Glee is a satisfying "Guilty Pleasure"

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

FOX's Glee explores "Guilty Pleasures" this week. We all have things that we are somewhat ashamed of liking. But because this applies to everyone, you should not feel embarrassed. And as the New Directions learn, if you are willing to share that hidden interest, you may just realize that others around you have the same love.

This is a feel-good story, to be sure, but also an incredibly cheesy one. If there's one complaint I have about Glee overall is that every student in the club seems to know every song that ever comes up. This is incredibly unrealistic, but unfortunately also somewhat necessary to keep the story moving forward. It's an element very apparent this week, as their songs are supposed to be more obscure, though they pick some awfully popular "obscure" pierces.

However, setting that aside, "Guilty Pleasures" is a fun episode with some nice character moments and a lot of fun musical numbers. There may be songs you don't want to admit to enjoying, but they are enjoyed for a reason.

It all starts with Sam (Chord Overstreet) and Blaine (Darren Criss). They decide to give the club a project, since Will (Matthew Morrison) is taking the week off. Again. They pull out the guilty pleasure card, and it allows them to get some unspoken things out in the open.

After watching Tina (Jenna Ushkowitz) harbor an unrequited crush for Blaine for months, we now see Blaine hold Sam in the same regard. Thankfully, Blaine is far less creepy than Tina, and Sam and Blaine's friendship feels more natural than Blaine and Tina's. I don't know if the writers think they misfired with the Tina/Blaine story and decided to try it again with Sam, but for whatever reason it came about, I like seeing the two guys together.

At first, Blaine hems and haws, avoiding talking about his feelings towards Sam. But Sam coaxes them out into the open, letting Blaine know this changes nothing between them. It's a message many high school guys should hear, that its OK to find another man's attention flattering without risking your masculinity, and that there is still a path to friendship there.

As much as the Sam/Blaine thing works as a story, it also helps with Glee's continued themes of tolerance. Gay bullying has never been more of a problem, but as society begins shifting away from this prejudice, it's nice to see such a positive portrayal of homosexual teens on television, not new for Glee, but in using Sam, someone who is very straight, rather than a girl or another gay man, it feels fresh. For this alone, "Guilty Pleasures" is a valuable episode, even as it manages to also be entertaining.

Plus, Blaine and Sam bring us "Wake Me Up Before You Go-Go," a beautifully staged and performed retro number by the whole glee club. I wish the same treatment would have been given to "Copacabana," or better yet, see the story told in the song acted out. But both are good numbers as they are. And Blaine's "Against All Odds (Take a Look at Me Now)" also works.

While the boys work out their friendship, the girls rediscover the Spice Girls. I don't know that today's high schools are really familiar with the British girl group from quite awhile ago, but those of us older viewers certainly appreciate a dusting off of "Wannabe." Any chance we can get a full Spice Girls episode at some point?

The Spice Girls segment also allows Kitty (Becca Tobin) to prove she is a member of the group and can play nice. She's been a bit of an outsider, but has been trying to fit in. Cooperating with Unique (Alex Newell), Marley (Melissa Benoist), Brittany (Heather Morris), and Tina allows her to walk the walk, and hopefully puts her in a better place in the ensemble going forward. Every series needs an antagonist, of course, but redemption is also a satisfying tale.

Lastly at McKinley, Jake (Jacob Artist) gets major flak from the girls when he wants to sing a Chris Brown song, given Chris's treatment of women. His eventual choice of Bobby Brown's "My Prerogative" gets a little bit better reception, perhaps because the memory of Bobby has started to fade, but Marley is still mad at him for doing it.

Jake argues that we need to separate art from the artist, which is a tough call to make, and one hotly debated in society. Can we appreciate a good song by a bad man? Some people have in the past, and will likely do so again, while others rail against such behavior. There isn't an easy answer, as Jake learns, and I wish Glee would devote more time to the question. But at least they've raised it here.

In New York, Santana (Naya Rivera), Kurt (Chris Colfer), and Rachel (Lea Michele) bond as roommates after the truth about Brody (Dean Geyer) comes out. I do wonder when and how Santana moves back in, after she storms out in the previous episode. However, Santana is feisty and has a temper and it's not surprising she's back, even if the show skips showing us the resolution.

I really dig the chemistry between these three. Santana can be herself a lot easier in a small group, and gets to show her softer side more often. The three of them bond with arm pillows and movies, and I can't wait to see what happens with them next. It's kind of like the zany sitcom spin-off someone would suggest when viewing an earlier season, fully realized and integrated into the series.

It's a shame that their "Mama Mia" is shared with the high school group as the episode's closing number. Since it's the only piece the New Yorkers get in "Guilty Pleasures," it would have been great for them to really have a showcase, even if the end result is hard to complain about.

It's also too bad that Rachel lets Brody off the hook, to an extent. She says they're done, but she's nicer to him than she should be, and I feel like this leaves the door open for a return of their pairing, albeit in secret from Rachel's roommates, down the road. If she wants to be on the right path, she should ditch him altogether, but I guess everyone makes mistakes.

Speaking of mistakes, the Rachel / Brody duet of "Creep" is the one musical misstep in "Guilty Pleasures." It's certainly a different tone than the other songs, and I found it somewhat boring and out of sync with the rest of the hour.

