share a bedroom? Are they ten? Their parents must realize this isn't a practical arrangement, especially considering Kurt's attraction to the same sex in general, and Finn specifically. Even if those exact feelings aren't know to the adults, this is a dumb set up.

     Check back for another of the final two Glee season one reviews later today! And don't miss the season three premiere of Glee this Tuesday at 8 p.m. ET on FOX.

     If you like my reviews, please follow me on Twitter! Click here for all of my Glee reviews.

 

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

 

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

"Hell-O" to the Glee

     This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.

     Next up for my look back at Glee's first season is "Hell-O." The question is whether "Hell-O"'s theme is "Hello" or "Hell?" It's hard to tell.

     Rachel (Lea Michele) and Finn (Cory Monteith) struggle to make their new relationship work. Finn realizes too late that he wants to be with Rachel, as she meets and falls for Jesse St. James (Tony Award nominee Jonathan Groff). Jesse is actually the star of rival glee club, Vocal Adrenaline, sparking unease between Rachel and her fellow group members. Will (Matthew Morrison) goes to speak to Jesse's coach, Shelby Corcoran (Idina Menzel, Rent, Wicked), and soon discovers he is not as solid with Emma (Jayma Mays) as he'd like to believe.
     Musically, "Hell-O" is interesting because each performance is great and adds to the story, but none stand out as requiring paragraphs of discussion to dissect. They are straight forward, and fit with the episode title. "Gives You Hell" is a personal favorite, but "Hello," "Hello Again," "Hello, Goodbye," and "Hello, I Love You" not only share similar titles, but are all solid musical numbers. "Highway to Hell" is sung by Vocal Adrenaline, so it is not required to fit the theme. Though it kind of does, in a slightly more subtle way.

     Two long-simmering, budding relationships don't even get off the ground in "Hell-O." It isn't fair that Glee strings its viewers along for 13 episodes with two couples who can't quite be together, only to break them up after less than one episode. Finn and Rachel have a long road to happiness, of course, as do Emma and Will. "Hell-O" is probably too early for things to end happily ever after for either couple. But then why even tease by allowing the four to couple up, only to destroy them so quickly? It leaves a big feeling of disappointment.

     Yet, neither guy is ready for a new relationship. Finn and Will are jumping headfirst into new loves after just losing their former ones. Both need to take the time to figure out who they are, which they are told, but have trouble taking the advice. As most people do. It's nice to see Will try to mentor Finn, but the effort falls flat when Will clearly doesn't have it together, either. Both need to be alone for a bit.

     Will's lack of readiness is very apparent in his selfish attitude. As he gets to know Emma, he controls all their date activities and the movies they watch. Will tells her, "There are so many things you don't know about me, and I can't wait to introduce them to you." He isn't trying to learn about her, but wants her to care about him. It's a one-sided arrangement that is doomed to failure. That Will doesn't realize he is going about things all the wrong way makes it much more apparent that he needs to slow down and figure things out before adding another person back into the mix.

     Emma is a pleasantly crazy character up until "Hell-O." Then she is shown to be pretty insane, and not just in a cute way. But she does have self awareness, asking Will "How is you compromising yourself for my crazy any different than doing it for hers?" referring to Terri (Jessalyn Gilsig). It's a turning point for the character, actually welcome, as it makes her more layered and flawed. But does this mean Will only goes for crazy chicks? Toss in Rachel and Sue, the other significant female main characters, and it begins to appear that there are no sane females on the series. Which is too bad, really. Do Glee's writers have something against girls?

     Finn's fidelity is tested by Brittany (Heather Morris) and Santana (Naya Rivera) in their first significant plot. What guy wouldn't be thrilled to go out on a date with the two hotties? Santana and Brittany hold hands with each other, though, and Santana tells Finn the date will consist of "You buy us dinner and we make out in front of you." So they appear to be much more interested in each other than in him. Which is probably why fans begin to think the two are an item, even though the truth proves to be much more complicated. Still, it's good to see them do more than listen to Sue's (Jane Lynch) evil plans, and complain about what the glee club does.

     Santana and Brittany begin to feel like part of the group around "Hell-O," as does, to a lesser extent, Mike Chang (Harry Shum Jr.). Up until now, they, along with Matt (Dijon Talton), are barely more than extras. Matt never escapes that stigma, but of course, the other three do. Mike's participation in dancing, and the girls' subplots, help them achieve a level of importance that allude them until now. Brittany cements her status by uttering what is still one of her most famous lines, "Dolphins are just gay sharks." There will be many more memorable moments to come from the trio.

