GLEE Sees "Sue"

Article first published as TV Review: 'Glee' - 'The Rise and Fall of Sue Sylvester' on Blogcritics.

FOX’s Glee spends a bit of time on its primary villain this week with “The Rise and Fall of Sue Sylvester.” Sue (Jane Lynch) is the loud-mouthed, abrasive, arts-hating, championship-winning cheerleading coach-turned-principal at McKinley High. But why is she this way? What makes her tick? Why is she so bent on destroying the glee club? This hour touches on those things, stopping short of really delving into the part the way it should.

There’s no denying Sue is a complex character, but she isn’t always written that way. In the best Glee episodes, we see that Sue’s harsh attitude comes from pushing the kids to do their best, their future and self in her mind. She rarely goes after anyone for something they can’t help, such as sexual preference, physical disability, or gender confusion. Instead, she attacks their interests and the way they spend their time.

However, like the rest of Glee, the portrait painted above isn’t always consistent. Sometimes, she has attacked for petty or no reason. Sometimes, she shows unexpected kindness where she shouldn’t. Sometimes, her actions just plain don’t make sense. That’s the way this show is written, and it with the end a mere two weeks away, that doesn’t change now.

“The Rise and Fall of Sue Sylvester” makes some attempts to correct those inconsistencies, though it doesn’t go far enough. It attempts to explain away her hatred of the arts, not just because she thinks they are a waste of valuable time, but because they are the passion of her unloving mother, Doris (Carol Burnett). Bringing Doris in, the two sing a healing and fun rendition of “The Trolley Song” from Meet Me in St. Louis, though Sue is not at all changed by this.

Following the number, she takes over coaching Vocal Adrenaline through the energetic “Far From Over,” determined to destroy Will Schuester (Matthew Morrison) because of a personal vendetta. What has Will done to deserve this? I always assumed Sue’s annoyance with Will mainly stemmed from his pushing of a subject she detests, and that’s usually how it’s portrayed. They are often friends, especially in the later days of Glee, and Will, along with Beiste (Dot-Marie Jones), stands up for Sue when her character is attacked this week. Why is she going after him now? Other than providing a dramatic showdown for the story, it doesn’t make sense. Though, Sue and VA are a match made in heaven, er, hell.

The character assassination doesn’t make sense either. Becky Jackson (Lauren Potter), Sue’s best friend in the world and near clone of the coach, turns against her for no good reason. Becky exposes some of Sue’s lies to Geraldo Rivera (himself), and they are aired on television. This is a fun sequence with cameos by Carnie Wilson, Michael Bolton, and others, playing themselves, and it works to prove Sue is really insecure, making up things. Either that, or she believes what she says, and others attack her for no reason, like her mother did, also giving a credible explanation for her character. But this refusal to pick one direction ends up making the sequence messy and insincere, ruining it overall.

Lynch is an incredible actress and Glee gives her the break-out role she deserves. It’s fitting she should get such focus just before the series’ end. Too bad it’s done with such weak effort, stopping short of truly giving us an idea of who Sue Sylvester is.

Elsewhere in the episode, Dalton Academy burns down and the Warblers are forced to join with the New Directions because apparently there are no other legit private schools in the area. (This is not true, though it sort of depends on which area you’re talking about, as McKinley’s Lima and Dalton’s Westerville are hours apart in real life, but I’ll leave my complaints about how poorly Glee has always treated Ohio in my past reviews.) This should be a major plot, a coming together of two rivals, but since the meat of the hour is given over to Sue, it’s reduced to a couple small bits and a big, unearned healing number in “Rise.” Apparently we don’t get to see the adjustment arc; they are just now one big happy glee club with enough numbers for Sectionals. Oh, and it looks like maybe half the Warblers actually came, if that, even though the characters talk like the entire group has transferred, and barely a mention is made of how they screw over Jane (Samantha Marie Ware) earlier in the season. So, bad job all around.

The final subplot squeezed into “The Rise and Fall of Sue Sylvester” is that Rachel (Lea Michele) somehow convinces Carmen (sadly unseen this week) to let her back into NYADA, and Carmen relents just as Rachel is offered another Broadway role. Rachel is torn, understandably, with Kurt (Chris Colfer), Blaine (Darren Criss), and Mercedes (Amber Riley) supporting Broadway, and only a disappointed Sam championing school. This decision is actually handled pretty well by Glee, and while I think school has to be her decision, I’m not sure it will be. Thankfully, no answer is given, as this needs more mulling over.

My problem with this subplot is not how it’s done, but when it occurs. Rachel makes a promise to Kitty (Becca Tobin) and the New Directions that she will see them through to the end. Right before their all-important Sectionals, and during a transitional time as two groups come together, she disappears to New York. Then, when she returns, her focus is on her personal life, not them. She is making the same mistakes again and betraying more people. I hope this comes back to bite her in the butt, not because I don’t like Rachel, but because it should to deliver a solid story.

Song wise, there’s also a performance of “Rather Be” in the opening, which is fine, but pales in comparison to the other, better numbers in the episode, which are few, but memorable.

You might be surprised to hear that overall, I am satisfied with “The Rise and Fall of Sue Sylvester.” It is an enjoyable episode with some great moments, such as the Will / Sue fantasy battle in “The Final Countdown,” with the kids looking at them like they’re crazy. All of the complaints above are legitimate and important, but they’re not enough to completely spoil the hour. If you accept that Glee is always uneven, never living up to what it should be, then this episode is graded pretty well on a curve of past installments, partly because of the focus on the incredible Lynch. Or, maybe I’m just going to miss the show, for all its flaws, and I’m willing to look past the glaring mistakes it makes more than I used to.

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

GLEE Finds Another "Child Star"

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

This week’s Glee, “Child Star,” finally focuses on the new kids of the New Directions, even as they joke that another alumnus may walk through the door at any second (none do). Instead, we see much of their personal dynamic as couples come together and friendships are worked out, all while the group prepares to perform at a horrible kid’s bar mitzvah. Which leads to a couple of fresh faces joining the group.

I feel slightly bad for the seven kids who join Glee in its final season because they’ll never get the development that beloved favorites have gotten. At the same time, while I enjoyed “Child Star” overall, I spent a lot of time missing all the other long-time characters absent from the hour, caring more about them this close to the end than I do about any new people in the cast. It’s really a tough position in which to put this crop of youngsters, especially when two of them don’t even appear until this episode.

Mason (whom many believe has an incestuous relationship with his sister, Madison), reveals that he is actually attracted to Jane (Samanatha Marie Ware). Jane is flattered, until Madison erupts in jealous rage (see? incest!), and Jane backs away from the drama. Luckily, Mason isn’t content to stay all Flowers in the Attic with his sibling, and makes a stand in the best musical performance of the night: Queen’s “I Want to Break Free.” This leads to Madison understanding and loosening her grip, a fairly predictable story move, but, one that gives Mason and Jane as happy an ending as they’re likely to get in the short time Glee has left.

