"Jagged Little" GLEE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"Homecoming" For GLEE

Article first published as TV Review: 'Glee' - 'Loser Like Me' and 'Homecoming' on Blogcritics.

FOX’s Glee began its final season with two episodes this past Friday. In the first, “Loser Like Me,” Rachel (Lea Michele) sees her Hollywood dreams crash and burn. Returning to Lima, Ohio, she realizes the program that inspired her is no more as well, so she petitions the superintendent to revive the arts at McKinley. He agrees – if she will run the show choir. The story continues in the second hour, “Homecoming,” in which many of Rachel’s fellow alumni return to help her recruit.

I’ve been pretty critical of Glee in recent seasons as the quality of the show, never consistent, noticeably declined. The bright spot was whenever the series moved to New York, with the Ohio plots being much lamer. Unfortunately, this sixth (and final) season pretty much eliminates New York altogether, as there is no one left in the Big Apple to follow.

That being said, something Glee usually nails is emotional heft, and season six is already showing greater willingness to use this hammer. The story may not be entirely believable (Sue’s antics so ridiculously misrepresent what would be allowed in education that I want to scream) nor make total sense (why did Chord Overstreet’s Sam decide to move home and become the assistant football coach?), but “Loser Like Me” succeeds in making me feel something for the characters again. Many of them, especially Rachel and Kurt (Chris Colfer), are at a crossroads in their lives. Things haven’t exactly turned out as they’d hoped, something many young adults face, and they may need to readjust career goals and priorities.

Adding to that is this desperate crusade in the final war against Sue Sylvester (Jane Lynch) to save arts education. The New Directions did something very special for all of the core characters, and Rachel, Kurt, et al. want to make sure that tradition continues. This is an idea many fans of the show can get behind, and it makes it all the more special when old friends, including Puck (Mark Salling), Mercedes (Amber Riley), Artie (Kevin McHale), Quinn (Dianna Agron), Brittany (Heather Morris), Santana (Naya Rivera), and Tina (Jenna Ushkowitz), come together to help one another.

A quick note on casting. I’m glad to see Riley back to full-time status, and the promotion of Dot-Marie Jones’ Coach Beiste makes sense, as well as being very satisfying. But why is McHale sticking around, given that he should be the only one left in NYC? And it’s with great regret to note that Rivera has been downgraded to guest star, though she’s expected to appear in several episodes.

The final season will not only see people come together in opposition to Sue, but it will also test the bounds of new relationships. Kurt and Rachel are heading up the New Directions, and two of their loves ones are now coaching their own glee clubs, Will (Matthew Morrison) having been hired for Vocal Adrenaline and Blaine (Darren Criss) returning to his Warblers. This will provide needed drama, which already begins in “Homecoming” when one of Blaine’s students switches to McKinley. But Kurt and Blaine are destined to repair their relationship and Will clearly isn’t happy with his less chummy group, so those are all just obstacles to overcome, rather than signaling an unhappy ending.

Speaking of Kurt and Blaine, their breakup, shown in flashback in “Loser Like Me,” is incredibly sad. I get why it happens, and I think it’s one of the better fleshed out developments in Glee recently, but it’s still incredibly hard to see this “perfect” couple fall apart. I enjoy Karofsky (Max Adler) getting into the triangle, but I have faith the series will bring Klaine back together in the end, which is how it should be.

The evolution of homosexuality in Glee‘s six short years on the air has been astounding. In the beginning, Kurt is bullied for being gay, and Karofsky certainly can’t bring himself to admit who he has feelings for. In “Loser Like Me,” we are introduced to Spencer Porter (Marshall Williams, How to Build a Better Boy), who is “post-gay,” meaning he doesn’t fit into any of the stereotypes gay boys usually fit into, and hardly anyone has a problem with his sexuality. I don’t think the world has changed quite that dramatically in six years, but it certainly has moved majorly in that direction, thanks in large part to shows like Glee and Modern Family, which gets a name drop this week. I hope those involved in Glee are proud of their societal contribution in this arena, and it’s awesome that the show is able to realistically include a character like Spencer before they go off the air.

