GLEE Lacks in the "City of Angels"

Article first published as TV Review: 'Glee' - 'City of Angels' on Blogcritics.

How can a show that so consistently hits the right notes emotionally and musically be so bad at a cohesive, believable story? This week’s installment of FOX’s Glee, “City of Angels,” delivers when it memorializes Finn (Cory Monteith) and shows how much the kids care, but falls flat on its face when the story takes wrong turn after wrong turn. Will next week’s big 100th episode be any better?

“City of Angels” finds the New Directions heading to L.A. for the Show Choir National Championship. The group sings “I Love L.A.” as they transition from the choir room to the streets of the city the show films most of their scenes in, even though it takes place in Ohio. It’s as much a tribute to the town as the glee club did when they arrived in New York, so it seems appropriate, even as viewers understand the actors actually live in L.A. so their enthusiasm, as believable as it does come across as being, is faked.

The missteps begin right away, though. Since the New Directions are three members short to compete, and the show is exhausted with cheeky jokes to bring supporting characters back after long absences, three new faces are stuck into the ensemble just for “City of Angels.” They don’t have names or lines. Never acknowledged, they are complete filler. What a shame.

Other ridiculous stuff follows. Will taps Sam (Chord Overstreet), without warning, to be the group’s leader at the last minute. Upon arriving at the hotel, Will (Matthew Morrison) is told that Sue (Jane Lynch) has messed with their reservations, although this is a throw-away occurrence that never goes anywhere and is quickly forgotten. Mercedes (Amber Riley) shows up with one of the most unrealistic (second) success stories ever. The chaperones for the trip, Burt (Mike O’Malley) and Carole (Romy Rosemont), irresponsibly take off without even informing Will they’re going. And a deaf woman, Marlee Matlin (herself), judges the singing competition.

If you think all of that is terrible, and it absolutely is, things go from bad to worse when Will and the gang bring home a second place trophy. Sue, surprisingly sympathetically, disbands the club. She lists a bunch of organizations staying intact, but declares the New Directions’ status as number two in the entire country not good enough.

Are we expected to believe that the rest of the teams she mentions won at a national level? I mean, Roz (NeNe Leakes) manages to help the Cheerios get there, but they’ve won lots of times before. Surely the rest didn’t hit that mark. That’s simply ludicrous, and while what Glee is trying to do comes across well enough, the plot–which ends with the only New York scene of the night in which Kurt (Chris Colfer) tells Rachel (Lea Michele) and Santana (Naya Rivera) the news–just doesn’t make sense.

Yes, there are some amazing things in “City of Angels.” The tribute to Finn during the club’s performance, interspersed with clips of the character, is beyond touching. Carole’s struggle with keeping her son’s memory alive and facing Finn’s friends again is moving and raw. The four seniors singing solos, ending together, is great. Even the tiny subplot about Jake (Jacob Artist) and Ryder (Blake Jenner) repairing their friendship, then recruiting Mercedes to help restore Marley’s (Melissa Benoist) faith in herself, works. But balanced with all the crap, this week’s entry doesn’t live up to its potential.

Most of the music in “City of Angels” revolves around the competition. As usual, we get one song from a rival, this time an all-girls choir doing a weird yet good “Vacation,” and two from the main antagonists, Throat Explosion. The latter does an inspired “Mr. Roboto” followed by a very good “Counting Stars,” though as we’ve come to expect, the performance lies solely in the hands of a single individual, the guest character representing everyone else, Jean-Baptiste (Skylar Astin, Pitch Perfect, Ground Floor).

Jean-Baptiste is no better or worse than past foes. He isn’t cruel about Finn, cutting the group some slack and returning a stolen plaque. But he also is a bit of a jerk with the smack talk and is full of himself, though admittedly with the talent to back up such an attitude. I wish he or the group had been introduced before “City of Angels,” but since he fills such a familiar role at this point, I guess that isn’t necessary, as Glee fans will immediately understand what he represents and his purpose for being there.

