Glee, Actually not that great an episode

Doing five separate vignettes that come together at the end, reminiscent of Love, Actually, is a solid idea for an hour-long television Christmas episode. Sadly, Glee's attempt, "Glee, Actually," falls short, not just because of the lack of a serious romance (other than for our favorite gays, on which we don't get any real movement anyway), but because things don't tie together in the end. Not that "Glee, Actually," is a bad episode; it just doesn't fulfill the mission statement given for the hour.

The first section goes to Artie (Kevin McHale). In what has pretty much become a Christmas tradition, Artie wishes he could walk. I don't know why this comes up mainly around the holidays, but once more, it does. So what we get is a dream sequence in which Artie has always had the use of his legs.

I could spend much time picking apart the plot in this part of episode, especially concerning the status of certain other characters, but there's no point, because the entire thing happens in Artie's head. This isn't what life would really been like had Artie not been in a wheelchair; it's what Artie imagines it might be like. Of course, he is more important in his fictional version of the world than he is in reality, and his friends stay close by, instead of moving on with their lives.

Stylistically, it works pretty well. A segment called "Feliz Navidad" is a fun, if not overly exciting, piece, and the black and white It's A Wonderful Life play looks good. Artie is still a somewhat annoying character, but the echoes of previous seasons, like Tina (Jenna Ushkowitz) stuttering again and Terri (Jessalyn Gilsig) popping in, make it worth it. I love, love, love that Rory (Damian McGinty) is Artie's guide, and wish that he would return to the series. Overall, I would rank the quality of this sequence right in the middle of the five presented.

Moving on, Burt (Mike O'Malley) pays a surprise visit to Kurt (Chris Colfer) in New York. At first, it just seems like a nice gift for his son, but Burt's real motives are soon revealed; he has cancer. He thinks it's been caught early, and he'll be fine, but given the sappiness of the plot, and Burt's past medical ailments, "Glee, Actually" kind of feels like a goodbye for the character. Not that he dies during the hour; that would ruin Christmas. But it would not be surprising if this plays out tragically in the near future.

Not only does Burt bring along his fun family traditions, but he also invites Blaine (Darren Criss) to join him. It seems that Burt, like most Glee fans, know that the two boys are meant to be together. He happily watches while they ice skate and sing "White Christmas," providing a sweet winter portrait, and hope for the kids' future after he's gone. One gets the impression that Burt's passing, and Blaine caring for him in the end, might actually be what pulls Kurt pack into Blaine's arms. Though this remains to be seen.

Next come the two weakest parts of the episode. Don't get me wrong; I am glad that Jake (Jacob Artist) and Noah (Mark Salling) have found real brothers in each other, even if the elder Puck looks every bit the actor's 30 years, spoiling the close-in-age factor. The Breaksticks scene with their mothers (Hung's Gina Hecht and Aisha Tyler from Archer, Friends, 24, etc.) is satisfying, and the siblings perform "Oh Chanukah" from my favorite band, the Barenaked Ladies.  Yet, the entire thing still leaves a little something to be desired, possibly because Salling's acting is only so-so, more glaringly obvious now that he is placed side by side with Artist.

Then we get Sam (Chord Overstreet) and Brittany (Heather Morris) getting married because they think the world is going to end, per the Mayan calendar. Not only are we supposed to believe that these bimbos are already this much in love, but that they both fully think life is about to cease as we know it. And Sam chooses to celebrate that end with "Jingle Bell Rock." Very cheesy.

Thankfully, Beiste (Dot-Marie Jones) intervenes and saves them from a legally binding union, thought not from days of teenage sex that they clearly have. This point actually isn't too bad, since Sam is a former stripper, and Brittany is named the school slut early in the show's run. But their arc stretches believability far too much, and should we suspend reality enough to buy them together, the two will still never be able to function in society, whether living in the TV universe or not. It just goes beyond the realm of what most people can accept. Things between the couple need to end right away, and Brittany can go back to being protected by a loving Santana (Naya Rivera). Until then, I'm glad that Beiste has her back.

Finally, there's Sue (Jane Lynch) playing Santa Claus once more, this time to Marley (Melissa Benoist) and her mother, Millie (Trisha Rae Stahl). The Roses are quickly becoming favorite characters, and deserving of any help that they are given. Marley's sweet rendition of "The First Noël" for her mother is emotionally moving, for viewers and for the cheerleading coach.
It may be expected for Sue's heart to melt in late December, as this is far from a first-time occurrence, but it's nice to see Marley and Millie be on the receiving end this year, benefiting from the thaw. Predictable story, yes, but done well enough to avoid feeling old and done to death.

The ending, with Marley getting some of her glee club friends to perform "Have Yourself a Merry Little Christmas" for Sue, is mixed with characters at Breadsticks and in New York, which is supposed to be the unifying piece of "Glee, Actually." Aside from the weirdness of Blaine singing at the dinner table while being ignored by Kurt and Burt, it comes across pretty well as a stand-alone number. It just doesn't necessarily feel like a culmination of the different stories, but instead, a fairly standard number that could have been placed anywhere within the hour. Or in any other episode, for that matter.

