GLEE Finds Another "Child Star"

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

This week’s Glee, “Child Star,” finally focuses on the new kids of the New Directions, even as they joke that another alumnus may walk through the door at any second (none do). Instead, we see much of their personal dynamic as couples come together and friendships are worked out, all while the group prepares to perform at a horrible kid’s bar mitzvah. Which leads to a couple of fresh faces joining the group.

I feel slightly bad for the seven kids who join Glee in its final season because they’ll never get the development that beloved favorites have gotten. At the same time, while I enjoyed “Child Star” overall, I spent a lot of time missing all the other long-time characters absent from the hour, caring more about them this close to the end than I do about any new people in the cast. It’s really a tough position in which to put this crop of youngsters, especially when two of them don’t even appear until this episode.

Mason (whom many believe has an incestuous relationship with his sister, Madison), reveals that he is actually attracted to Jane (Samanatha Marie Ware). Jane is flattered, until Madison erupts in jealous rage (see? incest!), and Jane backs away from the drama. Luckily, Mason isn’t content to stay all Flowers in the Attic with his sibling, and makes a stand in the best musical performance of the night: Queen’s “I Want to Break Free.” This leads to Madison understanding and loosening her grip, a fairly predictable story move, but, one that gives Mason and Jane as happy an ending as they’re likely to get in the short time Glee has left.

Meanwhile, Spencer (Marshall Williams) has a crush on Alistair (Finneas O’Connell, Bad Teacher), which he expresses in a the enjoyable “Friday I’m in Love,” but has no game. Roderick (Noah Gurthrie) wants to climb a rope but has no athletic skills. Synergy is found when the two agree to help each other out, though this goes horribly, Spencer having no idea how to motivate someone like Roderick, and Roderick not even attempting to coach Spencer. Somehow, though, it all works out in the end because this is Glee, where emotion always trumps logic, and Spencer, Roderick, and Jane (why Jane?) celebrate together in the fantastic “Uptown Funk.”

I mentioned that I like “Child Star,” and I do, but neither of its stories play out all that intelligently. I guess I’m getting soft on the series as the end looms near, realizing I’m going to miss its whacky unevenness.It does “heart” so well, making me feel for the characters even when I shouldn’t care. This episode is a prime example, a way to blatantly illustrate what Glee does well and what it sucks at, so it strikes the nostalgia note alongside the others it is trying to hit.

All of this may be burying the lead because the titular “Child Star” introduced this week is Myron Muskovitz (J.J. Totah, Jessie). Myron is having his bar miztvah, and being a flaming, drama queen, 13-year-old, he wants everything to be perfect. His uncle, Superintendent Harris (Christopher Cousins), forces Sue (Jane Lynch) to cooperate, meaning the New Directions get involved in the party. Strangely, Myron also demands Sue and Beiste (Dot-Marie Jones) dance back up for him, which is fun, but completely goes against his drive for perfection. Anyway, everyone reluctantly agrees to meet the nightmare child’s demands, and in the end, his uncle strong-arms him out of middle school and into the glee club.

Myron is absolutely awful, so I’m glad there won’t be time to develop him. Don’t get me wrong; Totah clearly has talent. But his Disney Channel pedigree shows when Myron goes total spoiled brat, and is more annoying that he is likeable. His introductory performance, “Lose My Breath,” is more creepy than anything. When he eventually goes on at his bar mitzvah with “Break Free,” thankfully he blends into the background more than his character should, realistically speaking, since so many others are on stage with him. Still, that doesn’t mean he should be allowed to stay.

The silver lining is, with Myron and Alistair joining up, the New Directions now number eight, and twelve are needed for Sectionals in two weeks. Is anyone other than me thinking that now is a great time to bring back Marley, Jake, Ryder, and Unique? After all, while there is no way in the world these twelve should be able to have a credible set ready in time for judging, at least we know the four have chops and their presence has been missed. If they don’t return, the other spots are doomed to go to glorified extras, as has been done on Glee in the past.

The other thing worth noting in “Child Star” is that Will (Matthew Morrison) finally goes toe-to-toe with Sue on her level. Will has been through quite a journey, and coming back from Vocal Adrenaline, he’s found inner strength. He always stands up to Sue, but as he calls her Suzy Q and gets in her face, something seems different in their chemistry. Since Sue is likely to stay on as principal and Will will surely be back in charge of the New Directions at the end of all this, I’m thinking Glee is going to do a plot where Will finally turns into the man Sue has slyly been trying to make him into, even if her hilariously jumping on his back indicates otherwise.

I have a few last complaints about this episode. First, where is Kurt? His honeymoon is only said to be a weekend, meaning he should be back already. Why are Will and Rachel (Lea Michele) left to run the glee club alone? Also, why is Kitty (Becca Tobin), the lone glee clubber without plot this week, demoted to guest star this year when she is around more than Artie (Kevin McHale) and recently re-promoted Mercedes (Amber Riley)? She deserves better, and so does Mercedes for that matter, getting the credit but not the screen time. I’m not complaining about the lack of Artie. Lastly, the final number of “Child Star” is “Cool Kids,” which falls flat and serves very little purpose in the story. Bad ending choice.

Over all, “Child Star” is emotionally fulfilling enough, though not as much as some other recent hours, and despite plot holes, works OK. The end is in sight. Let’s get to it.