Joining Spencer (who is not yet in glee club, but certainly will be) in the fresh batch of newbies are: chubby transfer student Roderick (Noah Guthrie, Dancing With the Stars); discrimination-busting Jane (Samantha Marie Ware); and Flowers in the Attic-esque siblings Mason (Billy Lewis Jr.) and Madison (Laura Dreyfuss). Virtually all these performers are unknown, not a rarity for Glee, but they seem like an interesting group, and even if the latter are only comic relief, they should make for some worthy, albeit brief, narratives in the final season. Plus, they can all sing quite well.

I am a bit sad “Loser Like Me” and “Homecoming” introduce a brand new batch of kids without including any of the most recent students like Marley and Unique. I mean, had Sue not transferred them to other schools, they probably would have kept fighting her, and thus Rachel would not have a clean slate. But I like those guys a lot, despite the horrible stories they are often given, and I’m sad they don’t appear to be returning. Kitty (Becca Tobin) is still around, but it doesn’t look like she’s re-joining the choir. It’s not like they’re the first people Glee regrettably diss-ed though; I still miss Zizes.

While I mainly want to talk story this week, I would be remiss if I didn’t touch on the music in “Loser Like Me” and “Homecoming.” “Suddenly Seymour” is a favorite song of mine, and Glee presents it beautifully. I’m not as big a fan of “Let It Go,” but it’s hard to complain about Ms. Berry’s fantastic rendition of it, and I love the mother/daughter angle because the woman that made the tune famous, Idina Menzel, plays Rachel’s mother on the show. “Take On Me” is telegraphed well before it shows up, but that doesn’t negate it’s effect when it finally does. “Uninvited” is nice, “Viva Voce” is cool, and “Tightrope” is spectacular. “Home” works well for the ending of the two-hour episode.

I was less thrilled with “Mustang Sally,” “Problem,”Dance the Night Away,” and “Sing,” but that speaks as much to the song choices as the performances of them. Though Glee has turned me around on icky songs before by finding a new angle, so the fact that these fail to wow is too bad.

Overall, I am reasonably satisfied with Glee‘s return. These aren’t the best two hours of the series, but they are mostly enjoyable, and they appropriately add serious emotion in the beginning-of-the-end plots introduced. It seems like the show is setting up the ending these characters deserve, and since creator Ryan Murphy has a tendency to nail the dramatic stuff, I’m cautiously optimistic about where the show is going.

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

GLEE Hits "100" Episodes

Article first published as TV Review: 'Glee' - '100' on Blogcritics.

Although Glee already has an end date set for spring 2015, we still have about 25% of the show’s entire run to get through before then, so as much as things are winding down, they aren’t over. This week’s installment, “100,” is the first of two parts in which glee clubbers old and new come together to celebrate the New Directions in its final week of existence, before the series moves almost exclusively to New York, where it has been splitting its time for the past season and a half. It’s a bittersweet party as old feelings are dredged up and a couple of people try desperately to save the sinking ship.

If, and it’s a big if, the New Directions manage to escape Sue’s (Jane Lynch) draconian cuts, this will stand as the triumphant moment when everyone came together to save a beloved institution. If she succeeds, it’s one last happy time together, ending the group in the best of possible ways, everyone coming back and being together. As much as it’s dumb that the glee club is being disbanded, if it is, this really puts a bookend on the high school story for the majority of the cast, and will feel like satisfying closure. If it’s saved, though, it’ll be some last minute deus ex machina bit that will surely be disappointing, even though it’s the right thing to do.

This means Glee has painted itself into a corner. One path makes for a fitting story but comes across as phony, while the other choice doesn’t make sense for the story, but at least feels right. It seems Glee, unlike the unrealistic uber-genius Brittany S. Pierce (Heather Morris), can never quite make the math add up, continuously falling short of what it could and should be. I’ll miss Glee when it’s gone because television deserves a musical, but it will also be a relief to not have to write weekly columns for a series I’ve come to have such mixed feelings about, frequently frustrated at things so blatantly screwed up in a show I used to love.