Glee is going into re-run mode for the next two weeks, but will return Thursdays at 9 p.m. ET on FOX to finish out their fourth season.

"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's "Diva" days are numbered

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

This week on FOX's Glee, everyone tries to find their inner "Diva." Finn (Cory Monteith) uses this technique trying to motivate the students as they prepare for Regionals, since they don't seem enthusiastic, while Kurt (Chris Colfer) has to bring his diva back to knock an egotistical Rachel (Lea Michelle) down a peg.

Do we really need an episode about divas in the fourth season of Glee? By this point, viewers know who is a diva and who isn't, and by encouraging outrageous behavior, it does no one any favors. Sure, we are told that "diva" does not necessarily need to be a negative label, but plenty of the behavior exhibited in this installment is not pleasing, and it makes the whole concept a bit obnoxious.

So I guess you can tell already that I did not care much for "Diva," and this review will be filled with many complaints and few accolades. For Glee-loving, check back next week (I hope).

Once more, the New York plot trumps McKinley, so let's start with the better of the stories. Rachel is acting too big for her britches, prancing around with sycophants lauding compliments at her, and expecting everyone else to regard her just as highly. This is not new behavior for her character, and given how successful she is at college, not at all surprising at this juncture.

Luckily, Rachel has Kurt around to keep her grounded. He is also a strong personality, and not one to put up with her airs. He does care about her, even when he is frustrated, and while there is a degree of personal satisfaction to be had in humbling Ms. Berry, I think that Kurt also acts for her own good.

What does the trick is Kurt challenging Rachel to a midnight sing-off in front of their peers. The whole event is a little cheesy, but there is nothing short of awesomeness in Kurt and Rachel's rendition of "Bring Him Home." It's a large, dramatic song, and both tackle it was ease, an extremely impressive feat. Still, Kurt wins slightly in the vote, likely because everyone is surprised someone can match Rachel.

Rachel's subsequent fall is almost as pronounced as her rise. She is ready to give up her dreams completely, until Kurt convinces her to find the middle ground. It's a good thing that Rachel has Kurt in her life, as he can give her what she needs, when she needs it, and put her back on the right path.

Now, we only need to brace for Kurt and Rachel's showdown over having Brody (Dean Geyer) living with them.

Lest anyone think Kurt's victory might make him the new Rachel, Kurt has never been that particular brand of diva. The scene where Rachel's lapdogs try to switch to him and Kurt shuts them down is unnecessary, but satisfying.

At McKinley, Tina (Jenna Ushkowitz) is still after Blaine (Darren Criss), and thinks that being a diva will help her land him. It's such a dumb, dumb arc that needs to go away soon. Blaine already lets Tina down gently in a previous episode, and still she hangs around, caring for him when he is sick, and has trouble accepting that a gay man will never lover her in a sexual way, even if her "Hung Up" is Tina's best performance on Glee to date.

I mean, did Tina see Blaine's "Don't Stop Me Now?" I know that Blaine is trying to prove that men can be divas, too, but he only checks that box for gay men, as there is nothing straight about his rendition. Which is not a complaint, as I adore Blaine as a character; I'm just saying that it should have sent a clear message to Tina.

Also, as much as I like "Don't Stop Me Now" and Blaine's usual singing talents, I thought this number felt a little flat this week. Not sure why, it just lacked the driving energy he normally exhibits.

It's hard to get too mad at Blaine for not shutting Tina down more fully. After all, he has already laid out for her where he stands, and she has become his closest friend at McKinley, even if it's for all the wrong reasons. He doesn't want to be alone, and he likes having Tina be for him what Rachel is for Kurt. But he has to sit her down again and lay it all out in a way that finally gets through to her, or this will not end well.

Santana (Naya Rivera) returns in "Diva" when she learns that Brittany (Heather Morris) is now dating Sam (Chord Overstreet) from Tina, further cementing Tina's status as an unlikeable character. Santana doesn't want Britanny back, she just doesn't think that Sam is good enough for her bestie, and is determined to break them up.

This plot reveals Santana's motivation to be equal parts petty jealousy and protector. She wants to make sure that Brittany is happy, but she is no longer the one who is going to make that happen. Were Santana to toss her hat back in the ring, and it is something she considers when Sue (Jane Lynch) offers her a job at the school, she would have reason to be against Sam. But since Santana doesn't intend to permanently return to Ohio, and Sam makes Brittany happy, Santana needs to accept things as they are. This episode doesn't quite take us to that resolution.

"Diva" does deliver Santana to New York, which is a happy development. I don't know that Santana really fits exactly with Kurt and Rachel, but she is a fantastic character whom I have missed, and her inclusion in their circle should shake up the dynamic in a fresh and interesting way. Perhaps she should have asked to move in with them, rather than just declaring that she lives there now, but it's still my favorite scene of the episode.

Sadly, Santana's musical numbers in this installment leave something to be desire. Given her past credits, Santana absolutely belongs in an episode entitled "Diva." Yet, neither "Nutbush City Limits" nor "Make No Mistake, She's Mine" are that enjoyable. This is especially regrettable in the latter, since a Sam-Santana showdown should have been an awesome moment. She does slay "Girl on Fire," but it's not a very good song in the first place, in my opinion, so I didn't find any memorable Santana music moments in "Diva."

