GLEE Not True to "Rachel Berry"

Article first published as TV Review: 'Glee' - 'The Untitled Rachel Berry Project' on Blogcritics.

FOX’s Glee ties up its fifth season and the New York-centric era with “The Untitled Rachel Berry Project.” It is an emotionally satisfying hour, though artificially so. The characters go their separate ways, but splitting away from the Big Apple isn’t what makes sense for several of their arcs, so it forces a false conclusion, allowing a reset for the sixth and final season. I guess the writers just wanted a clean break.

Obviously, Rachel (Lea Michele) is front and center, though one of only five characters featured this week. FOX sends writing genius Mary Halloran (Kristen Schaal, Bob’s Burgers, The Daily Show) to catch Rachel’s essence and write a pilot around it. The result is an absurdly weird show that feels nothing like Rachel. To correct this, Rachel sings “Glitter in the Air” to Mary, who is moved and writes exactly what Rachel wants. It’s time for Rachel to leave Broadway behind and move to LA!

Except, the whole time we’ve known Rachel, Broadway has been her dream. She gets a fantastic opportunity starring in a stellar role, and she is now burning all of her bridges and leaving it behind for a pilot that may or may not make it on the air. It seems a huge mistake, not only in abandoning her job, but in salting the earth so that she can never return to it. It would be one thing if Rachel’s ego got the better of her and led to this, but she doesn’t even seem to be approaching this from a place of supreme arrogance. What happened to Rachel?

Blaine (Darren Criss) is also faced with a choice between two things he loves: his fiance, Kurt (Chris Colfer), and performing. It’s time for Blaine’s showcase, but June (Shirley MacLaine) won’t even discuss allowing Kurt to participate, insisting she knows best. Kurt is hurt when Blaine breaks the news to him, and they have a big fight. So Blaine defies June and brings Kurt up for his finale, an “American Boy” so great that even June has to admit she is wrong.

I absolutely get Blaine’s emotional arc in “The Untitled Rachel Berry Project.” We see his pain as he laments through “All of Me.” Kurt’s anger is also understandable, as is his apology and their subsequent sweet reconciliation. This feels like something that has needed to happen between them for awhile, and once they get past it, Blaine moves back into the loft and they are happy together.

What I don’t get is June’s forgiveness. Sure, she shoots glaring daggers at Blaine, but once the number proves to be a success, she’s happy for the couple. Shouldn’t she be holding a grudge at Blaine’s defiance? Maybe she would take credit for the song and move forward because it works, but without any animosity? Her explanation, telling Blaine to stay true to himself, ignoring detractors, including herself, feels out of character for her.

Finally, Sam (Chord Overstreet) and Mercedes (Amber Riley) contemplate their future together. Their friends try to convince them to break up, since Mercedes will be on the road and everyone thinks Sam will cheat on her. Yet Sam proves his mettle in “The Untitled Rachel Berry Project” when confronted with a lecherous photographer (Beau Garrett, TRON: Legacy), crying when she kisses him and immediately confessing to Mercedes. Mercedes sees how hard things are for Sam and breaks it off with him, promising to revisit him in the future should it all work out.

Sam is a good guy and it’s a shame his friends keep underestimating him. He is loyal and true, and while he has made mistakes in the past, he’s only gotten more steadfast in their wake. Why is everyone so down on the model? I’d say Mercedes doesn’t deserve him if she can’t see that, but she’s the only one of the cast who does eventually understand Sam, believes in him, then lets him go anyway so they can pursue their own careers.

For Mercedes, this means touring with Santana (an unseen Naya Rivera) and back-up dancer Brittany (Heather Morris, who is great to see again, but seems out of place in this episode), which we see the start of in “Shakin’ My Head.” But for Sam, despite a successful shoot, a good performance of “Girls on Film,” and his naked body on a bus, he opts to go back to McKinley High. Why? Are his goals so short-sighted? What’s waiting for him in Ohio? It makes absolutely no sense at all.

But now all the plots are wrapped up and all the kids mentioned above, along with Artie (Kevin McHale), who’s also in the episode, but is at his most useless, declaring strong bonds of friendship without really contributing to the group, end with an excellent “Pompeii.” It’s the finale fans want, a big send off to the next stage of the characters’ journeys, and it is satisfying. Unfortunately, it’s a glittery cover for a stinky story, not earned.

Glee‘s sixth season, which will likely be cut down to a smaller number of episodes and won’t premiere until at least next January, should be interesting. It has the job of tying up the loose threads and sending each player to their final destination. I expect it will be heavy on feelings, and that’s a good thing. However, if they keep failing to make the story cohesive, it will be as disappointing as most of the run of the series has been, and that’s unfortunate.

Glee will return mid-season next year.

Memphis Beat is "At the River"

     TNT's Memphis Beat returns for a second season with "At the River." A cop is killed, and Lt. Rice (Alfre Woodard) decides to split up her top detectives to solve it. She helps Det. Whitehead (Sam Hennings) work the actual case. She also lets him know he isn't really welcome in her department, and wishes he would leave. Dwight (Jason Lee) is ordered to assist Claire Ryan (Beau Garrett, Criminal Minds: Suspect Behavior), an Internal Affairs investigator, figure out if the dead cop is dirty or not. Dwight takes the case personally after meeting the deceased's son, recalling his own father's death in the line of duty. Not only does Dwight clear the cop's name, but he catches the killer, too.

     By and large, Memphis Beat is a procedural. The main focus is on the cases, not the characters. The season premiere, "At the River," is no different. Even when bringing up Dwight's past, it's more of a footnote to explain motivation than an actual plot point. Only Whitehead gets any real exploration this week, as he takes Rice's promise to help promote him to get him off her team very personally. His reaction is certainly the most interesting thing about the episode.

     The case itself isn't badly done, with some unexpected twists and turns, and a bit of flirting between Dwight and the Guest Star of the Week, Claire. They have palpable chemistry, and a show that concentrates a bit more on the main characters might bring her back for at least an arc so the two can get to know each other a bit better. Memphis Beat may eventually do that, but disappoingtingly, there is no sign or mention of her in next week's second episode of the season.

     The setting (Memphis, though filmed in Louisiana) and type of crimes do differ Memphis Beat slightly from the other series of the same genre on the air, but not enough to make the show a must-see. In fact, only watch if it's convenient and you don't have anything else better to do. It won't be a waste of an hour, but there is little to gain from it, either. Lee recently said in an interview that the series would be retooled dramatically for season two, but the first two episodes do not make this obvious, if it is being done at all.

     Next week's entry is a bit better, though it's hard to pinpoint why. Perhaps the additional interplay between Dwight and Whitehead make it a bit more entertaining. Or it could be the appearance of Tom Lennon (Reno 911!, Night at the Museum) as a consultant obsessed with a series of old break-ins who is smitten with Rice. There certainly isn't anything plot-wise that furthers any development.

     If you're into procedurals, I would recommend Memphis Beat over many of its peers. But if you are looking for intelligent, gripping, deep series, skip this one. Memphis Beat airs Tuesdays at 9 p.m. ET on TNT.

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Article first published as TV Review: Memphis Beat - "At the River" on Blogcritics.