The New Directions’ numbers themselves aren’t that spectacular, making one wonder why they even got second. We’re told that “More Than a Feeling, “America,” and “I Still Haven’t Found What I’m Looking For” are Finn’s favorite songs (though that has never been established before now), and so the emotion it invokes in the characters and viewers alike lands. But to the judges, it’s puzzling how they would possibly understand or get anything from it, even with Sam’s raised drumsticks at the end.

It’s also worth noting that Carole mentions Finn didn’t have the best rhythm, which makes no sense given that he played the drums. Drummers are notorious for having great rhythm; in fact, it’s impossible to play the instrument if you lack it. So I don’t know why this slips through.

Next week’s 100th episode is sure to elicit a lot of feeling. I just hope it does a better job with the writing than this one, or else it will be just as disappointing. This sloppiness is inexcusable for a show on this level, especially when it wouldn’t take all that much effort to fix it.

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

GLEE is "Movin' Out" to the City

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

FOX’s Glee finally gets around to the music of Billy Joel in this week’s episode “Movin’ Out.” With graduation looming, several of the students consider their futures and start planning for what they’re going to do after high school. A couple even travel to New York to pursue their dreams, giving fans a hint at who might soon be joining the Big Apple contingent.

The whole thing starts off as Sue (Jane Lynch) sets up a career fair in the hallway, which Will (Matthew Morrison) is appalled to find out doesn’t include any representation for a career in the arts. Sue replies that that’s not a realistic field to go into, and Will argues that he wants his students to dream. In the end, because one of Will’s students helps out Sue’s favorite girl, Becky (Lauren Potter), Sue relents.

In my opinion, promoting a career as a performer is a terrible message to send to kids, on par with pop song lyrics about not letting anyone ever tell you that you’re less than perfect. I know this makes me sound like a grumpy old man (I’m 30 years old), but it simply is not realistic to hang all one’s hopes on a very slim chance. Encouraging kids to pursue their passions as adults is wonderful, but urging all those who desire to make a living in the arts to give it a shot is stupid and irresponsible. Sue isn’t being cruel, she’s telling the kids what someone needs to tell them if Will keeps filling their heads with this junk.

In fact, this all culminates in Will leading the school, including many non-glee club kids, inexplicably, in “You May Be Right.” As much as I love this number, and it is very entertaining, the message is a slap in the face that Sue doesn’t deserve. Will is crazy if he thinks he is doing his job as a teacher in serving the students this stuff.

The story that softens Sue, though it shouldn’t really be related, is when Artie (Kevin McHale) helps Becky check out colleges. Becky has Down syndrome, and so Sue wants her to stay at McKinley and continue working as an assistant. In this way, Sue is offering Becky a safe life where Sue can watch over her beloved pupil. Artie shows Becky that she has some college options, with programs specially designed to serve her, while singing a decent enough rendition of “Honesty.”

At first, Sue, fights back against Artie, as she is wont to do. But I credit her for having the wisdom to back off, and she even supports Becky when the kid wants to try leaving her comfort zone. Sue is often the villain of Glee, and that’s a fun role to cast her in. However, the part is best when it’s layered and viewers get the glimpse the motivations behind Sue’s actions. In this, “Movin’ Out” succeeds beautifully in a touching tale.

The other McKinley plot this week involves the battle for Marley’s (Melissa Benoist) affections. Ryder (Blake Jenner) has begun dating the girl, playing the part of “An Innocent Man” (his version is passable, nothing special), however, Marley is torn, not ready to commit to Ryder. Jake (Jacob Artist) continues to beg Marley to take him back, but when scorned, instead tells of her off with (a better than Ryder’s song) “My Life.”

Look, this love triangle has already been done. We don’t need it again. Marley isn’t into Ryder, and even if he is the right guy for her, she isn’t ready to grow up and see it yet. He’s only going to get hurt if they insist on continuing. And Jake reacts like a hothead teen, proving he’s not mature enough for her, either. However, these reactions are very authentic for the age group, so I’m not really complaining too strongly, even when this arc gets a little boring.