As “100″ starts, all of the graduated seniors (who are still alive) have dropped whatever was going on in their lives and come back to McKinley to spend the last week of the New Directions’ existence with the choir. Yep, apparently these kids have no lives.

They are joined first by April Rhodes (Kristin Chenoweth), then by Holly Holliday (Gwyneth Paltrow), who arrives with a bouncy, yet underwhelming, “Happy.” Their return is great for viewers, but it’s pretty far-fetched, women who encounter the group a couple of times putting their lives on hold for this club, even if they are flighty free-spirits. What’s more, if the glee club is saved, it will come from these two recurring players, not our main heroes. April thinks she has a solution in “100,” until Sue thwarts it. But the episode ends with April and Holly vowing to finish their wine, then work on a plan. How come they care more about the New Directions than those who are part of the group?

To get into the spirit of celebration, April leads them all in a rendition of “Raise Your Glass.” It’s unfortunate, as the Warbler’s version is a classic that will never be matched. This trend of redoing old songs in an inferior manner continues throughout the hour with “Toxic,” “Defying Gravity,” “Valerie,” and “Keep Holding On.” They aren’t bad performances, and “Toxic” has cool staging, but if Glee wants to bring back past numbers, there really needs to be more effort to make it worth the fans’ time.

Rachel (Lea Michele) is the most surprising student attendee of this event, since she works full-time, goes to school full-time, and is starring in a Broadway show, which is pointed out with a wink that does not absolve the series of the glaring ridiculousness of her presence. Rachel is necessary, though, to Mercedes’s (Amber Riley) plot, which reignites their high school feud to be the best.

I disagree with Bowling for Soup about high school never ending, but it’s true for those who still hang around the place, and Mercedes has a valid emotional response when she is torn down by others in her industry, reopening old wounds. Thank goodness Rachel and Mercedes get a chance to work through their negativity, and while their calling off the vote for who sings “Gravity” better is a bit too syrupy sweet, it is touching, and allows them both to show growth and move on.

Random question: why does Kurt (Chris Colfer) have any part in “Gravity” at all? He’s not competing in the contest, and sings far fewer notes than the other two.

Now if only Rachel would make things right with Santana (Naya Rivera). Their ongoing battle is mentioned in “100,” but not featured. Perhaps Santana and Rachel are not friends before and any peace they find in the adult world is temporary, but I don’t think so. There is a real bond between them while living together, and Rachel should take the lesson she learns with Mercedes back home and apply it to her current situation.

Santana has more important things to worry about than Rachel right now. The former Cheerio quickly sees how unhappy her ex-girlfriend, Brittany, is, and tries to correct that, forcing the blonde into a “Valerie” dance number. That and a return of the infamous Fondue For Two web series brightens Brittany’s spirits. But when a grateful Brittany attempts a romantic reconciliation, Santana turns her down.

I was a huge fan of these girls when they were a couple, but Santana has developed quite a bit and is building a life for herself in New York. It’s easy to see why she doesn’t want aimless Brittany to be part of that, and Brittany needs to find her own path. I would still be thrilled at a reunion if Brittany can also be independent, not just Santana’s tag-along, and rejoin the cast full-time. But for now, it looks like they’ll be better apart than together, and Santana is wise to see that. Her distancing herself from Brittany will make Brittany stronger.

Love is more strongly in the air for Puck (Mark Salling) and Quinn (Dianna Agron), though it’s kind of one-sided as Quinn arrives with a new beau in tow. Puck doesn’t let that stop him, exposing what a phony the new guy is by helping Quinn come clean about her past, and then wooing her with an emotional “Keep Holding On.” It works, as Quinn ends the episode in the arms of her baby-daddy.