Also, if Santana dropped out of college in Kentucky a month ago, why does she show up with Louisville cheerleader back up singers, in uniform, and a girlfriend classmate? Are they still dating? Even if they are, it can't possibly be that serious, given the way it is presented, and certainly not enough to warrant a trip to Ohio, with friends in tow.

The other arc unfolding in "Diva" begins when Finn asks Emma (Jayma Mays) for assistance motivating the students. She lends her ideas, which leads to the diva assignment, and helps set Finn's group back on track.

Finn is doubting himself, but Emma is even more a mess, swamped under wedding planning. How does she have the time to give him a hand? Why does he even ask, when, if he really cares, he should be helping her, not piling on her workload?

At the end of this regrettable plot, Finn kisses Emma. This comes completely out of left field, and makes absolutely no sense. There has never been a hint of anything between the two, and even working together in this episode, there is no foreshadowing. Finn and Emma's fiance, Will (Matthew Morrison), are practically best friends. Plus, Finn is a student until recently, which adds to the ick factor. Why does Finn do this?

Perhaps Finn wants Will's life. He's been subbing in Will's job, why not take the girl, too? Except, Finn hasn't tried to be exactly like Will. Maybe his clothing style has shifted that way, but he does do his own thing, too.

It just seems like a contrived ratings ploy during sweeps, and is a serious misstep for Glee to make.

I'd also like to complain about the opening number of the episode, a song called "Diva." It's kind a fun moment, with outlandish costumes and characters. Yet, Marley (Melissa Benoist) and Kitty (Becca Tobin) change their personalities several times throughout the few minutes, so it kills the flow.

"Diva" is not without its moments, mostly involving Kurt, Rachel, and Santana, graduated students living in New York, but between the lackluster music, more terrible Tina focus, and the Finn smooching Emma disaster, it does not deliver. Hopefully next week, which will feature Will and Emma's wedding, as well as the gathering of most or all of the characters who have been absent a lot this season, will improve.

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

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Glee gets "Naked"

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

The latest installment of FOX's Glee finds out many of our favorite characters getting "Naked." At McKinley, the guys are putting together a shirtless calendar to raise money to pay for their bus to Regionals in Indiana, while in New York, Rachel (Lea Michele) considers doing a topless scene in a student film.

A few minutes into "Naked," this episode is looking pretty bad, one of the worst we've seen all season. It begins with the Warblers being charged for steroid abuse, prompting the local news to report that McKinley is going to Regionals in their place.

First of all, it doesn't look like the case has been settled yet. Isn't it a little early to write off the Warblers? Second of all, the New Directions are disqualified at Sectionals, and another group isn't, so what logic leads anyone to believe that McKinley is still in the game? Thirdly, while it may be local news-worthy to cover steroid abuse in a glee club, they certainly wouldn't talk about McKinley at length, even if the New Directions are the defending national champions. And the entire thing is presented incredibly unrealistically, complete with a trumped-up version of an anchor rant.

For the record, I live in Columbus, Ohio, hours away from Lima and McKinley, which are actually hours away from each other, and our local news is not anything like Rod Remington (Bill A. Jones) and Andrea Carmichael's (Earlene Davis) program, which appears to be Columbus-based. Even when Glee stretches reality for the sake of a joke, it does not do a service to Columbus to portray it so poorly.

Then we go to the choir room where Tina (Jenna Ushkowitz) announces her calendar idea. Marley (Melissa Benoist) pops in with the musing that it is January so it is the perfect time to sell calendars. Wrong. January is a terrible time to sell, especially if they won't be ready until late January or early February. Dumb.

Continuing on this trend of bad writing is a scene in Figgins' (Iqbal Theba) office where he tells Brittany (Heather Morris) that she got an almost perfect score on the SAT, even though she just drew pictures in the dots. This is not possible, and for a girl who didn't graduate high school in four years, a cruel plot twist. For Figgins to reveal this in front of Sam (Chord Overstreet), whom he then says has a very, very low score, is unprofessional, and should not happen even in a fictional education setting.
 
However, after these completely terrible first five or so minutes, "Naked" steadily grows better. Glee's episodes are often not of consistent quality from week to week, but usually the bad episodes are bad, the mediocre ones are mediocre, and the good episodes are good. "Naked" turns this old idea on its head by having on of the worst starts and best endings, with a pretty good middle.

I have to admit, even though it could be lumped into the opening chaos, I mostly enjoyed Marley's guest spot on Fondue For Two. Brittany unthinkingly makes a joke out of Marley's eating disorder, and it surprisingly works!

The only part that should have been left out of Fondue For Two is Lord Tubbington using the computer. It ventures too far into ridiculous territory.

The main story of "Naked" deals with body image issues. At McKinley, this centers around the guys. Artie (Kevin McHale) doesn't want to take off his shirt, and not just because he's in a wheel chair. He says that boys can have insecurities about their body, and he's totally right. I like the message this sends out, and how even after Finn (Cory Monteith) and Sam cluelessly keep pushing the issue, they come around and not only tell Artie how brave he is, but find a way to include him while respecting his wishes.