As I’ve said before, the New York segments of the episodes are almost always better, and “Movin’ Out” is no different. Sam (Chord Overstreet) and Blaine (Darren Criss) are sent off to the city with a really great rendition of “Movin’ Out (Anthony’s Song).” They are warmly welcomed into Rachel (Lea Michele), Kurt (Chris Colfer), and Santana’s (Naya Rivera) apartment, and then go out to try to get into a good school.

Sam’s college interview is pretty much a joke. He is not at all prepared, and lets the interviewer know he cares more about being in NYC and the boy to girl ratio than the school itself. I don’t know what Sam hoped to accomplish with this, but it’s a ridiculous failure.

Rachel urges him to really think about what he wants, though, and Sam admits to dreaming of being a model. Rachel uses a connection she’s made to get Sam a meeting with Bichette (Tyra Banks, America’s Next Top Model), an agent who is willing to help him if he loses a few pounds. Reluctant to comply, the roomies cheer Sam up with “Just the Way You Are,” giving him questionable advice.

I get that Sam shouldn’t starve himself, but sometimes there are sacrifices to be made for certain industries. If one wants to be a model, one must almost always get used to eating super healthy; that comes with the territory. I’m sorry, I don’t know how Sam’s friends telling him that he’s great as is helps, even if, for the most part, they’re right. But Sam as a model is much more believable than Sam in college, and it could keep him in the cast if the Ohio setting is dropped, so that’s cool.

During “Movin’ Out,” Rachel suddenly seems to develop a bit of a crush on Sam. This comes out of nowhere, since she’s known him for years and there’s never been anything between them. Is this a purely physical attraction, realized when she suddenly sees him in a new light? Because Rachel seems like the type of girl that needs a guy with substance, and as much as I like the character of Sam, he is not intelligent enough to keep up with her. Rachel and Finn were a strange enough pairing for awhile. This would be even more of a stretch, though her being with Finn does at least set some sort of precedent.

Blaine is in New York to audition for NYADA. Despite a terrific “Piano Man” at the restaurant where the roommates work (including Rachel again, who should not have time for such a thing at this point), he gets nervous and starts to consider other options. Kurt talks his boyfriend back from the ledge and convinces Blaine that he’s good enough.

I’m divided on this. Of course Kurt thinks that Blaine can succeed, and to be honest, aside from Rachel, Blaine is the only one in the cast I truly believe has the chops to make it as a performer. Yet, Blaine’s decision to look into other careers is a sound one, and doesn’t necessarily close him off to opportunities in the arts. Thus, he should thank Kurt for his advice, but go with his gut.

Glee really cheats the audience by not showing us Blaine’s audition. Yes, he sings in “Movin’ Out,” but if Blaine should get into NYADA, which seems the route the series will go, we’ve just been robbed of a monumental step on his path. It’s not enough to just tell us he tried out after making Rachel and Kurt’s own attempts so pivotal. Can we get a flashback in the near future to correct this grievous error?

I like “Movin’ Out” because it has a lot of mostly enjoyable versions of great songs. It also uses characters effectively in decent stories. It has enough flaws to not set it apart from the pack as one of the greatest episodes, but there are also elements that keep it out of the group of poor ones, ranking it somewhere just slightly a bit above average, in my estimation.

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.

"Lights Out" Creatively On Glee

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

"Lights Out" plague Glee this week as a power outage thrusts the school into darkness. This ruins Will's (Matthew Morrison) plan to stage a huge, stadium-style number to impress the judges at Regionals, and forces the kids to go back to their musical roots with acoustic and a cappella performances.


The basic story of "Lights Out" makes absolutely no sense. A Mylar balloon gets stuck in an electric socket and knocks out the electricity for the entire building? The kids are not sent home? Somehow, the school has hundreds of flashlights on hand to combat the situation? This is lazy and unrealistic writing.