The good news is, if "Glee, Actually" is as low as season four of Glee is destined to fall, this could still be the best season of the show since the first one. The bad news is, the weaknesses of this episode are also parts of larger arcs, which are taking this year's stories in unwelcome directions.

Should you decide to buy the soundtrack for this episode, Glee: The Music, The Christmas Album Volume 3, you will get four additional tracks not included in the television program. I have no idea what they are for, if there is story behind them, or if they are just randomly recorded.

Glee will return in 2013, airing Thursdays at 9 p.m. ET on FOX.

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

Boggie down with "Saturday Night Glee-ver"

FOX's Glee presents "Saturday Night Glee-ver." Will (Matthew Morrison) and Sue (Jane Lynch) use disco and an old John Travolta movie to inspire a trio of seniors who have not even started to think about what they will do post-high school. All three are tasked with picking a song and delivering a speech about their future. All three choose some form of career in the creative arts, and are supported by supportive dating partners. And disco lives!

It seems pretty pointless this week to break down each musical number and talk about it on its own. That's because they each receive an excellent grade. "Saturday Night Glee-ver" borrows heavily from the Saturday Night Fever soundtrack, and in doing so, delivers the most solid episode, musically, in memory. Every single song is performed with show-stopping vocals and killer dance moves. From the "You Should Be Dancing" opening, through the group "Night Fever," to Mercedes's (Amber Riley) slaying of "Disco Inferno," Santana's (Naya Rivera) "I Can't Have You," Rachel's (Lea Michele) "How Deep Is Your Love," Finn's "More Than a Woman," and ending with a dramatic "Stayin' Alive," everything worked perfectly. It could not have been better.

"Saturday Night Glee-ver" even found a good place to sneak a peek of a young Will performing "That's the Way (I Like It)," a sequence filmed for, and cut from, the very first episode of Glee.

The other song not mentioned above, "Boogie Shoes," may have been even more memorable than the others. It brings the character of Unique to the Glee universe. Conceived on The Glee Project by runner up Alex Newell, Unique finally makes it to screen. It's hard to deny that Unique deserves some attention, and she's such a far out character, that even Kurt (Chris Colfer) gets a little judgy at first. But once Unique takes the stage, all doubts are gone. Alex Newell, and his female alter-ego, deserve to be famous.

Sue gets to join in on a couple of the musical numbers in "Saturday Night Glee-ver." This oft-antagonistic cheerleading coach almost always gets story in the tribute episodes, and this one is no exception. However, with Sue becoming an ally of the New Directions, as committed to helping them win as she once is with destroying them, the dynamic is different. She is enjoying herself more, and is around the kids because she wants to be. It's heart warming to see her really get into the spirit, and glimpse the hints of a growing friendship with Will. Sue, as a character, has finally arrived.

Not that Sue hadn't arrived before. But this new, more well-rounded, version of her is better than the original, two-dimensional villain.

Each of the relationships touched upon in "Saturday Night Glee-ver" are also sweet. Rachel and Finn (Cory Monteith) find a way to work things out that is mutually beneficial, though it will be incredibly unrealistic if Finn is actually accepted to, as he calls it, "Inside The Actor's Studio." Sam (Chord Overstreet) helps Mercedes start to get known in a way many young people are taking advantage of these days, YouTube, and it earns him a well-deserved smooch. Brittany (Heather Morris) releases an incredibly hot and funny sex tape of her and Santana interspersed with Lord Tubbington doing household chores. Obviously, only the cat bits are shown, due to network television decency standards, but they sure crack up!

What's more, the teenage romances on Glee finally feel authentic. For much of the series, there is a lingering suspicion that these kids are too young to be this committed to their partners. But as graduation nears, they all show growth and deeper consideration for the ones they love. It's a nice change, and will make for authentic endings.

The problems with "Saturday Night Glee-ver" stem more from the overall themes, rather then specific plot points. Will advocates following your dreams, no matter where they take you. Santana wants to be famous (though, thankfully, not at any cost), Mercedes wants to be a legend, and Finn wants to be an actor. It just isn't believable that any of this will happen. A single high school rarely produces more than one star, and Rachel has that position nailed, if anyone does. It's possible that Mercedes may also get some love from the public some day, but Finn is just not anywhere near the talent level that would make him break out.

These sorts of dreams should be pursued alongside a career, or as hobbies. No one is saying don't perform if you like, but don't bank you financial future on such a fantasy, either. Otherwise, these kids will be starving on the street soon enough. At least Santana will have a college degree, and that could translate into something, maybe.

Not to mention, it is way too late in their senior year to be applying for college. Shouldn't Will have taken an interest months ago? Way to drop the ball as a teacher!