     Sadly, Kurt (Chris Colfer) continues to be lumped in with Mercedes (Amber Riley), Tina (Jenna Ushkowitz), and Artie (Kevin McHale) as secondary members of the club, rather than the breakout star he will become in season two, on the level of Rachel, Quinn (Dianna Agron), or Finn.

     As Santana and Brittany become more accepted by the main characters, Glee seeks other villains besides Sue. Enter Shelby and Jesse. Though more complicated than the resident evil cheerleading coach, the two plot cheating, much as the rival glee club coaches at Sectionals do, but in a longer story arc. These are two interesting characters, played by very talented performers, who are allowed to have more than one motivation. It makes them worthy to go up against, and as most people with feelings on the show do, allow them to grow over time. What's more, they are welcome when they return down the line. Jesse comes back late in season two, and Shelby has a major upcoming story in season three.

     Besides these bad guys, Terri solidifies her self as an antagonist in "Hell-O." While some of Terri's action are sympathetic in Glee, others are just plain evil. She is a woman who can go either way. After Will shuns her, she falls firmly onto the dark side. Terri's attempts to get into Emma's head and manipulate the woman, as understandable as they might be, are not the actions of a good person. Thus, it is time to stop trying to figure out Terri, and just root against her instead.


Random Bits:

• Is the piano that Jesse plays in a public library or a music store? Dialogue indicates the latter, but it looks like the former, and no music store in Ohio is that nice. The instrument seems especially out of place in a library, but having been to several music stores in Ohio, none that I have visited have one out to play on.

• So McKinley's basketball team has the same players and coach as the football team? This makes sense for a small school, but not one the size that McKinley appears to be. Thank goodness basketball does not become a major recurring thing on the series the way that football has.

• Rachel admits to wearing a training bra in "Hell-O," and Kurt says people mistake him for his dead mother on the phone. Is their confidence in themselves increasing, or are these just bad throwaway jokes?

• Figgins's (Iqbal Theba) continued threats to cancel the glee program are stupid. Will is just starting the club, and even with budget problems, most school programs are allowed time for growth. Virtually no group does well in competition in its first year. It's to be expected, not bullied.

• Another Lauren Zizes (Ashley Fink) sighting in Sue's Old Maids' Club! Gotta love some Zizes!

• How did Will get his apartment back after he leaves Terri? Oh, wait. I know. Set budgets trump reality.

• Will brings Shelby back to his place. But they were at her school, so surely her place is closer. See previous random bit for explanation.

• Vocal Adrenaline appears in earlier episodes, but not Shelby or Jesse. This makes no sense, especially for Jesse, who is their best singer, and gets all the solos. Except that the pair had not been cast yet. Not really a good excuse. Why not just add another glee club to the mix and avoid continuity problems?

     Check back for another season one Glee review soon!

     If you like my reviews, please follow me on Twitter! Click here for all of my Glee reviews.

 

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

 

 

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

Glee finds its "Wheels"

     This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.

     Episode nine of FOX's Glee is "Wheels." Themes of equality and fair treatment are prevalent throughout Glee, but "Wheels" is the first episode that centers on the issues. From Artie (Kevin McHale) needing more wheelchair access, to Kurt (Chris Colfer) and Burt (Mike O'Malley) dealing with homophobia, to Tina's (Jenna Ushkowitz) stutter, to Becky Jackson (Lauren Potter) joining the Cheerios, to a girl on the wrestling team, "Wheels" is bursting with such stories. It's also a great episode for story, acting, and music.

     Equality is a tricky issue to tackle. It is certainly not fair that the school won't pony up the money for the New Directions to take a bus accessible to Artie to Sectionals. But neither is it fair that schools must spend so much extra money on a few children. The problems are the same with special education and non-English speaking learners. In these cases, financial inequality is needed to give the same opportunities across the board. One would never argue that children should not get equal access for risk of sounding like a heartless monster, but there does need to be some sort of balance, or all of the school's funds could be tied up for things that do not benefit most of the student body. That would be a problem, too.

     Funding comes from a variety of sources, and as Will (Matthew Morrison) rants against the unfairness of the Cheerios flying all over the country, Figgins (Iqbal Theba) points out that Sue (Jane Lynch) has boosters that pay for all of that. Is the booster system fair? Obviously, individuals working hard to raise money for a certain cause should be allowed to use it for their intended purpose. But when such a disparity exists in a system, such as the one between the Cheerios and New Directions, isn't it only right that some of the funds by siphoned off to other groups? Your point of view on the subject surely reflects political and social views, as both sides are arguable to some degree.