How about use a more realistic hook to get the students performing sans the tools they are used to, which, by the way, often include only non-electric instruments? Sam (Chord Overstreet) talks about having to entertain his brothers with just a guitar because his family is poor. Isn't this enough of an in without going off the grid?

"Lights Out" does provide some pleasing musical performances. Sam and Ryder (Blake Jenner) lead the New Directions in the classic "You've Lost That Lovin' Feeling," Ryder soulfully laments "Everybody Hurts," everyone does a Stomp-esque performance of "We Will Rock You," and the episode ends with "The Longest Time." These are, without exception, fantastic songs, and they are all executed very well.


Ryder's sadness stems from his on-going issues with his Catfish-gal, Katie. He still doesn't know who she is, but his continued obsession with her causes him to dismiss Kitty (Becca Tobin) when she tries to go out with him. It's believable for a high school boy to fall in love with someone online, but it's too bad Ryder passes on Kitty, a flesh and blood girl who is interested in him, for a fantasy that may or may not pan out.

I don't think a lot of guys would have made the same decision Ryder does. Kitty is hot and she's there and she's willing. Katie could be a dude, for all Ryder knows. However, there is something romantic about falling for someone you've poured your soul out to, even if you don't know what they look like, and Ryder is becoming more interesting because of this plot. I'm curious to see where it goes in the remaining hours of the season.

Meanwhile, Blaine (Darren Criss) investigates why Sue (Jane Lynch) left the school, finding her seemingly happy to be a personal trainer, running group sessions. One gets the distinct impression that Sue is just putting on a brave face, especially during her fun / sad rendition of "Little Girls," and it's easy to be sympathetic to her plight.


That being said, Sue can't reveal the truth, nor can Blaine figure it out, because this story relies solely on Becky (Lauren Potter). Missing Sue and fed up with Roz (NeNe Leakes), Becky makes her way to Figgins (Iqbal Theba) in "Lights Out" to confess to the crime. We aren't sure what will happen with Sue or Becky as this point, but it does seem the plot will get some resolution.

Kudos should be given to Glee for the outstanding way Becky's character is handled, and equal praise goes to Potter, the actress bringing the role to life. Becky is not defined by her handicap, nor is that ever the focus of her tale. Instead, she is just as well developed as other important Glee characters, and going down such a dangerous, bold, yet realistic, road with her is brave and compelling.

In New York, Kurt (Chris Colfer) and Rachel (Lea Michele) try to get Santana (Naya Rivera) to follow her passion, but she's resistant, not knowing herself what she wants to do with her life. That is, until Isabelle (Sarah Jessica Parker) offers them the chance to work a ballet event, and Santana's past comes out.

I am glad to see Kurt is still working part-time for Isabelle. After his acceptance in NYADA, it looked like we might have seen the last of her. Parker fits wonderfully into the series, and provides a great recurring part. I hope she remains in this capacity for the next couple of years.

Santana is a tough nut to crack, and Glee isn't about to make it easy for her friends to help her. However, she also is very in-touch with her feelings, going back into her past, as well as that of the others, in "At the Ballet." This is a great way to explore that background, while staying true to the persona created, even if the song is a bit boring.


I also like that Santana doesn't know what she's going to do. Many young people don't after high school, and it's satisfying to see her struggle with this, frustrated at others' pushes for her to define herself. This will be an ongoing process, and hopefully Santana remains in the cast at least until she figures things out.

It's not hard to imagine there will be some casting shake-ups for season five (Glee was recently renewed for two more seasons). Santana, Kurt, and Rachel seem stable in New York, and hopefully Blaine, at least, will join them next year. But it's time for most of the other alumni to move on.

