"Swan Song" replaces ugly duckling on Glee

"Swan Song," the latest episode of FOX's Glee, is a mixed bag. Part of the episode is very good, and part of the episode stinks. Scenes and plot make a move for greatness, and then either embrace it, or chicken out. Interestingly, the setting of said scenes tend to be a good indicator as to which end of the spectrum they fall on.

So the New Directions lose Sectionals. Last week's episode ended with them leaving the stage after Marley (Melissa Benoist) faints. Many assumed the club would pick up their performance at the start of the week's installment, and while "Swan Song" does begin moments after the previous episode ended, this is not to be the case.

Sue (Jane Lynch) is the instigator who shuts down the New Directions' chances for good. She has done many mean things, but nitpicking rules to get them disqualified is especially sinister. It seems to just be in the name of fulfilling a personal vendetta against Finn (Cory Monteith) for a rude comment he made weeks ago, as even Sue begins to wonder if she is going too far. But the point is, Sue gets away with it, the glee club season is over, Finn fails as a director, and everyone blames Marley for blowing their shot.

It's a very disheartening episode. "Swan Song" sees the members of the group meandering, several of them feeling very down on themselves, and the seniors losing all hope for their final year. The various singers switch to new clubs far too fast, and are accepted way too readily to be believable into these new groups, especially Artie (Kevin McHale), somehow scoring a band leadership position at a time when marching band is also over for the year. The thing that hits home is that the glee club is kaput, and they are all sad.

The only person that is truly happy about their failure is Brad the Piano Player (Brad Ellis), who gets his first line of the series, despite having appeared throughout, when he thanks Sue for saving him from the rude kids. It's a tongue-in-cheek joke that answers some concerns about realism in the show as a whole, without taking itself too seriously.

As dire as this seems, though, there is never any doubt about the end result. Finn and Marley feel bad, they help each other get over it, and then everyone is swayed into returning for a feel good finale to the tune of "Don't Dream It's Over." Not only is this totally predictable, and lets characters off the hook much too easily, the moment is spoiled in FOX's promos for the episode, which is yet another reason to avoid commercials and previews of any kind.

The story of the loss itself is gripping, but the cop out finale somewhat ruins any pathos generated, making "Swan Song" fall flat. Yes, Glee is a tale of triumph. But flopping so big, so early in the season calls for more than a couple of e-mails and a few inspiring words. Presumably, Glee doesn't want to spoil its planned happy Christmas episode. However, the series would have done much, much better to focus on the pathos, rather than the recurring themes of togetherness, a move that has deepened the New York story considerably, which I'll get to in a moment.

And while the New Directions, being disqualified, should be considered third place at Sectionals (out of three), look for the Warblers to be disqualified, too, and the group to get a second chance. If they don't, and are truly done with competition for the year, it will be better for the series, I think, and it would definitely be a surprise.

For some reason, Sugar Motta (Vanessa Lengies) sits this entire fiasco out. She doesn't appear in a single scene, including when the group comes back together in the end. Sure, she's not a main character, but like Unique's (Alex Newell) recent week off, it's a glaring omission that spoils the story, knowing a vital member of the club has just disappeared at an important moment. She needs to be there, at least in the wide shots.

Yet, Kitty (Becca Tobin), whose inclusion in the New Directions still baffles, and who doesn't really seem to care about the club, does come for the cold, outdoor, end performance. Why? It doesn't make sense.

The other arc happening at McKinley this week is Brittany (Heather Morris) getting with Sam (Chord Overstreet). This has been telegraphed all fall, but it doesn't make the inevitable kiss any easier to swallow. Even a decent duet of "Somethin' Stupid" doesn't make their pairing feel right, and hopefully the relationship will be short-lived, like Brittany's previous dalliance with Artie.

The reason I don't like Sam and Brittany as a pair is not because she is previously part of a lesbian couple, despite what her character says on screen in acknowledgement to fan resistance; Brittany is established pretty firmly as being bi-sexual in earlier seasons. Instead, it's because they just don't feel right together. There is no spark, no warmth, no connection. I like both of the characters very much, and they deserve better than being thrust together just because they are blond and ditzy.

On to New York City, where "Swan Song" shines. Rachel (Lea Michelle) continues to butt heads with Cassandra (Kate Hudson), which leads to a terrific dance off while singing "All That Jazz." For a bit, Rachel keeps up, really allowing Michelle to show off just how deep her talent goes, and illustrating the growth of the character. In the end, though, the dancing vet, Cassandra, wins out with the physical moves.

It's nice to see Rachel find her niche, and learn something about herself. She may not be great at dancing, but the confrontation leads her to redouble her confidence about her singing ability. The dance classes will still be important, as she will have a better chance at parts on Broadway if she is well rounded. But with a rare voice like Rachel's, there is no denying the power she has, and that she can succeed without being the best mover on the floor.

Rachel has ample opportunity to flaunt her talent when Carmen Tibideaux (Whoopi Goldberg) selects her for a special Winter Showcase, the first freshman picked in years. Rachel's "Being Good Isn't Good Enough" brings down the house, so much so that she is allowed an encore of "O Holy Night." Both numbers soar, and it's not hard to believe at all when Rachel wins against more experienced upperclassmen. Her voice, and the way that she uses it, is rare, even in the company of other performers.

"Swan Song" takes a more unexpected turn, though, when Carmen allows Kurt (Chris Colfer) to sing in front of everyone at the showcase, too. It's a trial by fire, the second chance he asked for, but when he least expects it. It may be that Carmen wants to see how he will do under pressure, or thinks that he might be better if he doesn't over prepare. Whatever the reason, this comes on Caremn's terms, and Kurt gets to sing "Being Alive," which is enough to gain his entry into NYADA.

Kurt's triumph is a great moment for Glee. He's no Rachel, of course, but he does deserve to be there, and it's satisfying that he finally is able to show it. It doesn't feel hokey because of the gravitas that Goldberg brings to the situation, and the sincerity she lends to the twist.

My only regret is that this may spell the end for Isabelle (Sarah Jessica Parker), who has been an absolute joy this year, as Kurt will probably quit his job to attend classes. Please, oh please, give her a goodbye, and not just have her never appear again!

The stark contrast between the New York and McKinley stories, as well as the maturation Rachel and Kurt have gone through, make an argument to ditch the high school stuff completely after this season. It's not that there are no more stories to tell there, but it's that the writers seem hard pressed to come up with them. Or, at least, to put as much effort into the students' parts, as they do the best alumni. For this reason, it may be time to sacrifice some of Glee so that another piece can flourish.

Glee will next present it's Christmas episode, "Glee, Actually," this Thursday at 9 p.m. ET on FOX.

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

Glee celebrates "Theatricality"

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

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

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

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

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

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

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

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

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

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

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

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


Random Bits:
 

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

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

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

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

 

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

 

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