A strong selling point of Glee has always been acceptance of who one is, and promoting helping others. "Naked" brings that mission to the forefront again in an intelligent way, without getting preachy.

The only regret here is Blaine's (Darren Criss) continued attraction to Sam. It's actually done very well in this episode, with Blaine being a really good friend, making a video to cheer Sam up when he's feeling stupid. Blaine does not try to push the straight man into anything gay, and Sam stays in the dark about Blaine's feelings.

What's sad is that Blaine is being set up for a big slide down when this arc comes to a head, and Sam has to gently tell him it's never going to happen. I hope Sam takes the news well, and finds a way to not shun Blaine for emotions that he can't control.

I'm going to ignore Tina's continued annoying habit of hitting on Blaine, since he already let her down, and girl still won't leave him alone!

In New York, we also have the issue of nudity, couched in a plot about how Rachel is growing up. Lest we forget high school Rachel, the episode gives us college Rachel and her former persona side by side, singing a wonderful duet of "Torn."

Rachel has changed a lot since going off to higher education, as many do, and "Naked" provides a chance for her to step back and evaluate her choices, deciding if she wants to stay on this path or not. She is getting in touch with who she is as a woman, and her sexuality, a fact made more obvious when we see the old sweaters, buttoned up so much higher.

Interesting that both Rachels have miniskits on, no? I guess the new-found sexiness isn't coming out of nowhere.

Sort of weirdly, it's Quinn (Dianna Agron) and Santana (Naya Rivera) that give Rachel her life raft. Rachel's friendship with the Cheerios only begins to form just before she leaves McKinley, but it's sweet that they remember their time together fondly enough to travel to the big city and give Rachel some advice at an important juncture. Plus, they are more experienced than Rachel when it comes to such adult matters, so they serve as appropriate advisers.

In the end, Rachel decides not to go through with going topless, a wise decision, and a sign that she won't change who she is completely. It's the support of her friends that provides her out, but it's her own strong will that carries her through. As she leaves the set to sing "Love Song" with the girls, it's a triumphant moment for Rachel Berry.

I am really intrigued by Santana's comment that New York might be her kind of city. I like Rachel and Kurt's (Chris Colfer) relocation this season, providing a way for Glee to grow, as their portions of the episodes tend to be the strongest. I really want to see more characters join them, and Santana is one of better developed on the show. She would greatly shake up Kurt and Rachel's dynamic if she should move, and I would love her to get more screen time again. I hope the writers go this direction.

The music in "Naked" is some of the best in recent memory on Glee. As stated before, "Torn" is amazing, and "Love Song" is enjoyable, and not just for nostalgia's sake. The New Directions' mashup of "Centerfold" and "Hot in Here" is downright inspired, and very clever. "A Thousand Years, Pt. 2" is sweet. Only "Let Me Love You (Until You Learn to Love Yourself)" is mediocre, but that can be forgiven because of the part it plays in the story.

"Naked" ends with its best piece of the week, "This is the New Year." It's done in a very artistic style, with the twelve current members of the high school glee club coming together and just plain having fun. If ever an episode ended on a high note, it's this one, letting them celebrate their victories and accomplishments in the hour in a cute and entertaining way that bears repeat viewings.

Another subplot in "Naked" involves Marley and Jake (Jacob Artist). Things between them have been brewing, but it suddenly turns serious. Jake admits to Ryder (Blake Jenner) that he loves Marley, and is disappointed when Marley can't quite say that she loves him. Ryder encourages Jake to go first, and it's the perfect decision to do so, leading to a mutual statement of attraction.

I know it's early in the plot for Jake and Marley to get too close. Yet, it's refreshing for a young pair to be so in love, without having to go through seasons of drama to get there. Their relationship might not last, but hopefully it will stick for a little bit, as these new characters are very likeable, and deserve some happiness. And yes, they do say the l-word too soon, but I'm sure plenty of real high schoolers who don't actually understand love do, too.

In New York, we get just a taste of Kurt's frustrations with having Brody (Dean Geyer) living with them. It was foolish and rude of Rachel to invite Brody in without consulting Kurt, and the arrangement is clearly not working out. There's only a little bit of conflict shown this week, but it's definitely brewing towards a larger confrontation. It is gratifying to see Kurt not dance around the issue, standing up for himself, and this probably means the thrown down will happen sooner, rather than later.

Lastly, Finn fights back against Sue's (Jane Lynch) bullying, tricking her into admitting she once posed nude in a magazine. That in of itself ventures into hokey territory, especially when Sue thinks that she can destroy all the evidence in a digital age. Good thing for her, Finn doesn't seem remember that the internet exists, either.

That being said, I get the impression that Sue is slyly pushing Finn into being a better teacher, not just being mean for no reason, and if that turns out to be the case, I'm glad she's around for him. She won't ever admit it, of course, but I sense that she's starting to treat Finn as a colleague and worthy opponent, the same way she treats Will (Matthew Morrison). That's a good sign.

"Naked" is not Glee's best outing, but if there was an award form Most Improved episode from beginning to end, it would win it. There are some important issues brought up, some great character moments, and some fantastic musical numbers. Overall, I'd give it a solid B+.