Meanwhile, Spencer (Marshall Williams) has a crush on Alistair (Finneas O’Connell, Bad Teacher), which he expresses in a the enjoyable “Friday I’m in Love,” but has no game. Roderick (Noah Gurthrie) wants to climb a rope but has no athletic skills. Synergy is found when the two agree to help each other out, though this goes horribly, Spencer having no idea how to motivate someone like Roderick, and Roderick not even attempting to coach Spencer. Somehow, though, it all works out in the end because this is Glee, where emotion always trumps logic, and Spencer, Roderick, and Jane (why Jane?) celebrate together in the fantastic “Uptown Funk.”

I mentioned that I like “Child Star,” and I do, but neither of its stories play out all that intelligently. I guess I’m getting soft on the series as the end looms near, realizing I’m going to miss its whacky unevenness.It does “heart” so well, making me feel for the characters even when I shouldn’t care. This episode is a prime example, a way to blatantly illustrate what Glee does well and what it sucks at, so it strikes the nostalgia note alongside the others it is trying to hit.

All of this may be burying the lead because the titular “Child Star” introduced this week is Myron Muskovitz (J.J. Totah, Jessie). Myron is having his bar miztvah, and being a flaming, drama queen, 13-year-old, he wants everything to be perfect. His uncle, Superintendent Harris (Christopher Cousins), forces Sue (Jane Lynch) to cooperate, meaning the New Directions get involved in the party. Strangely, Myron also demands Sue and Beiste (Dot-Marie Jones) dance back up for him, which is fun, but completely goes against his drive for perfection. Anyway, everyone reluctantly agrees to meet the nightmare child’s demands, and in the end, his uncle strong-arms him out of middle school and into the glee club.

Myron is absolutely awful, so I’m glad there won’t be time to develop him. Don’t get me wrong; Totah clearly has talent. But his Disney Channel pedigree shows when Myron goes total spoiled brat, and is more annoying that he is likeable. His introductory performance, “Lose My Breath,” is more creepy than anything. When he eventually goes on at his bar mitzvah with “Break Free,” thankfully he blends into the background more than his character should, realistically speaking, since so many others are on stage with him. Still, that doesn’t mean he should be allowed to stay.

The silver lining is, with Myron and Alistair joining up, the New Directions now number eight, and twelve are needed for Sectionals in two weeks. Is anyone other than me thinking that now is a great time to bring back Marley, Jake, Ryder, and Unique? After all, while there is no way in the world these twelve should be able to have a credible set ready in time for judging, at least we know the four have chops and their presence has been missed. If they don’t return, the other spots are doomed to go to glorified extras, as has been done on Glee in the past.

The other thing worth noting in “Child Star” is that Will (Matthew Morrison) finally goes toe-to-toe with Sue on her level. Will has been through quite a journey, and coming back from Vocal Adrenaline, he’s found inner strength. He always stands up to Sue, but as he calls her Suzy Q and gets in her face, something seems different in their chemistry. Since Sue is likely to stay on as principal and Will will surely be back in charge of the New Directions at the end of all this, I’m thinking Glee is going to do a plot where Will finally turns into the man Sue has slyly been trying to make him into, even if her hilariously jumping on his back indicates otherwise.

I have a few last complaints about this episode. First, where is Kurt? His honeymoon is only said to be a weekend, meaning he should be back already. Why are Will and Rachel (Lea Michele) left to run the glee club alone? Also, why is Kitty (Becca Tobin), the lone glee clubber without plot this week, demoted to guest star this year when she is around more than Artie (Kevin McHale) and recently re-promoted Mercedes (Amber Riley)? She deserves better, and so does Mercedes for that matter, getting the credit but not the screen time. I’m not complaining about the lack of Artie. Lastly, the final number of “Child Star” is “Cool Kids,” which falls flat and serves very little purpose in the story. Bad ending choice.

Over all, “Child Star” is emotionally fulfilling enough, though not as much as some other recent hours, and despite plot holes, works OK. The end is in sight. Let’s get to it.

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

GLEE "Transitioning" Towards Finale

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

FOX’s Glee begins “Transitioning” to the endgame  as it reaches the halfway point of its final season this week. Coach Bieste (Dot-Marie Jones) returns to McKinley as a man, where he is protected by Principal Sylvester (Jane Lynch) and his players. But Will’s (Matthew Morrison) new glee club doesn’t share the same spirit of tolerance and compassion, going after Bieste to psych out the New Directions. This, while Rachel (Lea Michelle) is mourning the loss of her childhood home and Blaine (Darren Criss) is wondering if his future should bring him back to Kurt (Chris Colfer).

I stated in a recent review that it makes no sense, given the past history of the character, that Bieste would have gender reassignment surgery. That still holds true. However, the emotional execution of the story in “Transitioning” and the powerful performance by Jones almost make one forget that, feeling the character’s pain, and seeing Glee highlight yet another group of people are misunderstood and deserve acceptance.

When Glee starts down this route with Bieste, my immediate thought is, “Why isn’t Unique (Alex Newell) the one going through this?” It’s never stated on the show, but my guess is that a high schooler getting the surgery likely crosses some ethical lines and Unique isn’t yet a candidate for such a transition. Thankfully, Unique does return this week to offer emotional support, her first appearance this season, and organizes a three-hundred member transgender choir to make Bieste feel like he belongs. It’s touching, and despite a weird locker room scene between Bieste and Unique, by and large works.

An ongoing story this season is Will’s uneasy adjustment to Vocal Adrenaline. The group is led by Clint (singer Max George), a jerk of a student who doesn’t like or respect his coach. Will gets fed up and decides to quit when trying to reach the kids doesn’t work. It’s a tough decision that he makes with his supportive wife, Emma (Jayma Mays, finally back!), realizing he will never fit in to the culture of the school that pays him so well. But it’s satisfying when Will agrees to return to McKinley as an unpaid mentor who will surely get back his old, beloved job when Rachel inevitably returns to New York at year’s end.

Glee‘s handling of Vocal Adrenaline has been uneven, much like the rest of the show. They are introduced as villains originally, but evolve into something much better over time. While they do eventually run Unique off, there is a period where Unique is their lead. It’s regrettable to see this backslide, and it sucks that a teacher as dedicated as Will would give up on the kids. But without administrative support or the control needed to make real changes, it’s understandable that Will leaves and this group is firmly a two-dimensional bad guy at the end.