Finn (Cory Monteith) will probably still be a player going forward, and if he stays at college with Puck (Mark Salling), that provides room for both of them to continue. It is highly strange that Finn isn't participating with Will in "Lights Out" throughout the whole hour, preparing for Regionals, just after they get their partnership on track last week, but that could be due to outside influence, since Monteith recently entered rehab, missing filming the end of the season. One assumes that Finn will continue to work at McKinley, picking up this story next year.

However, this may be the end of the road for lesser-seen characters this year like Mercedes (Amber Riley) and Mike (Harry Shum Jr.). They can still guest star, like Quinn (Dianna Agron), but there doesn't seem to be reason to keep them contracted if they're not going to be used. The same could also be said for graduating seniors Sam, Brittany (Heather Morris), Artie (Kevin McHale), and Tina (Jenna Ushkowitz), unless new purposes can be found for them.


This would make room for new main characters, such as Ryder, Marley (Melissa Benoist), Jake (Jacob Artist), Kitty, and Unique (Alex Newell), who have been in just about every episode this year, but remain on the guest list. These five are the future of Glee's McKinley arcs, and deserve the promotion.

Which leaves side players like Joe (Samuel Larsen) and Sugar (Vanessa Lengies). They have been absent for the past few installments, including during times where they should be present or mentioned, but aren't. It's OK if Glee wants to cut them, since they aren't main characters, and there is precedent for such drops, most notably the unjust and regrettable way Zizes (Ashley Fink) departs. However, it would be nice, after logging more than twenty episodes apiece, if they get a good sendoff, rather than just disappear.

"Lights Out" is a filler episode, which provides some fun songs, but only a little development. As such, it sparks musings of larger issues, rather than speculation on its own merits. We need these every once in awhile, but they will never be favorite installments.

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

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.

"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.

Glee "I Do"nt

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

The latest installment of FOX's Glee, "I Do," finally finds Will (Matthew Morrison) and Emma (Jayma Mays) heading for the altar, prompting all of the recent New Directions alumni to come home for the wedding. But before the bride can utter those two little words, she makes a run for it, ruining the event.

This episode is mostly ridiculous. Yes, we know Emma has issues, and with Will having been out of town for most of the wedding planning, as well as her story about her childhood birthdays, it should be easy to see coming that she doesn't go through with it. However, Glee has strung us out for three and a half seasons, waiting for Will and Emma to be together. To call it off now, likely waiting until May sweeps to fix their relationship, is beyond disappointing.

The wedding itself is also off. The song Will and Emma sing, with a little help from Mercedes (Amber Riley), "Getting Married Today," does not feel like it fits in the show. While Glee has performed a variety of genres, covering a wide range of music, this piece in this moment just doesn't feel right. I don't know that I've ever said that before about a selection.

Sue (Jane Lynch) coming down the aisle in the wedding dress is pushing the boundary of her character too far. Does she care about Emma and Will or not? We've seen that she does before, but this action says otherwise. It seems like a stunt designed purely for misleading commercials leading up to the airing.

And why don't we see Emma's parents in "I Do," whom we've met before? It makes sense for them to be here and to get their reactions to their runaway bride daughter. In fact, after Emma flees, the episode doesn't focus on her or Will pretty much at all, which is weird.

I won't even talk about the Finn (Cory Monteith)-Emma kiss twist from last week that makes little sense, and matters almost not at all to "I Do."

 After the disaster of the wedding, it feels quite false that the students would stay and party so happily at the reception. They care about Will, and they would be affected by his grief. They wouldn't so callously enjoy themselves. Why don't they rally to find Emma and save the day?

Weddings are a prime time to hook up, feelings being plucked by the event, so I guess it's not surprising that so many of the characters run off for sex mid-reception. I'm not sure it is necessary for the writers to screw with quite so many relationships at once, but at least that part makes sense. Sadly, the choice of singing "We've Got Tonite" while it happens is only so-so.