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.

Glee attends "Sadie Hawkins" dance

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

The latest installment of FOX's Glee is called "Sadie Hawkins." Tired of being single, and with her eye on a boy, Tina (Jenna Ushkowitz) pushes for a Sadie Hawkins dance at the school. She gets it, but it doesn't solve her problem the way that she hoped it would.

With many of the fan favorite characters having graduated from McKinley last spring, sometimes Glee chooses to focus on the characters I consider the "B team." Tina is very much one of those characters, and unlike some, which flourish under the additional screen time, Tina has yet to do anything that improves my opinion of her. In fact, just the opposite.

Tina's crush in "Sadie Hawkins" is Blaine (Darren Criss). I know it's natural for young girls to fall for gay guys, not fully understanding relationships and sexuality yet. But Tina is introduced to Blaine as Kurt's (Chris Colfer) boyfriend. All of the time that she has known Blaine, there has never been any sign that he is even a tiny bit straight, nor interested in her. It's fine if she is attracted to him, or harbors a secret that she keeps to herself, but making a move on him is stupid and weird.

That's not to say I didn't enjoy Tina's "I Don't Know How to Love Him." She does have a pretty good voice, and I like that song. But that's the only part of her story in the this episode that I liked.

Which leaves me hoping that Tina does not go to New York and continue on the series next year. I don't mind if she pops in occasionally, as most of the alumni do, but to interweave her into the main saga longer than necessary would not benefit the show. Unless they improve her character, because I do think the actress could handle better.

Blaine, for his part, also has unrequited feelings. He is interested in Sam (Chord Overstreet). It's not hard to see why, and the two do have good chemistry. Unlike Tina, however, Blaine knows it's simply a fantasy that will never come true, and thus, keeps it to himself until Tina really needs to hear it. He's acting much more reasonable.

Glee already went down this path, having students lusting after others who don't share their sexual preference, in the early days of the show, when Kurt had a thing for Finn (Cory Monteith). It doesn't need revisited.

One could make the argument that these characters are in high school, and their recent actions are reminiscence of how teenagers actually behave. The problem is, Glee is not consistent with that behavior, so when a plot like this comes around, it feels uneven, and does not make for the best episode.

The best part of the entire "Sadie Hawkins" plot is that it returns Lauren Zizes (Ashley Fink) to the show! Her role is brief, and she should have already  graduated, I think. She also acts completely out of character from what we've seen of her before, and I don't buy that her man messed her up this much. It just doesn't feel like the woman that character had grown into when we last saw her, even if that's how her character was originally introduced. But I've missed Zizes (and Fink) so much that I am willing to overlook the writing flaws if they will only make her a recurring player again (or better yet, a series regular), and then effort can be spent on taking her back to her former glory.

Why is Sugar (Vanessa Lengies) in the Too Young to Be Bitter club? She can be annoying (to some, I actually like her), but she's hot, and looks trump personality in a high school setting. Someone would have wanted to go to the dance with her.

Marley (Melissa Benoist) decides to fully go after Jake (Jacob Artist) this week. I feel like their back and forth isn't progressing, but they're good together, and I Marley and the rest of the girls, including Unique (Alex Newell), sing quite an enjoyable "Tell Him." I hope this isn't one of those will-they-or-won't-they stories that is stretched out over three years, even though that's probably exactly what it is.

Meanwhile, Kitty (Becca Tobin) wants Jake, but after he resists her sexual proposition, settles for elder brother Puck (Mark Salling). This pairing can't possibly last, but for where both of these characters are right now, it makes sense for the plot. They will probably have lots of energetic sex. Let's just hope that history doesn't repeat itself and Puck knocks up another Cheerio.

The dance itself is kind of eh. We've seen so many dances on Glee, and I can't say that this one is special. The performances of "No Scrubs," "Locked Out of Heaven," and "I Only Have Eyes For You" are good, but not great, and aren't very memorable. Also, like in the past, the fact that the New Directions get to perform at their school dance, and the student body appreciates this, stretches believability way too far.

Sam is on a mission in "Sadie Hawkins" to prove that the Warblers cheated at the competition and get them disqualified. I'm confused. Didn't the New Directions get third place? Knocking the Warblers out would not automatically put them back in. I'm sure some plot contrivance will occur where the other group also can't compete, and the New Directions do get to continue, but why doesn't Sam realize that? What's his purpose? Just to get even with bullies? Also, steroids might help with the dance moves, but I can't imagine it's good for the voice, so why would the Warblers use these drugs?

In New York, Rachel (Lea Michele) has a tiff with Brody (Dean Geyer). Their argument is dumb, and Rachel is acting petty. I'm really not sure what the purpose of this scene is other than that Rachel asks Brody to move in, and because they wanted a moment that lasted longer than ten seconds, the writers tossed in a fight. Not the strongest bit of this episode, and that's saying something.

Kurt, however, has a wonderful story in "Sadie Hawkins." He is enticed by the Adams Apples, the NYADA version of glee club, and especially by their leader, Adam (Oliver Kieran-Jones, Episodes). But he is told that the are the losers of the school, and that he should stay away from them. Kurt decides not to listen to public opinion.