Rachel’s “Transitioning” involves giving up her childhood home, which affects her because it’s where she retreats after her early career failures. It’s a safe refuge, so while it may be a bit immature of Rachel to cling to it, I can also see why she does. Letting go of the place is part of the show’s final theme, moving on to the next stage of life. Sam (Chord Overstreet), Mercedes (Amber Riley), Kurt, Blaine, and the kids help Rachel get through this in a journey the audience is invested in as well.

It is weird that the alumni party with the students, though since none are actual faculty, merely outsiders serving as mentors, and Glee has always promoted student-teacher friendships, it kind of works. I’m glad the bar is closed in Rachel’s basement, despite how the New Directions used to drink down, there because that would have been highly inappropriate for Rachel to give kids booze. It’s also weird that Rachel and Sam are becoming a couple and that Kitty (Becca Tobin) is grouped with the alumni in helping Rachel. However, these inconsistencies, the worst parts of this hour, are overshadowed by all of the moving stories unfolding, so it doesn’t ruin “Transitioning.”

The one thing that really bothers me is that Rachel almost does an Ohio singers-themed lesson, which is abandoned. Despite being set in the Buckeye state, Glee gets almost nothing about Ohio right, and it would have been gratifying if the writers finally did some research and paid tribute to the setting. Sadly, this will not happen, though I did somewhat enjoy Glee poking fun at some of its own weaknesses around this part of the episode, a tongue in cheek acknowledgment it hasn’t done Ohio justice.

In the final subplot, Blaine kisses Kurt. But after Blaine and Karofsky (Max Adler) break up in a terrifically done scene, Blaine finds out Kurt is still dating Walter (Harry Hamlin), and so unavailable.

This is only temporary, of course; Kurt and Blaine will end up together. Once Cory Monteith, and, by extension, his character, Finn, passes away, Kurt and Blaine replace Rachel and Finn as the show’s favorite twosome. Santana and Brittany are awesome and I’ll always love them, but Klaine is who most viewers are particularly invested in. Walter is merely the last obstacle to be overcome, and hopefully he will be at least half as understanding as Karofsky of the situation.

By and large, the music in “Transitioning” is good, too. Blaine and Kurt’s “Somebody Loves You” isn’t their best work, but it’s serviceable. Mercedes and Roderick (Noah Guthrie) are a perfect pairing in “All About That Bass.” Sam and Rachel make me forget how weird their coupling is when they sing “Time After Time.” Vocal Adrenaline, assholes that they are, rock “You Give Love a Bad Name.” And, of course, Will and Unique’s “Same Love” and the trangender choir’s “I Know Where I’ve Been” are incredibly sweet, powerful stuff.

There have been many times in the past few year’s where I have regretted taking on Glee as a weekly column (you can find a review of every single episode of Glee ever by clicking the “Gleekonomics” link at the top of this page). That regret is melting away as Glee begins to nail its final season. The story isn’t air-tight, nor has it ever been, but the ensemble usually excels at emotional stuff, and there is plenty of that in “Transitioning” and season six. A couple of missteps early in the year worry me, but if the last six installments are anything like this one, Glee will end strong.

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

"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.

"Frenemies" Make for Drama-Filled GLEE

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

FOX’s Glee returns from hiatus this week with “Frenemies.” The episode revolves around three pairs of characters with very different relationships. Each work through something within the installment, providing great character moments and furthering of the larger plot arcs, as well as a couple of major shakeups. And, as usual, the New York scenes are much, much better than the McKinley story, which is heartening, since the show will soon become New York-centric.

The first pair, and the best in my opinion, is Santana (Naya Rivera) and Rachel (Lea Michele). The hour begins with them never having been closer, Santana regretting being mean to Rachel in high school, so viewers will quickly note there’s nowhere to go but down for them. After Rachel invites Santana to take part in a photo shoot, resulting in a fun “Brave” performance, Santana sees Rachel as rubbing success in the face of the former cheerleader who is now stuck waitressing. So Santana steals Rachel’s signature number, “Don’t Rain On My Parade,” and nails a Funny Girl audition, being cast as Rachel’s understudy. Rachel is so angry she calls off any relationship they have, while performing duet of a terrific “Every Breath You Take,” and moves out of the apartment.

First, for this plot to work, we must completely ignore the fact that Funny Girl is holding auditions specifically for an understudy, not having chosen one from among the ensemble or girls who previously auditioned for the lead. We also must set aside the surprise Rachel seems to exhibit when learning she will get an understudy, a staple of Broadway that she would surely have known about., Then, we have to forget that we see an absolutely terrible singer audition at a Broadway level in front of a Broadway director (Peter Facinelli). This is a completely unrealistic and dumb scenario. Almost as dumb as expecting up to believe Rachel has time to work, go to school, be in a band, and lead the musical.

But, where the characters are concerned, the episode soars. Rachel is being a stuck up pain in the butt. Starring in one show that isn’t even close to getting off the ground yet has gone to her head, something we’ve seen from her before, harkening back to the early days of her personality. It makes sense that Rachel would lose it here, and Santana being a convenient dumping ground to let off steam about her own insecurities, Rachel targets the doubts she has about herself and slays Santana. Plus, there is likely still lingering pain for the things Santana did in high school, and Rachel begins to lose trust in the other girl, if she ever truly had any.

Santana is not without blame for this feud. Choosing to try out without telling Rachel first is an understandable move, and one that can easily be forgiven. Picking Rachel’s song to sing is less so, a very personal blow. But Santana is just pushing Rachel’s buttons, not really launching a war. If their friendship is real, Rachel should be able to look past these things and rejoice to spend more time with her buddy.

The end of the episode is extremely sad. Santana only shows a bit of regret when its too late, and the feeling is not strong enough to spark an apology, nor should it be. Rachel is completely without remorse, storming out and burning the bridges. If things are ever to repair themselves, and they must because, as great as the drama is between them, their friendship is inspiring and an important element of these later seasons, Rachel has to swallow her pride, willingly or being humbled against her will, and say she’s sorry. This probably won’t be quick in coming, but that’s OK, as long as it does in the end.

Poor Kurt (Chris Colfer) is caught in the middle of the fight, but he does the absolute right thing by refusing to take a side, remaining completely neutral, which, given his history with Rachel, Rachel sees as betrayal. But Kurt recognizes that the bond they all share has grown too vital to turn on it, and since they’ll all still be in his band, he must play nice. Something tells me the next practice sessions is going to get ugly, if Rachel doesn’t just quit between episodes.