One question remains, though: Where is Rory (Damian McGinty) in "Saturday Night Glee-ver?" It's true that he is not contracted to be in every episode, but without a story point to explain his absence, it seems odd that he isn't even in any of the group numbers or choir room scenes.

Overall, "Saturday Night Glee-ver" is an excellent episode, if you suspend belief. Glee continues to build towards the graduation of much of its original cast Tuesdays at 8 p.m. ET on FOX.

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

Glee considers matters of the "Heart"

FOX's Glee this week focuses on "Heart." Rachel's dads, Hiram (Jeff Goldblum, Jurassic Park, Law & Order: Criminal Intent) and Leroy (Tony Award winner Brian Stokes Mitchell) learn of Rachel (Lea Michele) and Finn's (Cory Monteith) plans to marry. They act very supportive, but secretly plot with Burt (Mike O'Malley) and Carole (Romy Rosemont) to derail the ceremony. Unfortunately for them, their machinations backfire, and the young couple decides they will tie the knot this coming May.

Rachel and Finn are too young to marry. They haven't known each other, or been together, long enough to take this step. They are both going into it for the wrong reasons, which have been expounded upon in depth in previous Glee episode reviews. So it's a little disheartening (hehe) that "Heart" chooses to overlook any of these elements, at least in the minds of the central couple, and instead, focuses on how they get along. Which is splendidly, for now. There is a little bit of a rocky start to a night spent together, but they come through it stronger than ever. Unfortunately.

When are parents going to learn that kids will do what they are going to do? Rachel and Finn are making a mistake, true, but it's far too late for their mom and dads to do anything about it. Hiram drops a few passive-aggressive comments, but other than that, both couples seem set on reverse psychology to undo the impending union. This fails, as all such plans do. How will Hiram, Leroy, Carole, and Burt cope with this, and what is their next move? Or will they just get on board, and do what Rachel and Finn want?

"Heart" introduces Hiram and Leroy to Glee viewers (apparently someone forgot that a picture of Rachel's dads was featured in the pilot, though with different actors). It's hard to think of two better men to play these pivotal roles than Goldblum and Stokes Mitchell. Both are fantastically flamboyant, in a way that fits the situation. As they croon "Chapel of Love" and "You're the Top," it's immediately obvious why Rachel is who she is. The two guys also have delightful chemistry, and it feels like a great home setting for Rachel's character.

Love is in the air at school, too. Artie (Kevin McHale) continues to hate being alone, and sets his sights on Sugar (Vanessa Lengies) as his next possible boo, thinking her Valentine's party is the perfect time to hook up. Unfortunately for Artie, Rory (Damian McGinty) has the same idea, and two end up competing over the girl, who doesn't really seem right for either one of them.

Rory wins Sugar, for now, but does so by lying about his upcoming deportation. Rory has had little to no plot all season, and so it's nice to finally get a little story for him, as well as a song when he uses "Home" to woo Sugar. But this plot seems to come out of nowhere, and his sneakiness doesn't exactly gel with the Rory first introduced all those months ago. While, perhaps, his character has changed from the time spent in Ohio, viewers not having been privy to such a change, or the reason for it, are left confused. This is a very weird plot.

The second Glee Project winner finally makes his debut in "Heart." Joe Hart (hehe again) is played by Samuel Larsen. Joe is an odd character, introduced as uber-religious, but also a bit of a live-and-let-live hippy. It's fun to hear him perform "Stereo Hearts" and a mash up of two songs, both titled "Cherish." Yet, it's totally bizarre when he decides not to judge Santana (Naya Rivera) and Brittany's (Heather Morris) relationship, given his character's introduction. Not only does Joe come out of nowhere, but his odd behavior makes him hard to pinpoint. Sadly, it's not in a complicated, deep manner, but rather, it feels like the writer's just aren't sure what to do with him.

Santana is hauled into Figgins's (Iqbal Theba) office for kissing Brittany in the hall. The broken rule isn't a PDA issue, which would be understandable, but rather, because the girls are lesbians. This kind of bigotry is completely intolerable, and thankfully Glee continues to highlight that. In 2012, homophobia is the new racism, and it's pretty darn ugly. Given what happened in New Jersey this week, this is incredibly relevant to the current news cycle.

Kurt (Chris Colfer) gets a surprise secret admirer in "Heart" when Karofsky (Max Adler) returns. Dressed as a gorilla at first, Karofsky makes a play for his former tormentee. Kurt is flattered, but gently lets him down. It's not surprising that Dave latches onto Kurt, given that Kurt is the only out gay teen Karosky knows while dealing with his internal conflict. It's only surprising that it's taken this long for Dave to act on those feelings. But Kurt is very happy with Blaine (Darren Criss), and Kurt and Karofsky just don't seem like a matching pair, anyway. However, hopefully Karosky will find a reason to return to Glee again soon, because his character arc has been neat, and any screen time for him is welcome.

