THE KILLING Returns From the Dead... Again

Article first published as THE KILLING Review Season 4 on Seat42F.

THE KILLING, which ran for three seasons on AMC and has been canceled twice before, returns for an abbreviated fourth, and most likely (though one can never say for sure with this show) final, season this week on Netflix. Picking up moments after season three left off, the six hour-long episodes remaining seek to both solve a new case and deal with the aftermath of the previous year’s cliffhanger.

Lest you have forgotten, as year three concludes, Linden (Mireille Enos) shoots her boss and former lover / partner, James Skinner (Elias Koteas), who ends up being the serial killer she is hunting, twice, despite the fact that he is unarmed and kneeling before her. Holder (Joel Kinnaman), a witness to at least the second bullet, freaks out, knowing there is no way for Linden to claim self-defense. Fearing she is about to be locked up, season four’s premiere has Holder scrambling to cover for Linden, who is still in shock, and thus not protecting herself as she should be.

This begins with our characters in a precarious position. As the day after unfolds, it becomes clear very quickly that there are loose ends the detectives might miss. Try as they might to hide the truth, it seems likely that Skinner’s murder will eventually come out. We’re left wondering if both Linden and Holder will go down, as well as what punishment they might face. Could their actions be justified, given the circumstances, or could fate intervene and protect them, even as the body surfaces?

 

My instinct is to say that yes, things will work out all right. THE KILLING is a dark, depressing show, and not everyone makes it out alive. However, Linden and Holder are the glue between the seasons. They are also the good guys who give up everything in order to find justice. They deserve to get away with this. Fans will root for them to stay hidden.

That being said, I could see a twist at the end of the series where Linden dies in a blaze of glory, her son living far away, and she really having nothing left to lose. She’s always had a bit of a martyr complex, so why not make it official? I suspect a better prediction can be made after meeting Linden’s mother (Frances Fisher, Resurrection), though, whom abandoned her as a child, as that will surely help set Linden’s momentum.

Holder, on the other hand, has plenty to live for. He has his romance with Caroline (Jewel Staite). He also gets some surprising news in the season four premiere that will make it even harder to see him go down. Plus, now that the air has been cleared between them, on even footing since both got a punch in, Holder’s friendship with Reddick (Gregg Henry, promoted to full-time) seems to be sticking. So I think Holder is safe, successfully having turned his life around and found his purpose, even without Linden around. But we’ll see.

I don’t think Holder and Linden will end THE KILLING as a romantic couple. There is a moment in season three where it could happen between them and it doesn’t. There really hasn’t been anything else to point them in that direction since, nor is there in the first episode back, so it would feel forced to go there at this point. That’s fine. Too many shows led by an opposite sex pairing feel obligated to turn the emotional bond into something involving sex. Sometimes, it’s fine if it doesn’t, especially if one or the other can find happiness with someone else.

Now, despite all the character development and furthering of existing arcs, season four has its own case to investigate. Our duo are led to a crime scene where a family has been brutally slaughtered and the evidence points to the surviving son (Tyler Ross, Zombieland), whom a bullet grazed in the head, and who is suffering memory loss. There are a number of pieces of evidence that don’t add up, including some strangely severed piano wires, so it’s uncertain if the kid is guilty, making for another juicy mystery.

Does season four need this sort of murder to look into? After all, the show has always been best when dwelling on the pathos of the players, and this could be done with Linden’s deed. But instead, the writers decide to squeeze one more bit of police work out of our leads. On one hand, they do have a job to do so it makes sense for them to keep doing it. On the other, with a scant six hours left (granted, all six installments are likely to be ten to fifteen minutes longer than in previous seasons), one might wish for a focus on the principals more than new stars, with Joan Allen (Luck), Sterling Beaumon (Red Widow), and Levi Meaden (The 100) joining Ross among the fresh cast. Ah, well. The decision has been made, so no sense dwelling on it now.

In all, THE KILLING delivers a relatively intense, very compelling fourth season premiere. It’ll be interesting to see how creator Veena Sud chooses to wrap it up.

All six episodes of THE KILLING’s final season will be available on Netflix beginning this Friday, August 1^st.

No one wins in a Scandal

Article first published as No one wins in a Scandal on TheTVKing.

I admit, I was growing tired of ABC's Scandal last fall. The case-of-the-week format was tedious, and the characters were growing less interesting to me by the minute. I had a hard time motivating myself to watch it.

Then came the voter rigging scandal arc. A vast conspiracy among many of the top people in the presidential administration, steeped in lots of cover up and mystery, information being leaked to us only in tiny bits. As the plot gets thicker and thicker, and the focus moves to the offenders, rather than Pope's team and their regular job, the series gets better and better.

All of this culminates in the most recent episode, "Nobody Likes Babies," as all of the truth is finally revealed, at least to certain parties, and the guilty have to face their sins. This episode is a lot about loss, and not just for those who deserve it. In a situation like this, there is plenty of collateral damage, and the fall out is devastating.