Besides his roommates’ falling out, Kurt has his own story in “Frenemies.” Convinced Elliott, a.k.a. Starchild (Adam Lambert), is out to take over the band, Kurt tries to be his closest friend, putting stock in the old adage about keeping your enemies closer. Blaine sees right through this and takes Kurt guitar shopping with a rousing “I Believe in a Thing Called Love.” So Elliott does seem to be what he appears – a genuine, nice, supportive person who won’t stab Kurt in the back.

Sure, there’s a chance Elliott is putting on an act and will still turn out to be a villain, but I don’t think so. Glee has always been an optimistic, cheery show at heart, and I really, really dig the relationship between Kurt and Elliott. As upset as Blaine (Darren Criss) might be when he glimpses a too-chummy photo of the two, and as much as Elliott might provide to be an obstacle in that relationship going forward, he also seems like he’s good for Kurt, helping Kurt get past skepticism and find his potential. I hope he doesn’t just disappear one day without closure, a la Adam.

Back in Ohio, Tina (Jenna Ushkowitz) and Artie (Kevin McHale) celebrate their continued friendship, despite their romantic break up years ago, with a sweet “Whenever I Call You Friend.” That lasts only until Sue (Jane Lynch) forces them to compete for the title of valedictorian. This sends Tina into another ugly spiral, sparring with Artie in the sadly under-charged “My Lovin’ (You’re Never Gonna Get It).” Tina goes too far, shoving Artie from his wheelchair, but they soon make up and celebrate their renewed happiness with “Breakaway,” though neither gets the speech at graduation.

I’ve said it before, much to the dismay of some Glee viewers, and I’ll say it again: Artie and Tina are lame, boring, unlikeable characters. Tina is a selfish jerk, as shown on numerous occasions, and Artie is a whiny pushover, forgiving Tina far too quickly for her very cruel comments about Artie’s girlfriend, Kitty (Becca Tobin). One assumes they’ll make up soon, which they do, because neither has the backbone for a continued battle. But their relationship lacks depth because how can two people who treat each other like this really be friends? It’s true that those who know you the best can wound the deepest, but I just don’t see Tina display real, sympathetic remorse when apologizing.

Their storyline drags “Frenemies” down, and they will likely continue to have an increased presence until at least graduation. I’d like to believe we’ll ditch them then, but signs point to at least Artie will be joining the New York contingent. I’ve never understood Glee‘s insistence to make the two of them continued main characters when ditching better players, but I guess we’ll probably be stuck with them til the end.

Sue is ridiculous in this episode. I like her meta-references, which point out completely real flaws in the show, but her silliness just does not make up for bad writing and story structure. Plus, there’s no way she can make the third place student valedictorian, as much as I enjoyed Blaine’s cheeky quote about getting everything just handed to him. She is not being a fit or realistic principal, and its time to get her back out of that office.

I also don’t buy that the judging panel of Will (Matthew Morrison), Beiste (Dot-Marie Jones), Figgins (Iqbal Therba), and Sue is deadlocked on choosing the valedictorian. For one, both Tina and Artie’s speeches (which start touching, and then veer off into terrible and inane) are basically identical, and knowing Will and Beiste, they’d argue to let both of them share the honor. The only way this result occurs is if Sue just declares that’s not an option and makes a unilateral decision, which is likely what happened, but I wish we’d seen it play out.

In short, “Frenemies” has some heartbreaking, but really great, drama in New York, and a weak, stupid sequence at McKinley. This unevenness has always bugged me about the show. I hope when they finally commit to the Big Apple, which has proven to exhibit some much higher-level storytelling, the series improves again before it comes to an end.

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

GLEE Doesn't Fumble With "The Quarterback"

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

Before I begin this review of the Glee’s ”The Quarterback,” I would like to say it was not a perfect episode. A few of the structural elements didn’t quite lineup, some things landed a little too squarely on the nose, cheesiness leaked out occasionally, and Will (Matthew Morrison) stealing the letter jacket and then sternly telling Puck (Mark Salling) to give it back, in a private moment no less, didn’t work.

That being said, those issues were minor, and overall “The Quartback” delivered the emotional punch it needed to do, causing tears throughout, and moving anyone with a soul. It’s hard to criticize too harshly the most emotional episode of the series thus far, and so I’m mentioning those little bits up front to keep the rest of the article free from complaints, which don’t really seem appropriate or entirely deserved in this tribute episode.

Cory Monteith, the actor who played Finn Hudson on Glee died this summer, apparently of a drug overdose. “The Quarterback,” the third episode of Glee‘s fifth season, deals with the aftermath of Finn’s death. Set weeks later, this installment doesn’t reveal why Finn is dead, but instead dwells on the pain of those who loved him, a raw look at actual, authentic feelings express by the co-stars who were so fond of the man, resulting in a melding of reality rarely possible on television.

Some will complain that Glee doesn’t say how Finn died, but really, what does it matter? The writers could use this hour to get preachy about drugs, Finn was clean, so it doesn’t seem believable to saddle him with the same problem as his portrayer. And to stage a car wreck or other event would feel false and gimmicky, and so I do think the decision to skip over that, and even have a character say it doesn’t matter how he died, is an interesting, brave, and smart one.

“The Quarterback” opens with a tear-inducing performance of “Seasons of Love” from the musical Rent. Evoking themes of death and grief, most of the student characters come together, starting with those less important to Finn, and slowly moving towards his closest friends. Rachel (Lea Michelle) is absent from the number, as is Quinn (Dianna Agron), but everyone else who should be there is there.
One hopes that Agron was invited back and just was not able to make it work, schedule-wise, though some reports have said she was not asked. Quinn was an important character in Finn’s life, vital enough to get mentioned in the hour. Her absence here is regrettable.

Heather Morris, who plays Brittany, sat out, too, but Brittany never had a strong connection with Finn, so it was understandable. Plus, Morris just had a baby. The rest of the cast, though, came back, with Puck, Mercedes (Amber Riley), and even Mike Chang (Harry Shum Jr.) as part of the “Seasons of Love” number.

Rachel appears two-thirds of the way through the episode, returning to McKinley to take part in the memorial. Her “Make You Feel My Love” is powerful. Michele was dating Monteith in real life, and this shows through in the bold performance, clearly channeling her own emotional state, and honoring him in a very real way. There is only pain and grief, no resentment, and it’s such a charged sequence that one can see why it was saved for late in the episode, and why Rachel isn’t used too heavily elsewhere.

Others also get to sing to Finn. Mercedes does “I’ll Stand By You,” a number Finn himself sang in the early days of the show. Artie (Kevin McHale) and Sam (Chord Overstreet) croon “Fire and Rain.” Santana sobs through “If I Die Young.” Puck delivers “No Surrender.” I like that the older characters were used for these pieces, and while music was not the whole focus of the episode, it made sense to continue the themes of Glee in this manner.