I'm not sure how I feel about Quinn (Dianna Agron) dabbling in lesbianism with Santana (Naya Rivera). Perhaps it's unexpected that it didn't happen before now, but I hope they stick with Quinn's assertion that this is a one-time thing. She may have been wronged by men, but she definitely likes them. As long as she doesn't hurt Santana, this occurrence isn't bad.

Kurt (Chris Colfer), on the other hand, definitely will hurt Blaine (Darren Criss). Blaine is too happy to be back with his beau to notice, especially as they duet in the best peformance in the episode, "Just Can't Get Enough," but Kurt is using him for sex, and nothing more. Blaine insists they're back together, and hopefully that's what will eventually happen. But it's not what's going on here. I wish Kurt would be honest with Blaine. Otherwise, it could be even longer before they are reunited.

Adding Tina (Jenna Ushkowitz) to the Kurt / Blaine story isn't necessary. It seems like Glee is trying to beef up her role lately, and her part in "I Do" makes sense for the arc she has been given, but Tina doesn't need more focus, nor to interfere with the fan favorite gays.

Then there's the other exes who fool around, Rachel (Lea Michele) and Finn. Rachel isn't strictly cheating, as, even though she is living with Brody (Dean Geyer), they are in a "modern, open" relationship. I'm just confused as to why Rachel doesn't see it as cheating, considering her character.

Finn is just happy to have her back. He thinks they are an end game couple, and they may very well be. It feels good to see them together again, and I don't think either of them have their feelings hurt by the other. They aren't at the right places in the lives to be a couple right now, but eventually they could make it work again.

Someone has to be there to pick Rachel up when she gets hurt by Brody. It's not explicit, but it appears that "I Do" exposes Brody as a male prostitute. This Hung-esque plot could explain how he gets money to live on, but will not be a very nice surprise for Ms. Berry, especially when Brody is preaching honesty earlier in the night. Granted, she isn't entirely honest with him, either, but it's not quite the same. They appear to be moving towards a big relationship blow out.

Next up, Artie's (Kevin McHale) romance with Betty Pillsbury (Ali Stroker), Emma's niece. Do they have to try to shove the two people in the chairs together? Emma's attempted hookup of them feels false and vaguely insulting. Plus, I never cared for Stroker during her run on The Glee Project, and even though she did win second place last year, I didn't expect to see her pop up now, especially without being featured in a musical number.

Why does Betty show up at McKinley? She's not a student there. She shouldn't be able to just come and wander the halls, during a school day. Ugh.

Lastly, we get to Marley (Melissa Benoist) and Jake (Jacob Artist). Jake wants to give her a special Valentine's Day, and lacking being a romantic himself, he lets Ryder (Blake Jenner) take the reigns, including a cheesy in-class serenade of "You're All I Need to Get By," which would not be allowed in a real school. Marley sees right through it, but only tells that to Ryder, not Jake, reigniting the love triangle.

This is disappointing because Jake and Ryder's friendship has been a definite positive element of Glee this season. They agreed not to fight over Marley, and put those differences aside months ago. Ryder is allowed to have feelings, of course, but he can't betray Jake by acting on them. With the looks he is exchanging with Marley in the ending number, "Anything Could Happen," it seems like that's where the show is heading.

How can Marley do this to Jake? She pines over him for so long, and then chooses him. Can she really be so heartless as to consider cheating now? If her mind has been changed, and she's a teenage girl, so that's definitely an acceptable and realistic development, then she needs to end things with Jake before taking up with Ryder. No more secretly screwing things up for others, as she did at Sectionals.

Some of these romantic plots aren't bad, but I think they ring hollow because they are couched in the terrible wedding tale. "I Do" is an example of bad storytelling and lackluster musical numbers, with only glimmers of good things sneaking out from beneath the cloud. It's also a very strange time to stage a "couples" episode, especially when the bride and groom are NOT one of the couples featured.

Glee's fourth season has been good, but they have dropped the ball during February sweeps, which is pretty much the worst time to do so. Can they pick it back up for the rest of the year?