It's a great Glee story, true to the series in every sense. The New Directions are losers, too, when viewers are first introduced to them, and they become something great. The Adams Apples may look like a ragtag bunch, but their "Baby Got Back," presumably sung in Jonathan Coulton's style to make them seem more odd, is terrific. It's hard to believe that they are shunned by their peers, unless the style of music is just considered a lesser art form, but I'm sure Kurt will turn that around.

Kurt has always marched to the beat of his own drum, so it's really no surprise that he would ignore advice and join up with the Adams Apples, especially when there's a cute boy involved. Adam is a senior, so any romance will probably be temporary, tiding Kurt over until Blaine can get to the Big Apple next spring. I'm fine with that, as Kurt deserves a little happiness, and Adam should be a fitting placeholder.

Unfortunately, "Sadie Hawkins" is not a bright spot in the season. Zizes, Adam, and "Tell Him" don't make up for the school dance itself and other weak numbers. The plot gets hokey, and goes off the rails a bit. However, it's not a terrible installment, and if this is the weak point in season four, which I would argue that, so far, it is, it will still make for a fine season overall.

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!

Glease is the word

 "Glease" is the word this week on FOX's Glee. Which is funny because it isn't actually a word. Nor does it deserve to be. In an entire episode that serves as a mashup between Glee and Grease, the music from the musical remains as classic as ever, but some of the performances are an inferior echo of the original, not because of lack of talent, but because it's such a blatant copy. It's a good thing that there's some actual Glee character development plot included, too.

"Glease" works best when the cast isn't trying to recreate scenes from the movie. Sure, Finn (Cory Monteith) taking the guys to a mechanic shop to practice "Greased Lightin'" and Kitty's (Becca Tobin) girls' sleepover "Look At Me, I'm Sandra Dee" bit may enact scenes that look just like the John Travolta / Olivia Newton John film, but they stretch the plot a little too much towards the cheesy side. Similarly, the set design in McKinley's production is way too advanced for a high school budget, though it makes "Beauty School Dropout" and "You're the One That I Want," the former a favorite moment from this episode, look nearly identical to the inspiration.

This continues a trend in season four of things that seem like a good idea on the surface, but don't quite work right when they are played out. I am referring to the way that alumni keep returning to McKinley and acting like they are adults, while still socializing with their younger student pals. Most high schoolers can't wait to move on after graduation, and those that don't are not generally regarded so highly as the ones on Glee. Letting Finn serve as Will's (Matthew Morrison) temporary glee club replacement actually does all right by the character, but Mercedes (Amber Riley), Mike Chang (Harry Shum Jr.), and Santana (Naya Rivera) really need to find some new friends and activities to get involved in.


That's what Rachel (Lea Michele) and Kurt (Chris Colfer) are doing. They do come back to watch their friends do the musical, but they are also beginning to break ties and look towards their futures. Things have changed, their chums have moved on, and the duo feel it. It's hard to imagine them flying home again for the next minor event. And that's a good thing. Whether Glee opts to shift even more into a post-high school focus next season, or drop a large number of original cast members, this balancing act often feels forced, and cannot continue indefinitely.

The continued presence of the older crowd also steals focus from the newbies. Marley (Melissa Benoist) and Ryder (Blake Jenner) barely open "You're the One That I Want" before being replaced by Rachel and Finn, and soon Kurt and the others are imagined into the scene, too. Yes, it's nice to see some more resolution will all of the recently dissolved couples, but not at the expense of some characters that are just beginning to grow on us.

Unique (Alex Newell) gets the biggest shaft in "Glease." His parents (including Chuck's Mark Christopher Lawrence) pull him from the show because they are worried about bullying, since he has a female part, even though they do accept their son for who he is. This seems a step backwards from the Kurt days, with Unique having to re-fight some of the same battles. It also means that s/he only gets a few lines of "There Are Worse Things I Could Do," a crying shame, no matter how good Rivera can handle the number.

Also, I don't care how dumb Brittany (Heather Morris) is, we cannot honestly be expected to believe that she thinks Mercedes and Unique are the same person.

Quick side note, Jenner is just not doing it for me as Ryder. I felt let down at his take on Danny Zuko, and his acting just isn't up to par with his cast mates. He may grow into the role, as others have done, but it seems like he got a little too much focus, a little too quickly.

I also did not care for Marley's bulimia plot. She is a gorgeous, thin girl, and while Kitty's ability to trick her into puking makes sense, it also ventures a little too far into after-school-special territory. It will be awfully hard to make Kitty sympathetic after she goes to such depths, and Marley's "Look At Me, I'm Sandra Dee (Reprise)" ends up being heart wrenching at a time when she should be enjoying her chance to shine as the musical lead. It works for the story, but I wish that the writers chose to take her in a happier direction.

Speaking of terribly evil villains, in "Glease" Cassandra July (Kate Hudson) tricks Rachel into skipping town, then seizes the opportunity to seduce Brody (Dean Geyer). It would not be surprising to learn that things didn't quite go down as Ms. July describes them. But seeing her act all sleazy, then picking up Brody's phone when Rachel calls to rub it in her face is absolutely awful. Sue (Jane Lynch) can be a bit of a monster, but even she has more humanity than Rachel's new teacher.