Bigger than the songs, though, other than “Make You Feel My Love” and “Seasons of Love,” were the character moments, in which we saw sadness overtake people fans have come to care deeply about. Several sequences played out this way, and gave us not only great, memorable performances, but also a way to remember Finn.

Kurt (Chris Colfer), Burt (Mike O’Malley), and Carole (Romy Rosemont) share a private scene in which they talk about their fallen son and brother, sorting through the things in Finn’s room. Rosemont is startlingly good, even better than she’s ever been before, in making the viewer feel the loss of a child. O’Malley gets some gems in. And while I wondered if Kurt might step forward to offer comfort in that Carole can still have him for a son, I’m glad that didn’t happen, as other relationships did not need to distract from Finn. This family will go on, but not easily.

Will also broke down, with Emma (Jayma Mays) finding him bawling over Finn’s letter-man jacket. Finn and Will went through a rough patch last year, and it’s a relief they had resolved things before Monteith left the series. They were friends as well as anything else, both on screen and off, and Will gives a realistic portrayal of a teacher losing a beloved student, staying strong for those who count on him, but wallowing privately, in a pain he feels he can’t show.

Puck was Finn’s best friend, and with his anger issues, he had to be handled differently. “The Quarterback” finds him stealing Finn’s memorial tree, and wanting to take the jacket. He can’t bring himself to hurt anyone else, though, having learned how to be a good person. It takes Beiste (Dot-Marie Jones) to remind Puck that Finn helped Puck grow, but that Puck can continue to do so on his own.

The most heart-wrenching bit, though, goes to Santana’s confrontation with Sue (Jane Lynch). Longtime viewers know that Sue cares a lot more than she pretends to. Even taking down Finn’s memorial after a week wasn’t done out of spite, though that is what sets Santana off enough to storm in and chew out (and assault) Sue in a way Santana would never have dared to do as a student. Sue isn’t trying to be cruel, and while some of what Santana says rings true, Sue doesn’t deserve to be blasted apart like this.

There is a bit of redemption, though, when after Sue allows the memorial to go back up and Santana returns to apologize, Sue admits Finn didn’t know she liked him. Sue is tough because she pushes kids to succeed. Her ways are often misguided and not the best, but she really is trying, something easy to overlook during her more tyrannical exploits. The fact is, though, in Finn’s death, Sue hurts, too. Losing Finn, which she calls a senseless waste, is tough on her, and Lynch does a brilliant job of conveying that without losing her character.

In all, “The Quarterback” is a masterstroke, an installment that Glee had every right to drop the ball on, but instead soared beyond anyone’s expectations. It’s a little voyeuristic to be watching the real sadness, but it’s also cathartic, coming together in tribute. Finn may not have been the best character in the show, but his absence will be felt, and if there was any doubt of that, this installment wipes that way.

Now, we get a little time off for everything to sink in before the story resumes. After all, as Finn said, now memorialized in a plaque in the choir room, “The show must go on… all over the place… or something,” a funny and appropriate quote.

Glee will return in a few weeks on FOX.

Glee Shoots More Than a Star

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

FOX's Glee broke far out of its comedy mold this week with "Shooting Star." After a couple of songs and the continuation of the normal plots, gun shots ring out in the halls of McKinley. Students and teachers alike are terrified, and wait with bated breath for the all clear.

Glee is a light-hearted series, and "Shooting Star" betrays that tone, stretching viewers far outside of their comfort zones. I liked the hour very much  as an episode of television. It was very well made, and the raw emotions feel genuine. But I do not believe it conforms to what Glee is supposed to be. I find it likely that some viewers, especially those who watch with their children, are not going to be happy with this development, seemingly coming out of nowhere.

On the other hand, school shootings often happen with little to no warning, and it is a realistic story for Glee to tackle, which is why I'm torn about whether to condemn it or praise it. School violence and gun control are important issues that should be talked about, and Glee picks an opportune time to speak to society about this.

For more on my thoughts of series breaking genre, check out this week's Jerome-ing the TV Landscape column.

Bottom line, "Shooting Star" is a powerful episode that makes quite an impression. Whether you think that Glee should have gone there or not, I see both sides having reasoned arguments. But it did go there, so let's move on with the episode review.

The full act, during which the shooting occurs, is amazing drama. All the actors prove they are up to the task, and the emotion between the kids is palpable. Even the mistakes, Sam (Chord Overstreet) trying to get out of the room, a student crossing the floor to get to someone else, feel like something a teenager would unthinkingly do. Artie's (Kevin McHale) cell phone videos and Will (Matthew Morrison) asking the students to text what's going on without giving away their location are timely, and the latter is great advice should one ever encounter that situation. Even that annoying metronome, which I kept hoping someone would shut off, feels perfect in the moment.

Brittany (Heather Morris) crying in the bathroom is moving, too, as is Tina's (Jenna Ushkowitz) frustration with being stuck outside while her friends are apparently in danger. We also get to see Marley's mom, Millie (Trisha Rae Stahl), hiding alone in the kitchen. Marley (Melissa Benoist) gets comfort at this time from an unlikely ally, Kitty (Becca Tobin), who also makes a confession, and the whole thing makes quite the impact. Excellent job.

This is all incredibly raw, and without knowing what is going on, the tension is awesomely built and sustained, thankfully uninterrupted by commercials.

My only complaint about the way the shooting goes down is that kids are seen entering the school the next day, and the police are still searching lockers and such. Shouldn't a thorough search and investigation be done before letting the students return? What if the shooter had been evil, and stashed the gun somewhere, intending to use it again? If the real police hadn't found the weapon yet, they would not have allowed anyone to come back.

Oh, and a couple of the New Directions are once more missing from this episode, but are not mentioned when those trapped in the choir room are worrying about their absent friends. Where is the group love then?

But that's mostly forgotten when the New Directions reunite to sing "Say," ending the episode on a perfect note (well, perfect other than the fact that they haven't heard that Sue has confessed, so aren't necessarily relieved yet), everyone happily back together, and glad to have one another. They come together, having been through an ordeal, and are more tightly bound because of it.

I am relived and happy with the resolution, seeing Sue (Jane Lynch) take the fall for Becky's (Lauren Potter) mistake. Becky brings the gun from a place of fear, without understanding the implications of her actions, and with no malice or intent to harm anyone. Becky's deed is understandable, if dangerous and regrettable. In this way, Glee avoids true violence and bloodshed. Sue's actions are perfectly in keeping with her character, who has always looked out for Becky. Sue proves that she is a true educator with a big heart for her students. The way everything plays out allows a powerful story to be told without bogging the series down in grief for the rest of the season.