The assignment Will (Matthew Morrison) gives his kids this week is to study the best love songs of all time. Yet, only two are featured in "Heart," which is pretty disappointing. Tina (Jenna Ushkowitz) and Mike Chang (Harry Shum Jr.) kick things off with "L-O-V-E," a great number, if not really being relevant to any of the episode's stories. Then it's not until Mercedes (Amber Riley) delivers a coincidentally timely (given Whitney Houston's recent passing) rendition of "I Will Always Love You" while pining over Sam (Chord Overstreet), that another example of this theme comes along. This is a truly powerful performance, and well appreciated. But that's it. Other songs, such as the guys' "Let Me Love You," are fun, but nothing deserves the "best" title other than those two numbers.

"Love Shack" is a strong ending for the episode, with Blaine returning in top form, to lead the group in a remarkably enjoyable version of the old pop hit. It surely shouldn't be on a "best love songs" list, but Glee turns it into something really fun with great choreography and tongue-in-cheek jokes. The best moment may be Finn's face as he cheesily pops up into frame near the end. The performance is an appropriate ending, even if it's mainly fluff.

Which is kind of what "Heart" is: fluff. The plots glosses over anything serious or real. The episode is amusing and entertaining. It's not bad, but there is so much missed opportunity here for it to be better.
With the impending end of many characters' runs on Glee, things will probably take a more dramatic turn soon. Maybe even next week, which is the winter finale, and features Regionals. Until then, this is a serviceable, if not overly impressive, entry.

Glee airs Tuesdays at 8 p.m. ET on FOX.

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

"Extraordinary Merry Christmas" no quite so on Glee

     FOX's Glee fall finale is also their Christmas special, "Extraordinary Merry Christmas." Artie (Kevin McHale) is asked to direct a televised holiday program featuring the New Directions. He decides to make it a cross between Star Wars' own special, and The Judy Garland Show Christmas episode. Unfortunately, the filming evening is the same as the one the kids promised to help now non-Grinchy Sue (Jane Lynch) feed the homeless. Rory the Elf (Damian McGinty) reminds everyone what is really important during the taping, and afterwards the glee club heads over to be with Sue.

     "Extraordinary Merry Christmas" is a mostly stand alone episode, which is disappointing and unexpected. Last year's Glee Christmas outing keeps the main plot points going, while sparkling them with holiday cheer. This year, there are really two separate episodes forced into one: couples (romantic and platonic) celebrating Christmas together, and the kids' black and white holiday special, which takes up two entire acts. Considering how good the latter part is, and how bad the former one comes across, it would have been better to ditch any framework events, and just fully commit to the bold experiment.

     From start to finish, the Glee Artie-directed (in the show; the actual episode is directed by Matthew Morrison, a.k.a. Will) piece is great. There is a certain cheesiness to it, but that fits the spirit of what is being accomplished. From dancing Santas, to a long camera shot through the window, to Kurt's (Chris Colfer) affectation, there are some very obvious throwbacks to The Judy Garland Show, which is really an early '60s classic. Even the tongue in cheek joke about Kurt and Blaine's (Darren Criss) relationship and addressing the camera are period appropriate. Thus, this comes off very well.
     The Star Wars influences are fewer but make the whole thing more than a straight Garland knockoff. Seeing Finn (Cory Monteith) and Puck (Mark Salling) dressed as Luke and Han Solo, and then denying it for copyright reasons, is funny. Also, the real Chewbacca (Peter Mayhew) does a cameo! The only complaint here is that the opening credits are arranged completely out of sync with what the Christmas special actually is. Furthermore, Rory's speech at the end is stiff, possibly exposing McGinty's limits as an actor. Or it's just bad writing.

     The musical performances during these two acts in "Extraordinary Merry Christmas" are also quite good. Blaine and Kurt's "Let It Snow" is sweet, with highly enjoyable dancing, and will delight all of the couple's fans, a large percentage of Glee viewers. Adding close friends Rachel (Lea Michele) and Mercedes (Amber Riley) for "My Favorite Things" is smart, because it feels comfortable, and the grouping is totally believable. Finn and Puck lead the others in a rousing rendition of "Santa Claus is Coming to Town." Finally, Brittany (Heather Morris), who rarely gets to sing lead, does a wonderful job with "Christmas Wrapping" in another delightful dance number. All in all, quite the success.

     Except, why does Artie so readily agree to direct, right after stating he will not do TV because he doesn't want to "sell out?" And why is their show called the "Glee" Christmas special, instead of the New Directions? The kids don't refer to themselves as "Glee," that's just the series title. Also, that set and production value are far greater than the $800 budget given. Did the New Directions score some more primo donations? Fat Breadsticks money, perhaps?

     As mentioned, the parts of "Extraordinary Merry Christmas" that are not in black and white are pretty bad. Granted, the episode begins well with Mercedes killing "All I Want for Christmas Is You," but where is her Shane (Lamarcus Tinker) vs. Sam (Chord Overstreet) build up to go with it? It goes downhill from there.