It does seem very odd that the Glee characters all keep ending up with their high school sweethearts. Yet, there’s something nice about these two finding one another once more, after all they’ve been through. Both face a number of challenges in their lives, and now they’ve worked through those and bettered themselves, finally ready to be in a relationship. It’s a great goodbye for them, should this prove to be their last appearance on the show.

I admit, I am disappointed that Quinn’s guy, Biff McIntosh (Chace Crawford), turns out to be such a stereotypical, stuck up jerk. Given that Biff seems, on the surface, so close to Crawford’s Gossip Girl role, I kept expected a more layered, nice person to emerge. What would have been even better is if Crawford was reprising Nate Archibold. But sadly, he’s just a forgettable, throw away guest star in this capacity.

Of course, besides all the personal drama, “100″ also takes time to stage a tribute to Finn (Cory Monteith) again, relocating his plaque to the auditorium before the choir room is converted into a computer lab. It’s completely understandable that the characters are still obsessed with their deceased quarterback, and it’s nice that they continue to pay homage to him, especially in an episode he definitely would have been featured in. I do wonder, though, how much the next season and a half will continue to play this up. Memorializing Finn in a few entries is fine, but the series shouldn’t overdo this.

“100″ has great character moments, amid lots of story flaws and inconsistencies, and an overall weak lineup of musical numbers. What should be a celebrated milestone for the show ends up as another disappointing, mediocre let down. This is only part one of a two-parter, but it seems unlikely the next hour will redeem this one. I really hope I’m not writing the same thing about the series finale fifteen months or so from now.

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

Glee "I Do"nt

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

Give thanks for Glee

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

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

Glee The Complete Third Season now available

  FOX's Glee recently released The Complete Third Season on DVD and Blu-ray. This is the final year of high school for many of the original members of the New Directions, and they would like to go out with a bang. That means winning Nationals, setting themselves up to achieve their dreams, and for at least two students, a walk down the aisle.

Season three begins bumpy. Sugar Motta (Vanessa Lengies) tries to buy her way into the glee club, but given her lack of talent, she is rebuked by the existing members. But she soon finds friends when Mercedes (Amber Riley) and Santana (Naya Rivera), tired of losing the solos to Rachel (Lea Michelle), join forces with Sugar as the Troubletones. Now there are two rival glee clubs at the school, fighting for attention and competition awards.

Who do these girls get to coach their new singing group? Why, it's none other than former director of Vocal Adrenaline, Shelby Corcoran (Idina Menzel)! Shelby's return to Lima comes at a bad time for Quinn (Dianna Agron), who is really struggling with her own purpose. Suddenly, Quinn sees the chance to make Shelby look bad while getting her baby (adopted by the teacher) back. Unfortunately for Quinn, her accomplice in this matter, Puck (Mark Salling), decides a better alternative might just be to seduce Shelby into a relationship.

Toss in a renewed rivalry with the Warblers, led by the duplicitous Sebastian Smythe (Grant Gustin), new students, hockey bullies, the return of a few familiar faces, four winners from The Glee Project, a musical, and a couple of love triangles, and season three turns out to be a heck of a ride for Glee!

Of course, besides the fun and the singing, things do tend to take a more serious, nostalgic bend towards the end of the season. Graduation is looming. Rachel and Kurt (Chris Colfer) try to get into NYADA by impressing the legendary Carmen Tibideaux (Whoopi Goldberg), and both face failure. Finn (Cory Monteith), too, sees his dreams slipping away, and is faced with the reality of his father's secret past. This complicates the plan the three of them have to move to New York City, Finn and Rachel as husband and wife.

And there are also a couple of dark turns. Most memorably, Coach Beiste (Dot Jones) falls in love with an abuser. Glee has a lot of cheeriness in it, but it's hard to see things looking up when one's own husband is beating you. Jones turns in a masterful, award-worthy performance as a woman struggling with self-esteem and pride.