Sue doesn't just quit for Becky, though; Becky could have gotten away with it. No, Sue stays silent for a few days, but after realizing that the kids and teachers alike are terrified and have lost their sense of security, she makes the sacrifice for everyone. This is her way to restore what McKinley is missing, and it's a very, very noble move.

Sue laments that her confession will be all that she will be remembered for, despite her many great professional accomplishments. While Sue may be willing to shoulder this burden, she doesn't deserve it. I don't want Becky to get in trouble, of course, but Sue needs to be cleared and recognized for what she has done. Realistically, she should still be charged and fired for impeding an investigation. But from an emotional perspective, she should be hailed a hero and return to her job triumphantly.

Near the beginning of "Shooting Star," Ryder (Blake Jenner) finds his online chat-mate, Katie (Ginny Gardner), walking the halls of McKinley High. Determined to make a great impression on her, he stages a performance of "Your Song" in her honor, a very sweet moment, which she readily accepts, even though she isn't the one who has been chatting with him.

This is a good time to bring this into play because it provides a possible suspect for the shooting. Knowing there is someone dishonest with motives that may not be pure in the school opens up the possibility that they would rather kill than be discovered. This builds suspense during the dark parts of the episode.

I know that Ryder is insistent and, to some gals, good looking, but why does Katie let him drag her on and sing to her? She obviously has a crush, and maybe this is a dream come true for her. But it also seems pretty unrealistic that she lets it get so far. She's a pretty girl, probably not starved for attention. Wouldn't she put a stop to it earlier? And she should definitely be freaked out about someone stealing her identity, or has this generation become so numb to online fraud that they don't mind?

Ryder's behavior, on the other hand, makes total sense. He has every reason to believe that Katie (not her real name) is the one he has been chatting with, and that she would appreciate his romantic gesture. He also can be forgiven, in his excitement, for missing the signs that she isn't getting what he's doing.

Ryder's anger and pain at being fooled is completely in keeping with a high school boy, and one's heart really goes out to him. Marley and Jake (Jacob Artist) are a great couple, and it is mean of Ryder to try to get in between them, especially considering that Jake is his friend, but he's still a sympathetic guy, especially in this situation. This story makes up somewhat for the unlikeable things Ryder has done.

During the shooting scene, he makes up with Marley and Jake, whom he accuses (seemingly falsely) of pretending to be Katie. Their falling out likely would have been stretched out far more without a life-or-death situation forcing them to re-evaluate their priorities, but I'm glad that they are able to make up. I really like the bonds between this new group of kids, and to have them so at odds with each other is a bit painful.

So who is Ryder's stalker? The obvious answer seems to be Unique (Alex Newell), though I feel like he is ruled out in the previous episode. I really don't want Unique's good name sullied, as he has been struggling with being himself, and I like to believe that he's succeeding, not having to be sneaky and hide. So if it is Unique, I will definitely be disappointed.

I don't think any major character, other than Unique, is a possibility, so maybe we'll get another new character instead. I've been pleased with the five young'uns so far this season. Adding another face to the pot, especially when we're about to have another batch of graduations, could definitely be a good thing.

The other possibility is that someone is trying to sabotage Ryder for some reason. A Regionals competitor seems a stretch, since the opposing teams are not even announced until "Shooting Star." But I can't think of anyone else who might want to throw him off his game.

I am still not a fan of Sam and Brittany as a couple, but "Shooting Star" does provide some very sweet story for the pair. Sam shows that he really cares about her, buying a Lady Tubbington, and getting the glee club to participate in a serenade of "More Than Words" to Lord Tubbington. Even as the others look at Brittany oddly, he sticks by her, and this comes out even more during the shooting. Which means they may be headed for a happy ending together.

Lastly, Bieste (Dot-Marie Jones) confesses having feelings for Will. Will rejects her, but makes sure to let her know that he does love her, just not in that way.

Why do they have to go there with Bieste? I love her character, and I adore her friendship with Will. Why set her up to fail in yet another plot? Wasn't her husband beating her bad enough?

At least we do get a few friendship scenes between Bieste and Will in "Shooting Star." They seem to repair their relationship by the end of the hour, and that's a good thing, as I would hate to lose this dynamic.

It's fantastic that Bieste gets a message from Ken Tanaka (Patrick Gallagher) on the dating profile Will sets up for her. Yes, this may just be too big of a coincidence, but I really want Ken to return to the series, and I want Bieste to find love, so this may just work out very well for both.

Overall, "Shooting Star" is one of the best hours of television I've seen in awhile, owing to the dark stuff in the middle, though I still haven't decided if it qualifies as a good episode of Glee or not, being so different from the show's standard fare.

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

Glee - "The Role You Were Born to Play"

Glee returns from its baseball-induced hiatus with "The Role You Were Born to Play." It's time to audition for the fall musical, Grease, at McKinley High School. Some students are nervous about the roles they want to play, while others worry that a bad casting choice could hurt a relationship. But an alum, at pivotal moment of his life, returns to steer these young people in the right direction.


"The Role You Were Born to Play" is a solid Finn (Cory Monteith) episode. Though I haven't always been a fan of the character, he has really grown on me, and this installment proves his staying power. Here he is, down on himself, not believing he can do much of anything, but he still manages to provide some good advice to students who are struggling. It's a maturation moment, where Finn suddenly grows up very quickly and seems like an adult.

There is no question that Monteith can play adult. He is one, after all. But in "The Role You Were Born to Play," the character starts to seem closer to the actor's actual age of 30 than what he should be. Recently graduated eighteen year olds aren't able to show the wisdom Finn displays here. But it's forgiven because this is television, and Finn has always seemed smarter in some areas than is typical. Even the fact that the school hires him to direct the New Directions, a completely unrealistic occurrence, is overlooked because it serves his story well. And isn't that what's really important? A character's journey?

Of course, Finn also makes mistakes, and he makes a whopper of one in "The Role You Were Born to Play" when he calls Sue's (Jane Lynch) baby "retarded." It does not matter that she is fighting him on a casting choice, which, based on past revelations about her character, likely comes from a place of wanting to protect the students, rather than out of bigotry, even if she doesn't know how to express that. But Finn comes across as the real bad guy in that scene, callous and cold, even when he immediately apologizes. That is just something you do not say, and he has earned himself justified hatred from Sue. This will have consequences in episodes to come.

I think I like that Finn only has one song in this episode, a duet with Ryder (The Glee Project winner Blake Jenner). Monteith does have a good voice, but care must be taken to choose songs that really connect with him, and this isn't always the way he is handled on Glee. Luckily, the passing of the torch message in "Juke Box Hero" manages to satisfy both as a Finn melody and introduction to Ryder.