Not that "Glease" is a bad episode, by any means. All six of the musical numbers are very well done, no matter what my complaints are, plot wise. Blaine (Darren Criss) and Sugar (Vanessa Lengies), in particular, are perfectly cast in Grease. Newell and Benoist, and, to a lesser extent, Tobin, are solidifying their roles as the new stars of Glee, and they definitely have the chops to do so. It's awesome to see Santana and Brittany together again. Almost every actor gives a fine performance, and most of the story choices make sense, even if a few are regrettable. As such, despite my nit picking, I liked the episode a lot overall. There just needs to be some tweaks to the larger arcs to make the season gel a little better.

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

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com!  Article first published as TV Review: Glee - "Glease" on Blogcritics.

Glee suffers through "The Break-Up"

This week's Glee was heartbreaking, plain and simple. It was a sad tale of the dissolution of romance, splitting up all the major couples in the series at once. Glee, even when it gets dramatic, usually has goofy, upbeat parts. In "The Break-Up," though, the FOX dramedy really focused on the drama, making for a great, though very sad, installment that did not feel like Glee at all.

Season four of Glee has brought a lot of maturity with it. A number of the characters have moved on to the real world beyond their small town and, because of that, the issues they deal with are a bit more serious than the stuff they worried about in high school. Couples broke up all the time in the first three seasons. But in making the emotions so much more raw this time around, and packing so many splits into one episode, it meant so much more.

The music also went more soulful for "The Break-Up." From "Barely Breathing" to "Give Your Heart a Break" to "Mine" to "Don't Speak," blow after blow kept coming. Music can really sell a story in a way sometimes straight dialogue can't, as Santana (Naya Rivera) basically says in the episode. By the time eight voices performed "The Scientist," you would have to have no heart not to be moved.

Yes, it's true that most high school sweethearts do not end up married and spending their life together. This is a fact of life that television often fudges to satisfy viewers, who want to see the couples they've invested in make it. Three such pairings existed on Glee among the various students, and all three are no more. Will these break ups stick, as they most likely would in the reality? Or will the pressure of keeping the fans happy mean that some or all of them will come back together soon enough?

The most likely couple to reunite is Blaine (Darren Criss) and Kurt (Chris Colfer). Like all of the other duos, distance is their main issue, with Blaine trying to make his senior year meaningful, and Kurt neglecting his boyfriend in favor of building a career and making professional connections. It would be very difficult for them to reunite under the current circumstances. But with no immediate replacement prospects for either of them, and Blaine likely finding New York a suitable post-high school destination, it could be only a matter of time before they're back together.

Which is not to say that it will be easy for them to reconnect. Like at McKinley, Blaine would be moving to be near to and follow Kurt. Kurt would already have the established life, and Blaine would have to try to fit into that. It's not ideal, and it's not fair that Blaine should make all of the sacrifices. This is the powerful sentiment behind Blaine's "Teenage Dream" reprise, and it's incredibly moving.

Rachel (Lea Michele) has practically already moved on with Brody (Dean Geyer). It's hard to blame her, when Finn (Cory Monteith) drops off the face of the earth, and doesn't share important life developments with her. They are kind of already done before Finn shows up in "The Break-Up," and even though Rachel tries to hang on, their break up feels more like a formality than a fork in the road.

What will Finn do now? With no Rachel and no army, he is left a bit directionless. It seems logical, though completely unrealistic, that he might take the reins of the glee club while Will (Matthew Morrison) is off working on his blue ribbon panel. This keeps Finn around on the show and gives him a purpose, even though his recent classmates would probably not accept him as an authority figure, nor would a school allow a recent alum with no higher education to run the club. But, in terms of plot logistics, it makes sense.

Speaking of Will, although he and Emma (Jayma Mays) have a pretty serious fight in "The Break-Up," it seems strange that they sing "The Scientist" with the kids. Does this mean that their wedding is off? Yes, the issue between them is a weighty one that will need dealt with. But they are engaged! This is not worth canceling the union completely over. Is there a scene missing that followed that argument? If they didn't beak up, it doesn't make sense that they were part of the song.

Finally, there's Brittany (Heather Morris) and Santana. Like Rachel, Brittany has other prospects in the wings, though I am not in favor of her getting together with Sam (Chord Overstreet). But she and Santana have seemed the most separated of any of the couples up to this point. Santana truly is moving on, and Brittany is left behind. As much as I root for them, this split makes sense, and is the one I think most likely to be permanent, considering there just isn't any easily foreseeable way to bring them back together.

Oh, and Jake (Jacob Artist) dumped Kitty (Becca Tobin), but who didn't see that one coming? And the characters haven't been developed enough yet to really care, anyway.

Glee likely won't change its tone forever. "The Break-Up" is probably an anomaly. And as much as I liked this installment, I wouldn't want them to shift the show this completely, losing some of the magic and humor that attracts viewers. That being said, this is a very strong hour, both musically and story-wise, and it's nice to see that Glee can do something so affecting.

It also maintains a high quality this season for the fourth episode in a row. Not all four episodes have ranked among the best of the series, but none of been total duds, either, and based on the un-eveness the show usually displays, this is a feat to be proud of.