Other highlights of the year include Santana and Brittany (Heather Morris) fully out of the closet and together as a couple, a kinder, gentler, pregnant Sue (Jane Lynch), Burt (Mike O'Malley) saying a touching goodbye to Kurt, Ricky Martin as a Spanish teacher, Will (Matthew Morrison) being honored for his influence on the kids, a Michael Jackson and a Whitney Houston tribute, Helen Mirren providing an inner monologue for Becky Jackson (Lauren Potter), and two elections.

Of course, not everything flows smoothly. Glee, while frequently killing musical numbers, is very uneven in the writing. There will be fantastic episodes, like "Nationals," running close by horrible installments, like "Prom-A-Saurus." Sometimes the students lose their character, or seem to switch which grade level they're in. Parents who act like they've been at every event throughout the series just now show up on screen.

Season four will be a very transitional year for Glee, with a lot of fresh faces filling in the holes in the club, while splitting screen time with the alumni, especially Rachel, as they move into adult life. Will things improve, providing a different, but more stream-lined show? Or will added chaos finally cause the whole train to wreck in spectacular fashion? You'll have to tune in to find out.

In the meantime, besides twenty-two episodes, Glee The Complete Third Season has plenty of extras to keep fans busy. From extended and deleted scenes, to the popular Jukebox, to behind the scenes featurettes such as "Meet the Newbies," "Saying Goodbye," and "Ask Sue: World Domination Blog," this four disc set is filled with gleeful goodness.

Many will wonder if it's worth it to buy the Blu-ray release over the standard DVD. That depends, of course, on how much you care about quality. There are few special effects in Glee, so visually, high definition may seem unnecessary. But concerts look and sound better in an immersive experience, which argues for the Blu-ray. Glee in high def looks wonderful and has a crystal clear 5.1 DTS audio track. There isn't any spitting and popping, with each note landing flawlessly. The rich blacks in the performance scenes are stunning, and each bright light and glittering sequin stand out beautifully. So, yes, I recommend Blu-ray.

Glee The Complete Third Season is available now.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Article first published as Blu-ray Review: Glee The Complete Third Season on Blogcritics.

Wave "Goodbye" to Glee!

Glee says "Goodbye" to its graduating seniors this week in an hour packed with tears and nostalgia. Right off the bat, Will (Matthew Morrison) approaches the choir room and hears the original members of the glee club singing the very first song they ever sang in the series, "Sit Down, You're Rockin' the Boat." Images of them doing it horribly three years ago are mixed with this new, much improved performance. With this, "Goodbye" spells out its mission statement.

For three years, things have remained relatively predictable at McKinley High. The kids grew the New Directions into a sizable, respected group. Each year they did better in competition, until finally winning Nationals just before eight of their number graduate. It's an uplifting, satisfying arc. Now it's over, and the future is uncertain. Consider this boat rocked!

Where will Glee go from here? Ryan Murphy has said that all of the original cast members will return for season four, though not all as series regulars. And while it has been leaked that Rachel (Lea Michele), Finn (Cory Monteith), and Kurt (Chris Colfer) are all heading for New York, and will likely remain main characters, the rest of the stories are a mystery! So it is with great anticipation that one looks forward to next season, and what it might bring.

The issue with the characters staying behind is that they just don't have the sheer power the graduating seniors do. All of the powerhouse vocalists, save Blaine (Darren Criss), graduated. Sam (Chord Overstreet) could be promoted to a series regular, and Artie (Kevin McHale) and Tina (Jenna Ushkowitz) might get more screen time, but none of them have the talent that, or are as interesting, as Rachel, Santana (Naya Rivera), or Mercedes (Amber Riley). With that in mind, if Nationals will even be on the line, it's time to bring in some more new students. Perhaps Unique (Alex Newell)?

If there's any doubt about the point I make in the previous paragraph, look at the music the two groups sing in "Goodbye" as evidence. The seniors' "You Get What Your Give" is far, far better than the underclassmen's "In My Life." Maybe the younger kids just need time to grow, but they are certainly not at the level of their peers yet. There will need to be a lot of maturation in season four, and members finally coming into their own, if the New Directions are going to go anywhere. Anyone else smell a rebuilding year?