With the inclusion of Ryder, the second generation Glee core cast is complete, mirroring the original quartet at the center of the early seasons. Ryder is clearly the new Finn, Jake (Jacob Artist) easily steps in for Puck (Mark Salling), being his half-brother with a similar personality, Kitty (Becca Tobin) is a great Quinn (Dianna Agron) replacement, with a bit of Santana (Naya Rivera) tossed in for good measure, and Marley (Melissa Benoist) is the more relatable, hip version of Rachel (Lea Michelle). It may be a bit of a repeat, story-wise, but the characters are just different enough to still be enticing. Their tales shouldn't play out quite the same as their predecessors.

Which leaves Unique (Alex Newell) as the successor to Kurt (Chris Colfer). He won't be apart of the primary love triangles, but he is a fan favorite side character that draws enough attention to pull him into a status just as important as the others, even if that isn't the original intention. He (she?) also has enough of Mercedes' (Amber Riley) diva power to make another version of her unnecessary. Unique is easy to love, fantastic to root for, and his struggle with accepting himself, and earning the part of Rizzo in Grease, is both inspiring and moving.

On a side note, Unique's audition with Marley is a high point in this episode. "Blow Me (One Last Kiss)" is a great showcase for Unique's vocal strengths, and it also unexpectedly lets Marley out of her box a bit. She exhibits a side of her we have not seen before, and the growing friendship between Unique and Marley, as well as how they help each other, is Kurt and Rachel 2.0 in all of the best ways.

Thankfully, there is no one waiting in the wings to take over for Artie (Kevin McHale) or Tina (Jenna Ushkowitz). Sure, they aren't gone yet, but they might as well be. Glee would do well to focus on the characters that work the best, and one Artie and one Tina is plenty for this show's run.

With this new blood firmly established, it does seem a little strange to have the old people hanging around. Finn could slide into the teacher side of the cast (even though there should have been a few year jump to do that properly), but Mercedes, Mike Chang (Harry Shum Jr.), and Artie, who is still in high school, but feels more a part of the elder group, are mostly hangers-on. It's sweet they come back to help Finn find his way, but a satisfying turn of events would find each of them realizing their own directions and moving on sooner, rather than later. As much as I enjoy seeing Mike and Mercedes again, not everyone can stick around high school forever.

Relationship drama continues to pull focus in "The Role You Were Born to Play," as one would expect it to. Kitty and Marley fight over Jake, neither giving that must attention to Ryder, who will surely have a shot with either or both soon enough. Jake and Kitty's "Everybody Talks" is good, but most will still be rooting for Marley to get the guy. It's a little early in this drama to judge how well the various chemistries are working, or who will end up with who, but it is exactly the direction Glee always goes in, and should make fans happy.

This love fight culminates in a spirited version of "Born to Hand Jive" that is a highly memorable number for Glee. Anyone who has doubts about the selection of Grease as the fall musical should find them erased when confronted with such a show-stopping number that features many characters, and allows the drama to spill into the music, nicely pairing the two. This is merely an appetizer to what is coming.

Blaine (Darren Criss) is off on his own, separate from the others, mourning his breakup with Kurt. He does this to the Grease song, "Hopelessly Devoted to You." It's a heart-breaking sequence, and one just wants to give the poor guy a hug! Blaine is isolated without his support system now, and look for him to distance himself even further from the other New Directions soon. I smell a return of the Warblers!

Lastly, we have Will (Matthew Morrison) and Emma (Jayma Mays), who it's good to see did not actually break up like the other couples in the previous episode. They are having a big fight, to be sure, but that doesn't mean that it's the end of them as a couple. Fans have been through enough ups and downs with these two that we just want to see them together. It seems that wish is at hand, as they really do accept and support one another.

It's interesting that Beiste (Dot-Marie Jones) steps up as their counselor. Don't get me wrong; I live for Beiste scenes, and she's a much better choice than bringing in another guest star. It's just odd because her brief marriage ended so badly. However, she is a good friend to Will and Emma, knows them well, and is in a position to help them find the best in each other once more. If she doesn't officiate their wedding ceremony, I will be very upset.

"The Role You Were Born to Play" is a great return for Glee in what is shaping up to be a strong season so far. There are delightful songs, interesting character development, and it's just plain fun. It also feels more like a traditional Glee installment without the inclusion of Rachel and Kurt's tone-different New York, even though I miss them.

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 Role You Were Born to Play" 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.

Glee ditches the "Props" for "Nationals"

Glee went for the double dose last night, presenting two new episodes the week before its third season finale. Why make the penultimate week a two- hour special, and leave the finale a mere 60 minutes? Well, for one thing, the last episode will be paired with American Idol. And secondly, after an hour of high excitement Nationals competition, wouldn't the softer toned goodbyes seem to drag on? Glee made the right decision.

To the episodes! The first, "Props," opens with an understated Rachel (Lea Michele) performance of "I Won't Give Up." It's a fantastic song, not in your face, that allows Michele to emit the pain and determination of this struggling diva-wannabe. Rachel becomes sympathetic in a way that she rarely is as she vows not to quit on her dreams. With this number, her NYADA future is sealed, even if there is no clear path for her to get into the school yet.

It really changes the tone of Glee to begin with a song like this. It adds some weight and heft to the episode, letting viewers know the show means serious business this week. It actually works really well.

A handful of supporting characters get their dues in "Props." Most prominent is Tina (Jenna Ushkowitz), who delivers a startling rant about being shoved into the background for three years, and threatens to quit the New Directions. She has a point, in that she is a founding member of the group who never gets her due. Then again, Tina is a boring character, and does not need any more plot. This episode will suffice nicely for covering the base. She cannot possibly be the lead next year. Please, no!

The best part of Tina's story in "Props" is when she bumps her head. Suddenly, she is Rachel Berry. Better yet, Finn (Cory Monteith) has become Kurt and Puck (Mark Salling) is Blaine! In fact, all of the New Directions members, including its coaches, have switched bodies! This may be gimmicky, but it's incredibly enjoyable. Some of the actors really capture the spirit of another character, while some fall a little flat. But any way you slice it, this is a brilliant move.

Of course, the whole ordeal has a purpose. After performing an acceptable, but not Rachel-level, quality "Because You Loved Me," Tina comes to the conclusion that Rachel's life is hard, too. To make up for her meanness earlier, Tina drives Rachel to confront Carmen Tibideaux (Whoopi Goldberg), who gives Rachel the appropriate smack down. But at least Tina believes in her! To celebrate, they duet "Flashdance... What a Feeling."

But as central as Tina's story is to "Props," Bieste (Dot-Marie Jones) and Puck steal the show. Bieste struggles with her relationship, not finding the strength to leave Cooter (Eric Bruskotter), even though he continues to be abusive. Meanwhile, Puck is being bullied by hockey captain Rick 'The Stick' (Rock Anthony). Their plots come to a head as Bieste catches Puck pulling a (fake) knife on Rick.