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

Give thanks for Glee

 There is much to be thankful for in this week's episode of FOX's Glee, "Thanskgiving," even if it aired a week late. (I can gripe about that because Glee, unlike most shows, actually aired an episode on Thanksgiving, but it wasn't this one.) In the episode, most of the recent McKinley alumni return home to assist Finn (Cory Monteith) in getting the New Directions ready for Sectionals. They work with the newer students, helping to ease the transition.

It's easy to complain about the frequent appearances by recent grads on the show this year. As I've said before, the writing has allowed Finn an unbelievable reason for sticking around, but at least it serves a purpose and furthers the character. The others, on the other hand, just seem unwilling to move on with their lives, refusing to let go of their high school glory. However, in "Thanksgiving," because it is a holiday, and because they are there to help their friend Finn with an important milestone, it doesn't feel as forced.

The episode opens with Puck (Mark Salling), Mercedes (Amber Riley), Mike (Harry Shum Jr.), Santana (Naya Rivera), and Quinn (Dianna Agron) returning to the McKinley stage (and Finn) with a performance of "Homeward Bound" / "Home." Musically, it's pretty good, and in terms of staging, it works very well. The number is pleasant, and gives a satisfying reintroduction, especially for Quinn, who is the sole graduate no longer in the main cast, and "Thanksgiving" marks her first return this season.

It still bothers me that Artie (Kevin McHale) and Sam (Chord Overstreet) are not part of this, though. Without having specific dialogue on hand to prove it, I am pretty sure that it was established that Artie was in the same grade as the others, and I know that Sam returned from Kentucky for his senior year. Plus, how could Sam, as a junior in high school, work as a stripper? It's this little inconsistency that eats away week after week.

And Brittany (Heather Morris), who has a valid reason to still be in school, should be included in the reunion. These are her friends, too, and she was in their grade for thirteen years. Does that not matter?

But what is most strange is the way that the alumni act like they are so much better than the current students. Finn declares his classmates heroes, and the glee club cheers adoringly. Isn't this beyond patronizing? Most of the current members were in the group during the Nationals win, too. Tina (Jenna Ushkowitz) and Artie were two of the first members of the New Directions. This arc should really have been held back a couple of years, though one wonders if Glee will still be on in that much time.

Taking the leap and setting aside these complaints, we next get to see Quinn, Santana, and Brittany reunited for "Come See About Me." It's a great number for them, and it does feel like other pieces that they have done in the past. It may not be necessary to school the students with it, but it's enjoyable for the audience. I also like when the cracks do show between Quinn and Santana, not sweeping any drama under the rug, and acknowledging that, although they are friends, their relationship isn't perfect.

Kitty's (Becca Tobin) obsession with Quinn is weird and creepy. Weren't they in school together? Surely, Kitty isn't a freshman this year, given her social and cheerleading standing. Her character comes out of nowhere enough as it is, as it would have been better to set her up at least a year earlier, but her fawning over Quinn seems completely out of character. Kitty is a confident, manipulative girl. She shouldn't be defining her life based on someone else.

Thankfully, everything else set at the high school goes pretty smoothly. We get some more nice Jake (Jacob Artist) / Ryder (Blake Jenner) bonding, and a callback Brittany joke about Unique (Alex Newell) and Mercedes. Then it's time for Sectionals!

The Warblers are back in peak form with "Whistle" and "Live While We're Young." During their recent attempt to recruit Blaine (Darren Criss), the music falls flat, but "Thanksgiving" proves that they still have it. This is what the group is known for, and why fans of Glee worship them. Fantastic performance!

And then there's the other group, The Rosedale Mennonites. Their "Over the River and Through the Wood" / "She'll Be Coming 'Round the Mountain" is entertaining and fun, but the whole thing smacks a bit of bigotry. Glee often tosses in goofy, cartoonish characters, but for some reason, this time it feels more wrong and mean spirited than previous efforts.