Or, Glee could just skip an entire year and catch up with everyone then, with even more of the characters graduated. It may cheat some of them out of the goodbye given to the eight this year, but those characters aren't as important, and it would make for an interesting series, pulled in many directions. This also would allow time for some plot twists from the finale to sort themselves out.

Before straying too far into the future, it would be nice to take a look back. Burt (Mike O'Malley) gives Kurt a startling graduation gift: a performance of "Single Ladies (Put a Ring On It)," with Tina and Brittany (Heather Morris) serving as back up dancers. This calls to mind one of the earliest episodes of the series, where Burt catches Kurt performing the number in their basement with the two ladies. This number is a testament to how far father and son have come, and how much they care about each other. Showing scenes from that season one episode interpersed is really moving, too.

At the moment, though, Kurt isn't slated to leave for New York. He, Finn, and Rachel gather in the choir room to open the letters from their chosen schools, and only Rachel is accepted. This is in contrast to what Glee has been touted to be next season, and one wonders how the characters will get from here to there. Still, even with the future all but assured, it's heartbreaking to see them get rejected.

Finn has another purpose to fulfill. In "Goodbye," he brings up his father again, and mentions wanting to do something to honor his memory. Combined with the college rejection, this path points to Finn joining the army. Is this really the right journey for him? While personally rewarding, perhaps, it's hard to see Finn as an army guy. Where is Glee going with this?

Finn says that part of the reason he chooses the army is so that Rachel can't follow him. As "Goodbye" comes to an end, Finn cancels the wedding and sends Rachel packing to New York. He refuses to not let her follow her dreams, and thinks he is only holding her back. She is in tears, upset at the choice being taken away from her, but goes, bolstered by all of her friends at the train station.

Is it right for Finn to make this decision without consulting Rachel? Yes, he has her best interests in mind, but he's acting like a parent, not a partner. It seems a little chauvinistic. Not to mention, does he really expect Rachel to be happy by his breaking it off with her? She's in love with him!

The scene is emotional, but falls flat when considered against the rest of the story, even keeping in mind that Rachel worrying about sacrificing her dream for Finn, something she doesn't want to do, is a plot point in the season two finale. Now, here she is willing to make that adjustment, and he refuses to let her. This is forced drama.

Luckily, instead of ending "Goodbye" with this, the episode follows Rachel to New York City as she sings "Roots Before Branches." At least this feels satisfying for her, as she finally makes it to the big city she always dreams of. Rachel is where she belongs, of that, there is no doubt!

The girl most at risk of losing her dreams is Santana. With girlfriend Brittany having flunked senior year, and jealous of her friends, such as Mike Chang (Harry Shum Jr.) and Mercedes, who are starting performing careers, Santana considers abandoning her college plans. Her mother (Gloria Estefan) tries to talk her out of it, but in the end, gives Santana a large sum of money and leaves the decision up to her.

Yes, Santana is an adult now, and her mom doesn't want to risk a chasm between them, as Santana is still hurting from her abuela's disapproval. But that doesn't mean that mom shouldn't give daughter some sound advice. This is a college scholarship she is passing up! Free money to get a degree! Degrees may not mean what they used to, but it's hard to argue against taking one when you don't have to shell out the ridiculous price they now cost. From almost any perspective, it would be a huge mistake for Santana to give this chance up, no matter what her dreams her. Her mother is right; New York will still be there in four years.

There is no question that Quinn (Dianna Agron) is heading off to college. She finally has her life back on track. Even as wildly unrealistic as her chosen school seems, given her suffering grades at certain points of her high school career, it's nice to see her achieve this accomplishment. Her goodbye scene with Sue (Jane Lynch) is a touching farewell, and easily one of the best things about "Goodbye."

It's a little surprising that Quinn buys a train pass for Rachel, so that they can visit each other. Even with their "friendship," developed late in the Glee run, the pair do not seem close. Is Rachel really someone Quinn will keep in regular contact with?