This is a startling moment for Glee. Prop or not, there is no coming back from Puck with a knife. In this scene, it's clear that Puck has no future. He will end up dead or worse. He has nothing left to lose, and has grown desperate. It mirrors the way Bieste feels, as she considers stabbing Cooter while doing the dishes. These two are on the brink of no return.

And then realization, in the form of Bieste, smacks them. Seeing her emotions reflected back at her startles Bieste enough to act. She gets Puck a make up test so that he might graduate, and she leaves her hubby in a moment of sheer strength and bravery. It's a triumphant moment for her character and the series.

True, as a teacher, she should have reported Puck for the incident. And in reality, some student might have told, getting her in trouble, too. But for the purposes of this story, realism is unnecessary.

Jones and Salling deliver their best performances of the series in "Props." This entire arc really hits every right note, telling a perfect story for two talented actors. Jones proves herself practically every time she gets on screen, but this is the first episode in a long time where Salling delivers. Their duet of "Mean," as Glee must turn everything into song, is a wonderful capper. Give them a couple of awards, pronto!

Finally, Sue (Jane Lynch) wants to add props to the New Directions' Nationals performance to help them against their competition. At first, Will (Matthew Morrison) listens to her because, after all, she has won several national cheerleading titles, and his glee club didn't even break the Top Ten at Nationals last year. But, of course, in the end, Glee repeats its oft-heard message of being true to oneself, and avoiding the unnecessary gimmicks.

Then it's time for the second hour, which finds the New Directions, with Emma (Jayma Mays) and Bieste in tow, heading to Nationals in Chicago. Rather than flitting around the city this time, though, the New Directions erupt in a fight amongst themselves. Surprisingly, this is not them coming apart at the seams, but rather, demonstrates their passion for what they are about to do. As such, Santana (Naya Rivera) and Will are able to pull them back together.

And pull together they do! Their set list of "The Edge of Glory," "It's All Coming Back to Me Now," and "Paradise by the Dashboard Light" is spectacular! Most of the members of the group are featured, and the dancing and singing is fantastic! It's easily one of, if not the, best sets the group has ever put together. Finn, in particular, shows just how much he's grown in the last three years, and by extension, Monteith has improved as a performer. It's no wonder they win!


Should that have said, SPOILER ALERT, the New Directions win Nationals? Nah. This victory is a foregone conclusion from the "Pilot" of the series. There is never a single doubt that they will take the title before the original leads graduate, which may be why there is less build up before the actual "Nationals" episode. But that doesn't make their victory any less sweet, and after these numbers, well deserved.

The only regret is that Kurt (Chris Colfer) is kind of shoved into the background for all three songs, while Carmen is in the audience. Hopefully, this won't affect his standing with her when he attends her school next year. He's already in, so it shouldn't. She's seen him shine by himself, and now she also seems him being a team player.

Of course, there must be competition. Jesse St. James (Jonathan Groff) returns to talk smack, before genuinely putting in a good word for Rachel with Carmen. Not that Jesse's recommendation probably means much, considering he failed his own audition with Carmen. But she remembers him, so that's something. This also provides a little bit of redemption for a character who is self-absorbed enough to not be so well liked.
Jesse's star singer is Unique (Alex Newell), who is used as a tool to win, but could not be further in personality from Jesse. Which makes one wonder how their rehearsals go.

Mercedes (Amber Riley) and Kurt have a friendship with Unique now, and visit him/her before his/her performance. It's a touching moment that sticks to Glee's spirit of inclusion and fellowship. No petty words are exchanged, and their encouragement even sparks the hope that Unique might transfer to McKinley next year. In a perfect world, this will happen. Might the Glee writers be dropping hints? After all, with Rachel gone, McKinley needs a new powerhouse, and, despite words spoken in the first hour, it won't be Tina.

Powerhouse is a great description of Unique! His/her "Starships" and "Pinball Wizard" are amazing! In fact, there is some serious doubt about victory from Rachel and the others after witnessing it. Thankfully, using the entire group beats one voice and some props, but Unique gets the MVP award, and so is recognized appropriately.

Every time Glee embarks on a competition, they bring in some celebrity judges for an amusing, though unimportant, decision scene. "Nationals" is no different, with Lindsay Lohan (herself), Perez Hilton (himself), and Rex Lee (Entourage, Suburgatory) as a glee club-obsessed politician. They are every bit as effective as any past panel, though don't add much to the episode. In fact, the conversation viewers see in the judges room doesn't make a lot of sense, as the trio are not leaning towards the New Directions at the time. Ah, well. In an episode this good, Glee can have its tropes.

With Nationals over, the New Directions head home. A quiet school is waiting, kids lining the hallways, hockey players approaching with the familiar slushie cups. One can be forgiven for assuming the Figgins (Iqbal Theba) has made them turn up, but that the kids' standing has not risen. Then the slushie cups are revealed to be full of confetti, and applause erupts. The New Directions are heroes! "Tongue Tied," sung by them, but on playback, not with mouths moving, takes them through this celebration.

It's hard to say how realistic this is. Students love to support their peers who bring glory to their school, but it's not likely that the New Directions will be regarded as much cooler tomorrow by most of their classmates. This is a temporary recognition, and not one that will last. However, it will change the opinions of a few, which should be enough to beef up the roster and replace the graduating seniors next year.

With the kids getting their dues, there is still time to turn the attention to Will. The graduating seniors thank him for everything, giving him credit for changing their lives. And it's true. The glee club is what it is because of Will. He fades into the background for much of these final episodes of this season, but he deserves recognition for getting the kids to the point where he can do that. They stand on their own because he helped them get to there.

As such, Will is honored with a Teacher of the Year award, with the New Directions singing "We Are the Champions" to him. Even Sue is impressed and believes that Will deserves it, an appropriate reaction, given that she actually demonstrates her affection for the students in "Nationals" and the episodes leading up to it. Emma takes her appreciation a step further, rewarding him in the bedroom. All of this is an acknowledgement of everything that Will has worked so hard for, and he takes it well. Very heart warming.

So what's left? Next week is "Graduation," time to say goodbye to many of the popular characters (except Rachel and Kurt, whose college life will share screen time with McKinley High next season). It's sure to be full of tears and bittersweet song. Tune in to FOX next week at a special time, 9 p.m., for what will surely be a wonderful episode of Glee.

A quick bit of casting news: Sarah Jessica Parker (Sex and the City) and Kate Hudson (Almost Famous) are joining Glee next year on a recurring basis! Neat-o!

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 - "Props; Nationals" on Blogcritics.