     Rachel complains that Rory's "Blue Christmas" is depressing, then answers it with her own weepy ballad, "River." So did the writers of these two scenes not talk? Or was it just more important to squeeze in the numbers already recorded, story be damned? Why not cut "River," and instead put in Santana's (Naya Rivera) "Santa Baby," which is cut from the episode? Terrible timing, considering that Entertainment Weekly just named Rivera "Sexiest Female."

     The couple stuff in this episode of Glee is weak, at best. Besides Mercedes being shoved aside, Finn and Rachel get really hokey. Rachel demands expensive gifts, and Finn can't afford it, so he gets her something meaningful. This isn't enough for her. But she learns her lesson, just after Finn does spend the dough, and they donate the money from their nice presents to charity. Even for Glee, this story crosses the line of fluff and ridiculousness.

     Also ending up on the cutting room floor for "Extraordinary Merry Christmas" is a scene shown in the preview, where Blaine gives Kurt a present. It's a promise ring! This would much better serve the episode than Finn and Rachel's stupid bits, or even the tiny subplot about Rory accompanying Sam back to Kentucky for the holiday, supposedly in the car that neither the poor kid nor the exchange student owns. Back to the point, this is a major development for Kurt and Blaine. Will Kurt be seen wearing it? Will the boys discuss their commitment? Or will it be ignored, since the minutes were deleted this week?

     Finally, two songs stand out as unacceptable in this music-packed Glee outing. "Extraordinary Merry Christmas," while rightly given to Rachel and Blaine, sounds like so many other songs they have already sung. The series deserves applause for taking another chance with an original song, but write something worth hearing, please, instead of just recycling the same old trope! And "Do They Know it's Christmas?" comes off as extremely condescending when sang to homeless people's faces. Why are the less fortunate enjoying this? They should be angry. They live in America! Of course they know it's Christmas!


     Big misstep Glee. Hopefully, the series will get back on track when it returns in January on FOX.

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Article first published as TV Review: Glee - "Extraordinary Merry Christmas" on Blogcritics.

"Mash Off" rocks Glee

     On this week's episode of FOX's Glee, "Mash Off," Will (Matthew Morrison) and Shelby (Idina Menzel) vow to keep their groups from fighting by staging a McKinley Mash Off. Santana (Naya Rivera) isn't thrilled, finding it impossible not to start an argument with Finn (Cory Monteith). Growing tired of her taunts, Finn plays dirty, accusing Santana of hiding in the closet. Unfortunately, someone connected to Sue's (Jane Lynch) Congressional opponent hears, and features the slur in an attack ad. Kurt (Chris Colfer) keeps his own campaign for class president clean, leading a lonely and chastised Rachel (Lea Michele) to abandon her run, throwing her support behind him.

     Mash up episodes of Glee are always special, featuring wonderful music, and "Mash Off" is no different. This time, Hall & Oats and Adele are the featured artists who get this treatment. The Troubletones slay Adele's "Rumour Has It" and "Someone Like You" with the power of Mercedes (Amber Riley) and Santana. Santana is very raw, emotionally, in the moment, and it lends the song real weight. The New Directions go a bit more classic, using "I Can't Go For That" and "You Make My Dreams." While Finn does sing lead, many of the supporting players, such as Rory (Damian McGinty) get focus, too. The result is a beautiful tribute to fantastic music. Neither group can be declared the winner, because both are excellent.

     Of course, this showdown is not the only singing in "Mash Off." Will and Shelby mash two songs called "You and I" in a fun and interesting way. It's also nice to see them play well together, making Shelby an ally, rather than an enemy, this time around, despite what may be going on with the fractured glee clubs. Breaking that spirit, the Troubletones and New Directions go for "Hit Me With Your Best Shot" and "One Way or Another" during a charged dodge ball fight that is quite effective. Puck's (Mark Salling) "Hot for Teacher" is a bit weird, feeling a little outside the typical realm of Glee in the staging and choreography, as well as the subject matter. But that doesn't prevent it from being pretty darn enjoyable.

     Puck's storyline itself, while understandable for the character, is unfortunate. He is a good guy who deserves happiness, and thinks he can have it with the woman raising his baby. While this certainly makes sense from his logical perspective, it isn't a good situation for Shelby. Puck is eighteen, so the relationship is legal, but she is a teacher at his school. True, she doesn't regularly teach him, but it could still cost her her job, as well as huge public humiliation. Shelby is smart enough to know not to act on a horny teenager's impulses. But in her loneliness, it's easy to see how she could consider Puck's offer, as wrong as she knows it is.

     When the Puck / Shelby pairing first pops up, it is a shockingly wrong. However, as it unfolds, it feels authentic and sweet. This is a testament to Salling and Menzel, who both commit fully to the situation. It is still wrong, for a number of legal and ethical reasons. Yet, it's hard not to root for the two to be together in the end. If only Puck would cool down his pursuit until June.

     Or, even better, bring back Zizes (Ashley Fink)!