The Sectionals section of the episode ends with the New Directions taking the stage for their first number, "Gangnam Style." Setting aside what a silly song it is for the group to do, because it is currently a viral sensation, and it does seem like something Finn would pick, practically everything about it is awkward. From the Ryder / Jake / Marley (Melissa Benoist) lead up, to the camera editing that seems to cheat the big dance moves, it just doesn't quite work. The vocals are decent, and Tina actually ends up being a good choice for the opening solo, but it things don't come together as we would normally expect from these kids.

"Thanksgiving" ends immediately after "Gangnam Style," leaving the other two songs in their set for next week's episode. This is the first time that Glee has ever split a competition performance, and it makes for good dramatic effect. Marley's collapse, something pretty predictably set up, occurs at the end of a song, so it might be possible for them to go on without her and still win.

But it will likely throw everyone off of their game, seeing Marley like this, and considering that she has a solo coming up, it would be pretty far-fetched for the New Directions to cement a victory this year, especially after the weak-ish opening.

That being said, it would be a shame to see them lose Sectionals, and there are a couple of ways to salvage this. One, Dalton Academy could win and later be disqualified. They've become villains since Blaine left them, so it's conceivable that they could step out of line enough to warrant such a punishment. The Mennonites might not be able to travel all the way to Regionals, because of their religious beliefs preventing use of vehicles required for long distance travel (ignoring the stage lights they used earlier). That would leave the New Directions to compete by default. It would, indeed, be a hollow victory, but at least it would get them to Regionals.

One last complaint about "Thanksgiving:" a high school show choir Sectionals competition would never, ever, ever be held on Thanksgiving Day. Parents would throw huge fits. To expect us to buy that bit of scheduling is preposterous.

Besides the Sectionals story, "Thanksgiving" also has some action in New York. Rachel (Lea Michele) and Kurt (Chris Colfer) stay in the city, rather than face their exes back in Ohio (because if they returned, for some reason, they couldn't just stay at home with their families?). They plan to eat by themselves, but each invite a party crasher. Rachel's addition, Brody (Dean Geyer), cooks for them, while Kurt's, Isabelle (Sarah Jessica Parker), turns a quiet dinner into a huge bash, complete with fashionable dance moves and drag queens.

Isabelle is a fantastic addition to the Glee cast. She brings Rachel and Kurt exactly what they need, and embodies the type of life they'd hope to find in the Big Apple. The song she leads them in this week, "Let's Have a Kiki," mixes beautifully with Rachel's "Turkey Lurkey Time," creating the most energetic, memorable Glee number in quite some time. Hopefully, she won't be going anywhere anytime soon.

In the midst of this, Rachel and Brody seem to be making up. She is hurt because he slept with her enemy. He points out that he had no reason not to, but he won't do it again to avoid hurting her. This is an adult attitude, and seeing this helps Rachel transition into a different world, maturing.

Kurt is also struggling to grow up, taking Isabelle's advice and trying to forgive Blaine. It doesn't necessarily mean that they will get back together (though Glee fans might seriously revolt if they don't), but it does mean that he is going to try to see past Blaine's indiscretion, and maybe they can repair their relationship. Obviously, there is still plenty of love present between the pair.

Once more, though, I am annoyed that all the blame for what happened is placed on Blaine. Some objected to my assertion in an earlier review that Kurt deserves a huge share of responsibility because he was ignoring Blaine. I admit, Kurt's behavior doesn't justify cheating, but he gives Blaine plenty of reason to be unhappy prior to Blaine's mistake. This has to be taken into account, and it's unfortunate that this isn't addressed more.

The New York stuff in "Thanksgiving" is fantastic, overall, but it still feels likely a completely different series. The more Glee jumps back and forth in an episode between McKinley and the city, the more jarring these jumps become. It would be very nice if a way could be worked out by next year to separate the two, either sacrificing one completely, or by splitting them into different series.

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 episodes I don't fully review, please follow me on Twitter!

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

"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.