Even more weird is Quinn's rekindled relationship with Puck (Mark Salling). Perhaps she is just trying to boost his confidence so that he will pass his test and graduate, which he does. But it seems like she wants to get back together. Would he accompany her to the East Coast? What would he do there? How would a guy like Puck figure into Quinn's bright future? These questions could be ignored if a real, deep romance had blossomed between them, but there just isn't evidence of that, no matter what their past has been.

The music in "Goodbye" is just as uneven as the stories. Will's "Forever Young" is a good, not great, adieu to the seniors. Kurt's "I'll Remember" is also good, but not as terrific as other, much more memorable performances he has given over the past three seasons. But Puck and Finn leading the senior class in "Glory Days," no matter how hokey the scene itself is, comes across as pure awesome.

Some great moments balance out this mixed bag musical lineup. Will confesses to Finn about the pot in his locker from the "Pilot," to which Finn responds that Will is cooler than Finn gives him credit for being. James Lipton (himself) watches Finn audition. Sue hugs Will during the graduation. Bieste (Dot-Marie Jones) helps Puck study. Brittany says she intends to be a two-term senior class president. These things help where the melody lacks.

One final bit of plot sneaks into "Goodbye." Roz Washington (NeNe Leakes) enlists Sue's help in taking down Figgins (Iqbal Theba). While amusing, Figgins is superfluous, as I've said before, back when Sue is briefly principal in season two. It could save Glee some time and money to ditch him and put one of the better developed characters in his place. But who?

Roz would suck as principal, and Leakes has a new series next year, anyway, so the character might not even stick around. Sue fails miserably as principal her first go-round, but she's grown a lot this year. With the baby on the way, and actual affection for Will and the New Directions, she could end up being a great leader, if she doesn't let the power go to her head. Bieste might also be a candidate. Though she hasn't been at the school very long, it would be nice to beef up her part any way Glee can. Will is too busy to tackle the responsibility.

Emma (Jayma Mays) might just be the best bet. She is fair, but firm. She isn't always great at managing people, but like Sue, she has shown a lot of maturation. Plus, giving her the position would open up a story for Sue to accuse her of favoritism, and give Emma some good episodes battling wits with Sue, something we haven't seen. So my vote is for Emma!

Glee's "Goodbye" may not rank among the best episodes of the series, but it is pretty good. Even if the music and plot is, at times, weak, the emotional heartstrings are played by a virtuoso. I look forward very much to season four next fall, and the changes it will bring!

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 - "Goodbye" on Blogcritics.

"Prom-asaurus" comes just before Glee's senior class goes extinct

 This week's Glee, "Prom-asaurus," is lame. There is no other way to say it. With only four hours left in the season, four hours left total for many of the major characters, one of those hours is wasted. This is pretty darn odd, coming just after a couple of fantastic installments. Hopefully, this is because much effort was put into making the final three totally amazing. Hopefully.

A huge part of the problem with "Prom-asaurus" is how casually senior prom is treated. Last year, junior prom is a huge event, with various couples putting much time and effort into selecting dates and campaigning for queen. This year, prom appears without warning, and no one has to scramble to find someone special to ask. Those who have significant others go with them, while those who don't are present, but ignored. And the queen campaign sees very little screen time.

What's more, "Prom-asaurus" skips over many things that make the Glee universe authentic. Which, admittedly, is realistic only when it chooses to be. For instance, while viewers are told over and over again just how unpopular the New Directions members are, four of the six nominees for king and queen come from this group. Admittedly, the New Direction have nominees last year, too, but the whole thing is just too casual this time around.

Another complaint is the way Brittany (Heather Morris) takes over the event at the last minute, and it still comes together wonderfully. Her run for class president is a major plot point earlier in the season that is ignored the rest of the year, until now. Tasked by Principal Figgins (Iqbal Theba) with making something of her position or risk being responsible for the permanent elimination of it, Brittany fires the prom committee and starts from scratch only a short time before the dance. Yet, music, costumes, food, and all go off without a hitch. Really?