     Puck's feelings lead him to expose Quinn's (Dianna Agron) attempts to frame Shelby as an unfit parent. Shelby is rightfully furious, accusing Quinn of still being just as ugly as she starts the season, despite restoring her hair color and losing the piercings. And she's right. Quinn is no longer a likeable character that one can feel sorry for. Her single-minded mission to get custody of Beth is ridiculous and cruel. Quinn is still a monster, and needs some serious professional help if she is to recover from this very bad place that she is in.

     The election for class president is heating up. Brittany (Heather Morris) chooses a platform of unrealistic things, like banning tornados and going topless on Tuesdays. She would not even be allowed to declare the latter in a real school, and she would be laughed away for the former. However, somehow, in Glee world, her words are popular. Plus, she's hot. One other nameless candidate doesn't speak at the so-called "debate," in which no questions are asked, and another is even crazier than Brittany.

     Kurt, on the other hand, is taking things much more seriously. Banning dodge ball is a bold and stupid move that could backfire, given the game's popularity. However, as shown in "Mash Up," it can be a very cruel contest. Going after bullying is a great issue, though, and this is the key that might lead to victory for Kurt. It certainly sways Rachel, who is already missing Kurt as a friend, to resign as a competitor and get behind him. Together, hopefully the two will prove unstoppable.

     Glee deals with bullying plenty, but in "Mash Up," the harassment takes a more personal, more disturbing edge than previously. That may be because it's between two main characters. Santana is always quick with an insult. Lately, after quitting the New Directions, she focuses a lot of her rage on Finn. He finally can't take it anymore, and unleashes a rant about her hiding in the closet. Everything he says is true, and unbelievably cruel. It shakes Santana and viewers alike. The result is a very uncomfortable scene, where Finn crosses a line that he really shouldn't. Of course, it's also realistic, given how much she is pushing him, that he would snap in such a manner.

     The blow back is far worse than high school peer pressure. Santana being a lesbian becomes the subject of a TV ad against Sue, who is running for Congress. Sue is uncharacteristically supportive, feeling very bad for her role in it. Will and Burt (Mike O'Malley) are also there to lend a hand. Not that Santana wants any of it. She storms out, upset, as she hasn't even told her parents that she is gay yet.

     Santana's story in "Mash Up," and the surrounding episodes, is every bit as emotionally moving as Kurt's prior bullying arc. She is shaping up to be one of this fall's biggest power players on Glee, and given her talent, it's a welcome shift. One can't help but be moved by what she is going through, and want to help as the teachers try to do. Sadly, there is nothing that can be done for a fictional character. Hopefully, though, real high schoolers will watch and be changed by what they see. Glee could potentially have a real-world impact with something like this.

     Finally, it must be noted that Finn is bullying Blaine (Darren Criss) a bit, too. It's an ego thing, as Finn considers himself the male leader of the New Directions, and he feels threatened by Blaine's considerable, arguably better, talent. Blaine takes the high road thus far, even when Finn teases him with giving a solo to Rory in "Mash Off." But how much longer will Blaine be able to take it? There is going to be a serious confrontation coming up between the two of them, for sure.


     Watch Glee Tuesdays at 8 p.m. ET on FOX.

     If you like my reviews, please follow me on Twitter!

 

     Click here for all of the Glee reviews I've ever written.

 

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

Glee explores "The First Time"

     This week's episode of FOX's Glee finds Rachel (Lea Michele) and Blaine (Darren Criss) contemplating sex for "The First Time" in order to better their acting chops. Kurt (Chris Colfer) shoots Blaine down under less than romantic circumstances, and Finn (Cory Monteith) just doesn't want to be used. However, once Rachel and Blaine stop trying so hard and enjoy being in their respective relationships, sex does happen for each. Could Coach Beiste (Dot-Marie Jones) be next, now that Cooter Menkins (Eric Bruskotter, Six Feet Under, Starship Troopers) has set his sights on her?

     There is no Will (Matthew Morrison) plot in this episode, and yet, somehow he isn't really missed.

     Love is in the air on Glee, again. "The First Time" isn't the first time that the series focuses on the sex life of the central teenagers, and it probably won't be the last. Smartly, the characters reference other episodes that relate to this plot, such as Rachel bringing up the Madonna week. Still, doesn't it seem strange that the two main couples both decide to do the dirty for the very first time on the same night? This could be chalked up to the life circumstances of Blaine and Rachel, with West Side Story being the catalyst, however, it just isn't all that likely. Also, why should teen sex be glamorized on TV? Perhaps this makes me sound like an old fogey, but just wait under you're older!

     That being said, the sexual encounters themselves are handled in a very classy way. No skin is shown, of course, and romance is the prime factor, rather than hormones. Plus, both couples' intercourse is interspersed with "One Hand, One Heart," proving a perfect mix of music and scene. Glee doesn't always get this right, but this sequence is pretty nifty.