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

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com!   Article first published as TV Review: Glee - "The Break-Up" on Blogcritics.

Glee gets a "Makeover"

 
Glee undergoes a "Makeover" in the third installment of this fourth season. Blaine (Darren Criss), lonely without Kurt (Chris Colfer), the entire reason he transferred to McKinley, seeks to find his place at the school. He decides, after a soulful rendition of "Everybody Wants to Rule the World" and a ridiculous montage of Blaine in various clubs, that maybe he should be class president. This puts him at odds with Brittany (Heather Morris), who is seeking a second term.

Blaine and Brittany square off in a debate with their running mates, Sam (Chord Overstreet) and Artie (Kevin McHale). It's fantastic that Sue (Jane Lynch) says what many viewers are thinking: when did Vice Presidents and forums become a part of the school's student government? It's a clearly staged set up for a humorous story.

Which is fine. Glee is often a little over the top, and unlike Isabelle's arrival, this appropriately furthers Blaine's growth at a time when it is needed. The silly stuff, Sam and Brittany's ditziness, and the song that duo share, "Celebrity Skin," make things entertaining, and keep it from skewing too dark. Overall, this works, especially when sense wins out over stupidity, and because of the tongue in cheek method in which it is carried out.

I just do not like the setup of a Sam / Brittany pairing. Glee makes us care way too much about Brittany and Santana to ditch it now. It will take a heck of a lot to win me over, and the show is nowhere close to this point. Blaine and Kurt cannot split, either!

For his part, Kurt is already settling into a new role in the Big Apple, serving as an assistant to Isabelle Wright (Sarah Jessica Parker, Sex and the City), which leaves him little time for his boy back home. While it may be understandable that he is excited about his new position, ignoring Blaine's calls isn't completely in character, and Kurt deserves a good smack.

I do not like Sarah Jessica Parker. I can't pinpoint exactly why; She seems like a perfectly lovely person. I just can't stand the parts she plays, even after watching (and liking) all six seasons and both movies of Sex and the City.

That being said, Isabelle is a great part for Parker. She slides right into the Glee cast with ease, becoming a fairy godmother for Kurt. Her trio song. "The Way You Look Tonight" / "You're Never Fully Dressed Without a Smile." with Kurt and Rachel (Lea Michele) is also annoying, but again, fits wonderfully into the voices and events of "Makeover." It's odd, but I think this might be the role that actually makes me begin to appreciate this actress.

Unfortunately, Isabelle's introduction comes too soon. Kurt just arrived in the city, and instead of struggling, he lands in a cushy job with a boss who loves him and doesn't mind that he breaks into the office late at night so his roommate can try on clothes. It's coincidence that Kurt just happens to find the kindred spirit of Isabelle, but it's too much to be believable. Had Isabelle arrived late in the season, there would have been a sense of a deserved reward. Instead, what's easy to miss in the truly charming plot is that the whole thing should have been held off on until mid-season.

Will Kurt decide to give up singing to work in the fashion world? It's disappointing, but it doesn't come out of nowhere. Kurt's clothing has always been an essential element to the character, and his voice, while very good, isn't usually played with the Rachel Berry star quality. As long as the decision doesn't come easily, this could be a pretty respectable shift. I just wish Kurt's desk was next to Ugly Betty's.

Rachel, on the other hand, is right on schedule with her story. She no sooner succumbs to Brody's (Dean Geyer) wooing, enhanced by the song "A Change Will Do You Good," than Finn (Cory Monteith) shows up at her door, catching the two of them together. Right from the beginning of the season, this is the exact turn of events that Glee tees up, completely obvious in its arc. It's done well enough, but I'm glad to get past what we all know is going to happen so that we can find out which way the writers are going to take things now.

The final plot in "Makeover" involves Will (Matthew Morrison) stepping away from McKinley to work for show choirs on a national level. It's strange, even when it is explained, that the committee meets at Will's school, and it includes previous guest star Dalton Rumba (Michael Hitchcock, who has written several episodes), though I appreciate seeing Sean Gunn (Gilmore Girls) as another member. It also feels like a repeated story, because Will already struggles with leaving the school in a previous arc when he is offered a role on Broadway.

The way Will's story will probably go is that he leaves, realizes he made a mistake, and then comes back, too late to save the group's chance at another Nationals win. This is a rebuilding year, anyway, so letting Will step back will only add to the chaos of the leaderless New Directions. Let's just hope Sue is made the temporary director in his absence, as that could be quite funny.

Will and Sue filmed a song for "Makeover" entitled "Mister Monotony" that is cut from this episode. This is horrible because advance photos of this number are all over the internet, and then the installment didn't deliver. Ironically, the song was sung by Judy Garland in the film Easter Parade, from which it was also cut. Come on, Ryan Murphy! It's time for another web exclusive deleted scene!

All in all, "Makeover" is not a bad episode of Glee, nor an overly impressive one. It goes a bit too light on drama and bit too heavy on goofy fluff. But it furthers a couple of plots, and is pretty entertaining. This places it somewhere near the middle when ranking episodes of the series.

Watch new episodes of Glee Thursdays at 9 p.m. ET on FOX.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Article first published as TV Review: Glee - "Makeover" on Blogcritics.