The music at prom is very eh. Once more, the New Directions are asked to perform for their classmates. Why? No one likes them!

Brittany's "Dinosaur" is weird, and seems to be the whole inspiration for her prom theme, because her claims of motivation earlier make little sense, even for a ditz like her. Despite its oddness, though, "Dinosaur" is at least interesting, which can't be said for the other two numbers. "Love You Like a Love Song" is boring, probably owing to the fact that it's a Selena Gomez number. "What Makes You Beautiful," sung by what is essentially the guys' B team, isn't any more inspiring.

In fact, nearly the only thing about prom that comes off as awesome in "Prom-asaurus" is getting to see Blaine's (Darren Criss) fuzzy head when Brittany demands he attend without hair gel. But that could have been accomplished without the lengths Glee goes to.

Rachel (Lea Michele) does get a decent story this week. She is downtrodden after her NYADA audition. Not being nominated for prom queen hurts, too. Then, seeing the king and queen posters campaigning for both Finn (Cory Monteith) and Quinn (Dianna Agron), who used to be the school's power couple, sends her over the edge. She mentally flashes back to who she used to be. As a reaction to this, she plans an even lamer anti-prom, that is a poorly attended event in a hotel room.

Michele captures Rachel's pain and depression without anything too over the top. Her "Cry" and "Big Girls Don't Cry," the latter sung with her gays, Blaine and Kurt (Chris Colfer), are moving. Rachel's conversation with Quinn in the hall, while providing some awkward dialogue, effectively conveys her feelings, too, in a very sweet way.

However, this isn't the Rachel of old. While Santana (Naya Rivera) is right in accusing Rachel's anti-prom of being petty, when the seniors have so little time left to spend together, Rachel doesn't argue or defend herself. She doesn't throw a fit. As Finn comes to her, after a stupid misunderstanding that has little to do with Rachel, she admits her mistake, and leads her pals to the real prom. This is a Rachel that viewers have not seen that much of, and it really completes a nice growth arc for the character.

Santana,  too, shows her maturation. She and Quinn come to an understanding while they are counting the ballots that neither of them needs the title of queen. They both have their runs at McKinley, staying popular despite their inclusion in the glee club, and they've got what they wanted out of high school. Instead, they rig the election to give the crown to someone who really needs something good right now: Rachel. It is a crowning moment, so to speak, for "Prom-asaurus," nearly the only thing in the episode done right.

This week, Quinn is able to stand up again in front of her peers! Yet, somehow, it's hard to care. Her character is interesting for some of Glee, but is once more forgettable at the end. Ah, well. Too bad, really.



Puck's (Mark Salling) last minute friendship with Becky (Lauren Potter) seems off. Does Glee really expect the two to end up together? It certainly seems so. Hopefully, this is just a partnership of convenience, as each help the other get what they want. Puck crowns Becky queen of the anti-prom with a cut up beer box, which she actually wears to the real prom (!), and Becky distracts Sue (Jane Lynch) while Puck spikes the punch. Victory is theirs!

But, in spite of the fact that it would be nice to see both characters get happy endings, they don't belong together any further than that. After all, Puck should be with Zizes (Ashley Fink), who had better (but probably won't) make a return before graduation!

A final note, Will (Matthew Morrison) and Emma (Jayma Mays) seem tossed into the prom sequences. Were their bits quickly filmed in a half hour and cut into the larger scenes later? There is little reason to have them there, as they only provide reaction shots, and don't interact with anyone. What's more, why are they dancing all night like any other attendee instead of keeping an eye on the kids, as chaperones are supposed to do?

Overall, "Prom-asaurs" is a lackluster effort for Glee. Next week, Glee will be two hours long, beginning at 8 p.m. ET, the second hour finding the kids competing at "Nationals." And in two weeks, the seniors say "Goodbye" in what will be a series wrap for many of the beloved characters. Watch Glee 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 - "Prom-asaurus" on Blogcritics.