     One does have to wonder, though, how McKinley can afford special lighting in the choir room, as well as costumes, props, and a unique ramp stage for a glee rehearsal, but can't pay for a bus that is surely already owned by the district. In "Wheels," Will even finds the money to buy eleven wheel chairs! They are used, but have to cost some amount of money. Why not share a few instead of each student getting their own? The point would still be made. Perhaps this is a bit nit picky, but as much as the New Directions complain about not having funding, they sure look like that's not the case. Of course they must look good to drive up the production value of the show, and keep people entertained. But this contradicting with realism is a problem I wish would be addressed. Perhaps the group receives special grants that must be spent on lights and costumes?

     Money aside, isn't it illegal for McKinley to discriminate against Artie? There are laws in place to make sure students get fair treatment, and certainly one of them requires the district to provide adequate transportation for all participating members of a school-sponsored activity. Only so much can fit into an hour of television, but there are elements of the situation not even addressed in "Wheels."

     Another form of discrimination in Glee that actually comes up quite a bit is the way homosexuals are treated in current social culture. Things are getting better, but it's a slow process. In "Wheels," Burt receives a malicious phone call because of his son, Kurt. How Burt deals with it, suggesting Kurt might tone his personality down a notch, is another thing that can be debated. Burt's feelings come from a place of paternal protection. He wants Kurt to be true to who he is, but also wants him to avoid pain and suffering. It's hard not to sympathize with Burt, and Kurt does, choosing to throw an audition rather than cause more trouble.

     Having to act a charade is not fair. Being treated like an outcast for the way one is is not fair. Glee understands that, and focuses on themes of acceptance. Life is not fair, but that doesn't mean people shouldn't try their hardest to make things a little better for those around them.

     Surprisingly, Sue understands this, and even donates money for new ramps for McKinley. "Wheels" finds Will and Sue conducting tryouts for Cheerios, and Sue chooses Becky, a girl with Down Syndrome. Will is convinced that Sue is up to something, but it is revealed that Sue has a sister named Jean (Robin Trocki), whom Sue loves dearly, who also has Down Syndrome. This might just give a tiny peek into the inner workings of Glee's resident villain. Perhaps Sue is the way she is because she wants to toughen kids up to handle what the world has in store for them, knowing fate can be cruel. Sue is shown to care about students, and thus, one must conclude Sue is acting in what she thinks are their best interests. This seems to be confirmed by Sue treating Becky just like any other cheerleader, which is much fairer than giving her special treatment.

     There are only three songs in "Wheels," but each one is quite good. First up, Artie's "Dancing With Myself" is incredibly moving, and showcases his rich, deep voice. Though, it is odd that the original version of the song partially plays just a few moments later in the episode. That is followed by the big diva off between Kurt and Rachel (Lea Michele) in "Defying Gravity," still a fan favorite from the series. Finally, "Proud Mary" gives solos to many of the more supporting members of the club, as well as makes viewers feel good with its interesting staging. Musically, "Wheels" is a strong, but small, entry for Glee.

     "Wheels" marks the start of serious flirtation between Tina and Artie. They bond over shared disabilities, but when Tina admits that her stutter is faked, Artie breaks things off. It's sad, as Tina may not have a speech impediment, but she does suffer from crippling shyness that she is just beginning to get over. It's too bad Artie doesn't see that as something to relate to, because the seeds are there for them to continue to share common ground.

     The love triangle between Quinn (Dianna Agron), Finn (Cory Monteith), and Puck (Mark Salling) erupts in "Wheels." However, given Quinn's poor attitude and demand that Finn cover all medical bills, while not seeking employment herself, begs the question, why would either guy want Quinn? Sure, she is pretty, but she isn't nice. It's confounding that Finn and Puck fight over her, when they both could do so much better. It's a shame such a cold girl can get in the way of the warm friendship that the boys share. No wonder Finn is spending so much time with Rachel!

Random Bits:

     The aforementioned girl who joins the wrestling team is Lauren Zizes (the wonderful Ashley Fink) in her first appearance. She also tries out for the Cheerios. Though she is not mentioned by name or credited on imdb.com for "Wheels," Zizes will become a popular recurring character and member of the New Directions.

     "Wheels" also marks the first appearance of recurring characters Becky Jackson and Jean Sylvester.

     Quinn admonishes Puck that they are "not going to take money from a friend in a wheelchair," then immediately turns and takes money from Finn, who is sitting in a wheelchair at the time. Ha!

     When Artie breaks things off with Tina, he claims that being in a wheelchair is "not something I can fake." Ironically, McHale, who plays Artie, can walk just fine, and is faking it.

     Fans of the iconic web series The Guild should recognize Finn's new boss, though he is shown only briefly. Yep, that's Jeff Lewis, a.k.a. Vork, and he will never be seen on Glee again.

     If you like my reviews, please follow me on Twitter! Click here for all of my Glee reviews.

 

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

 

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