     The reason Rachel and Blaine are so desperate for sex is because of something Artie (Kevin McHale) says to them. But Artie admits to himself in narration that he doesn't know what he is doing as a director. Is this just self-doubt, or is he really not sure? The production of West Side Story seems to come off without a hitch, so things point to the former. However, if Artie really doesn't know that he's making good decisions, it could be just dumb luck, or the influence of the adult mentors. Either way, Artie's entire plot is a yawn, and drags the episode down. He's just not an interesting character, and his limited acting abilities make this fall flat.

     A much better side character is Mike Chang (Harry Shum Jr.). Picking up from an earlier episode,
apparently Mike and his mom (Tamlyn Tomita) have never told his father (Keong Sim) that Mike will continue to dance. Mike Sr. shows up and is furious that his son is still working on his passion. The Mike Changs end up disowning each other in an emotionally charged scene. It is pretty cool thought that mom still shows up to see young Mike in West Side Story. Why not give this story more attention? It deserves it!

     Somehow, Coach Beiste remains a virgin, too. She says she has never met the right guy. Hearts go out to this teary-eyed woman who is so damaged by rejection and poor self-image that she thinks Cooter asking her out is a joke. Beiste is a fantastic character, and any guy would be lucky to have her. One can't help but hope that Cooter is the man of her dreams, as he appears to be. After all, he recognizes what she has to offer, and is smart enough to pursue it. Not only that, but he says the right things to make her feel good about herself. Home run!

     Less of a home run this week is Glee bringing in someone to stir things up between Blaine and Kurt. Sebastian (Grant Gustin) goes after Blaine quite aggressively, and is even willing to sleep with Blaine and not tell Kurt. He is a slimy character right from the get go. While it is kind of interesting to see Kurt get jealous and fight for his man, at times in "The First Time," it almost seems like Blaine would rather be with Sebastian. This should not be the case. Even if Sebastian is attractive, Blaine knows that Kurt is a much better person, and that should count for a lot. Poor execution of a dumb story.

     There is a bloom of something wonderful within the Sebastian plot, however, when Kurt visits the gay bar and encounters Karofsky (Max Adler), whose presence is sorely missed on Glee. Karofsky tells Kurt that, although he wants to be seen as straight with no doubts in his new high school, he feels comfortable and accepted at the bar. Kurt is happy for Karofsky's baby steps, and the two find peace after years of torment. Kurt is right that people need to take things at their own speed, and Karofsky seems to be coming to terms with who he is, and stopping to hate himself for it. This is truly a happy ending to a tragic story.

     "The First Time" is a mixed bag when examined closely, as one might see from the preceding paragraphs. The music in the episode is fairly strong, though. "Tonight," "A Boy Like That," and "I Have a Love" showcase some of the best of West Side Story, and let Santana (Naya Rivera) shine. "America" is a fantastic big number, even if some of the accents are completely wrong (cough, Mark Salling's Puck, cough). It's a high school production, though, so that can be forgiven. Viewers will be left wanting to see more from the show, but this likely won't be the case.

     "Uptown Girl" may be the weak spot because, although it is great to see the Dalton Warblers, whom many have missed, without Blaine, their sound quality has gone down considerably. No wonder they beg for him to come back.

     My overall impression is that "The First Time" comes off as pretty great, especially when going with the romance mentioned above, and because the issues with it tend to be small. But there are a number of these small things that just don't make sense, and together, they add up. These include Rachel calling that particular group of girls back together for the sex talk. Or Rory (Damian McGinty) getting into West Side Story, even though he comes to the school after the complicated musical is well into production. Or Rachel and Blaine still singing from sheet music days before opening night. Or Finn thinking he can play quarterback for OSU, one of the best teams in college football, despite the fact that he comes from a terrible team in a small town. Even with Coach Beiste, things cannot have turned around that much so quickly. At one point near the beginning, viewers can even see clearly that Rachel is standing on a box to have a close scene with Finn, as she is suddenly taller, and appears to step down as she walks away!


     So a back and forth week for Glee. Not the end of the world, and mostly satisfying, even with the nagging problems. One can hope that maybe next week will be better. Watch Glee Tuesday at 8 p.m. ET on FOX.

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Article first published as TV Review: Glee - "The First Time" on Blogcritics.

"Pot O' Gold" proves elusive on Glee

     FOX's Glee finally returns with "Pot O' Gold." Brittany (Heather Morris) thinks the new Irish exchange student living with her, Rory Flanagan (The Glee Project co-winner Damian McGinty), is a leprechaun. Santana (Naya Rivera) uses that to her advantage to get Brittany, now her girlfriend, to leave the New Directions with her and defect to Shelby's (Idina Menzel) group. Tossed aside, and exposed as non-magical, Rory is sad and bullied. Until Finn (Cory Monteith) befriends him and brings him over to the New Directions.