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

"Jagged Little" GLEE

Article first published as TV Review: 'Glee' - 'Jagged Little Tapestry' on Blogcritics.

This week’s episode of FOX’s Glee, “Jagged Little Tapestry,” is about unexpected pairings. There’s Rachel (Lea Michelle) and Kurt (Chris Colfer), clashing in the way they’d like to run the new New Directions. There’s Becky’s (Lauren Potter) new boyfriend, whom everyone is suspicious of. And, of course, there’s the music, which mashes up Carole King and Alanis Morissette. None of these seem like a particularly good idea.

I very much enjoy Carole King songs, and I very much enjoy Alanis Morisette songs. However, the mashups in “Jagged Little Tapestry” are not very good. The kids sing “Hand in My Pocket” interspersed with “I Feel the Earth Move,” “Will You Love Me Tomorrow” intermingled with “Head Over Feet,” and “You Learn” intermixed with “You’ve Got a Friend.” All six of these tunes are excellent on their own, but the pairings are disjointed both melodically and in the messages of the songs. Every switch back and forth is jarring, and it just doesn’t work as it should.

The best of these three is the middle one I mentioned because it is performed as a very charged duet between newbies Jane (Samantha Ware) and Mason (Billy Lewis Jr.). Mason and his sister, Madison (Laura Dreyfuss), seem far too close, so I wonder if this is the beginning of something between Jane and Mason which will cause serious jealousy from Madison. The sparks are already flying in one manner here, and as creepy as the Mason / Madison thing is, the writers could have some fun with a love triangle involving siblings.

Plus, putting the Blaine / Kurt flashes into this song strike a very strong emotional chord. Well done.

Also in this episode are “It’s Too Late,” a sad lament between a separate Blaine (Darren Criss) and Kurt, and “So Far Away,” in which Tina (Jenna Ushkowitz) and Quinn (Dianna Agron) try to help Becky impress her boyfriend. The latter is cut short when Becky runs from the room. These King songs are emotional and well used, so no complaints there. I only wish the rest of King’s songs were better sandwiched into the episode.

The plot where Becky brings her new boyfriend, Darrell (Justin Prentice, Terri), home to her unseen parents, but everyone from Sue (Jane Lynch) to Santana (Naya Rivera) to Coach Roz (NeNe Leakes) reacts poorly, is an interesting one. You don’t often see someone with Down syndrome dating someone without it or a similar condition. Sue, in particular, wants to know if Darrell is messing with Becky because Sue is extremely protective of her former student. But Darrell does come across as genuine in “Jagged Little Tapestry,” and even if it feels wrong to many viewers (admittedly including myself), I like that Glee challenges our prejudices and makes us rethink them. Because Darrell is authentic, which I think we must assume for now, the issue is in the person who is uncomfortable, not the couple themselves.

Less satisfying is learning that Coach Bieste (Dot-Marie Jones) is going to have a sex change. It’s not that I don’t think it’s a compelling story or that it doesn’t fit in the show; it absolutely is and does. The problem is that it is Bieste herself that the plot surrounds. We see Bieste searching for love and being comfortable with herself on numerous occasions in the past. Sure, some people can hide their true feelings, but she doesn’t strike me as one to do so, especially given some of the raw moments we witness of her. To have her, of all people, go through this feels inconsistent for the character. Which is a shame, because I am excited to see Jones as a full-time cast member, and I just wish she were given material more in line with who she’s been since her introduction.

The good Sue is back in her support of Bieste. Sue is usually shown to be cruel in order to inspire and push people to do their best. The exception is when she eliminates arts education from the school, but maybe this can be justified in some twisted way because she thinks such pursuits are holding students back. I don’t quite buy it, but I’m glad to see Sue hasn’t been turned into a cartoon villain in the final season.

Another weakness in “Jagged Little Tapestry” is how the Kurt / Rachel conflict is handled. Knowing the two of them, obviously they will be at odds, and obviously they will work through them. Perhaps because of everything else going on in the hour, though, this arc is zoomed through, skipping steps between break and heal. This either needs to be a bigger focus or spread out over multiple episodes. Maybe it will be, but they seem to come back together far too easily at the end.

Luckily, to balance out the flaws, the hour contains some of the best Santana / Brittany (Heather Morris) stuff ever. Unlike the rest of the rocky pairings, their union is solid, and it finally blooms into an engagement. (I do hope it is mentioned this season that Ohio, where the show takes place and where I live, is one of the handful of ridiculous states that still outlaw gay marriage.) We are given a really intimate post-coitus scene that is a little more adult than most of Glee has been, but earned for these two. More importantly, we see them express their feelings for one another in a very authentic way, for them. I’m so happy this couple is making it and set for a happy ending.

Kurt’s jealousy here is completely natural, and while he mishandles it, he does apologize to Brittany. I wish we’d see how Santana takes the sorry, especially given how she (deservedly) rips Kurt a new one, but I’ll settle for what’s in the episode, glad Kurt is chastised, even though his pain is understandable.

“Jagged Little Tapestry” is a middling episode. Great music not well used, and two pretty good plots alongside a couple lesser ones keep it from reaching its potential, but also keep it from being a disaster. Overall, I’m pretty happy with Glee‘s final season. Hopefully, that will hold.

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