     Damian is laying on his accent a bit thick in Glee. He was understandable during the reality show this summer, but sometimes one must strain to pick out the words that his new character is saying. The songs chosen for Rory in this episode also fall flat. "Bein' Green," a classic, has weird phrasing. In "Take Care of Yourself," Rory jumps into an odd falsetto. Neither work really well. Which means a very odd, weak opening for someone that should be a really cool character.

     Also lame is Quinn's (Dianna Agron) plot to steal baby Beth back from Shelby. In "Pot O'Gold," Quinn places dangerous and illegal items in Shelby's house, than calls family services to report her. Luckily for Shelby, Puck (Mark Salling) has an affection for her, and removes the offending objects, with Shelby none the wiser about the plot. Quinn will try again, surely, but Puck won't be a part of it next time. Wanting her baby back makes sense for Quinn, who doesn't have a lot going on otherwise, and has been looking for direction. However, it's a huge step down for the character, who is no longer interesting, merely evil. For now.

     It is no surprise that Puck ends up kissing Shelby at the end of "Pot O' Gold." Anyone with eyeballs can see the smooch coming from a mile away, especially when Puck croons "Waiting for a Girl Like You" to Beth in front of Shelby. Feelings about the budding relationship, though, are mixed. Puck is a senior, and Shelby works at his school. True, Shelby only teaches a glee club, which Puck isn't a part of. And Puck is probably eighteen. Plus, Puck already has a track record of going for cougars, of which Shelby might qualify, albeit she is much classier and less slutty than the typical one. Still, there's something vaguely creepy about a student and an older woman. Please drop the Mrs. Robinson story line!

     Blaine (Darren Criss) continues to clash with Finn as the male lead of the New Directions. It isn't so much that Blaine is trying to take over, but that Finn feels outmatched vocally, and he should. Finn is handling the situation like an idiot, unfortunately. But Blaine is mostly staying out of any real bickering, to his credit. Given Finn' previous plots, he will probably come around and apologize, finally showing maturity. Eventually. Until then, it makes Finn quite a bit unlikable, acting like a child.

     Blaine sings "Last Friday Night (T.G.I.F.)" in an effort to raise the club's spirits. This continues Criss's trend of making catchy, mediocre songs actually sound really good on Glee. Unfortunately, there is something missing in this performance. It may be the lack of an all-male vocal backup. Blaine seems a little different and off with all of the girls singing around him. Too bad, because Blaine rocks otherwise.

     Despite the music-enhanced low points of "Pot O' Gold," there are actually some really good, non-music stories going on. The most notable is Burt's (Mike O'Malley) entry into the race against Sue (Jane Lynch). Coming too late to make it onto the ballot, Burt begins the arduous process of campaigning as a write in. This comes after Burt finds local business owners to re-fund the musical that Sue cuts the budget from. Burt stands a chance at winning because he is passionate about the cause, crediting Will (Matthew Morrison) and the glee club for saving Kurt's life.

     Glee may be slightly preachy when championing Fine Arts Education, but it's not wrong. A lot of kids need music, drama, and art. They need passion when having trouble connecting with other material, and struggling to find themselves. Not to mention the benefits, such as kids performing higher in other subjects, when arts ed is added in. Burt is exactly right that, in a time of budget cuts, the arts should be protected, not chopped. It's a timely message in Ohio and the country, and Glee gets mad props for defending it so vigorously.

     The threat from Sue is that she plans to refocus her campaign on her original goal: getting better Special Education programs, in memory of her sister. This is a sympathetic message, and one a lot of people will be able to get behind. Because it's television, and not a huge, nationally-spotlight race, people may even forget just how psychotic Sue's earlier comments sound. But with Kurt and the other seniors graduating, this will probably be Burt's last season on the series. A triumphant move to Washington would be a fitting ending. So let Burt win, and he can help Special Ed as well as Arts Ed. A better choice, over all.

     It seems for awhile like Glee will stop pursuing the love story between Brittany and Santana. Thankfully, that is not the case in "Pot O' Gold." They are out on a date at Breadsticks (of course), and Santana really opens up about her feelings. While less committal, Brittany seems to return those emotions. They make a cute couple, and as long as Brittany really digs girls, which it appears she does (as well as guys), then they can really work. With other love interests removed, there is no reason why the two cannot be together.

     Which makes their triumphant "Candyman," with Mercedes (Amber Riley), so thrilling. They are happy together, mixed only with a little sadness about leaving the New Directions. This girl-power group is formidable, which is apparent not only to the members, but also Shelby, Will, and Finn.

     The only weakness here is that Sugar Motta (Vanessa Lengies) steps aside a bit too easily from headlining the group. If she really has conviction about her talent, as she claims she does, she wouldn't give up so easily. Now it seems like her character is brought in only as convenience to get a second group going, and bring Shelby back. Which might be worth it, anyway.


     Don't miss Glee, Tuesdays at 8 p.m. ET on FOX.

     If you like my reviews, please follow me on Twitter!

 

     Click here for all of the Glee reviews I've ever written.

 

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Article first published as TV Review: Glee - "Pot O' Gold" on Blogcritics.