First, there's David Rosen (Joshua Molina). He loses everything: his career, his credibility in his field, a little bit of his sanity, and even the women he loves. Rosen may be a little more zealous than some would like, but his mission is justice, and he is trying to right a wrong. Yet, he makes the mistake of trusting the wrong people, something easily forgiven by viewers, but not by Rosen's peers. The lies of a few are enough to ruin him.

Will Rosen recover during the rest of the season? I hope so. He's a good man, and he deserves a break. Fans are often put in the position to root against him because Rosen's actions could hurt other main characters whom we adore. And yet, at this point, it's hard not to care about him, too. Knowing he is in the right only makes the situation more difficult.

Abby (Darby Stanchfield) loses Rosen. She learns that he really loves her, and while she wants to be with him, her loyalty to her colleagues wins out. Abby could be perfectly happy in a relationship with Rosen, but it would cost others she cares about dearly, and so she betrays him by stealing evidence, then denies it, though he sees through her.

Can Rosen ever forgive her? Abby only did what she thinks she has to to protect those she loves. Can't Rosen understand that? Even if she chooses Olivia (Kerry Washington) over him, Abby's feelings for Rosen are valid, too. If Rosen can find it in himself to take her back, it's likely this conflict of interest wouldn't come up again, and they would never have to be tested this way as a couple. The hard part is getting over this particular instance.

Quinn (Katie Lowes) loses her chance for revenge. She has the option to take out Hollis Doyle (Gregg Henry), but when Huck (Guillermo Diaz) makes her pick between her new life and her old, she chooses the new. After all, murdering Hollis won't undo what has been done to her, and she has come to rely on her current support system. It might feel good temporarily, but what Huck is trying to teach Quinn is that evil has great cost. I think she gets the message.

Huck should know. He has lost just about everything that he possible can. He struggles every day with who he is and what he has done. Huck doesn't suffer a particular loss in "Nobody Likes Babies," but he is far from making up for his past. He wants to spare Quinn the same price, and by doing so, he heals just a little piece of himself.

Olivia gives up the chance at a happy life as a senator's wife when she turns down Edison's (Norm Lewis) proposal. Edison doesn't understand why she would seek pain rather than serenity. Is it really love if it hurts? He has a point, and even though Olivia cannot stop herself, one has to wonder if it's worth it, even in that moment, before what comes after. Is she in a bad cycle she needs to break, or is there really a hope of something more if she can hold out just a little longer?

The best executed plot on this theme, though, belongs to Cyrus (Jeff Perry). He is faced with an impossible choice: his husband, James (Dan Bucatinsky), or his freedom and professional identity. There doesn't seem to be any clear way out for Cyrus, as he can't continue to lie to James and save his marriage, but telling the truth could land him in jail, disgraced.

Perry excels in several scenes, first with a raw confrontation, in wish the nakedness is emotional as well as physical, and then later, as he is forced to decide if he should order James's death to protect himself. Neither is easy, and I'm amazing at the way Perry plays it. Cyrus is a character who starts out as such a cut-and-dry cold SOB, but has quickly grown into a fully fleshed out, sympathetic man, warts and all.

In the end, Cyrus can't kill James. It's a good thing, as I don't think Cyrus would ever recover in the eyes of Scandal fans had James been shot. Somehow, though, I am surprised when Cyrus calls off the hit. I didn't expect to see the depth of his love for his husband, and all of the sudden, I am a huge fan of the actor and the character, much more so than previously, and that's saying something.


All of these situations make us questions ourselves. Everyone wants it all, but no one can have that. These are stories on a screen, to be sure, but the best such ones make us think. When there is no black and white right or wrong, it challenges our preconceived notions and ideals. "Nobody Likes Babies" does this as surely as considering the title of the episode does, over and over again throughout the hour.

One big shocker comes when we learn that Verna Thornton (Debra Mooney) is behind the attempt assassination of President Grant (Tony Goldwyn). Many, including the president himself, assume that the first lady, Mellie (Bellamy Young), is to blame. The evidence points to her, and she's heartless enough to do it. Verna is portrayed as being kind and compassionate.

However, the other thing to take into account is that Verna is dying. Arguments can be made whether her most recent missteps come from a place of guilt or a desire to protect herself. Is she ashamed? Is she arrogant? The fact that she calls Grant and Rosen to her death bed hint that she could be good, but the writing dances around motivating factors enough to leave everyone in doubt.

Then we get the second shocker: Grant murders Verna before she can confess to Rosen. Why does he do this? Is he not stupid, as Verna challenges, and knows about the conspiracy the entire time, even if he struggles to convince himself that he is wrong? Is he furious at her? Is he feeling so betrayed by Olivia that he has to lash out at the person in front of him? Is he complicit in the atrocities committed before?

This levels the playing field. Grant is held up as a noble leader throughout all the mud in this season. Others around him break the law so that he can stay clean. This calls into question if he ever was pure, and makes him more complex. Also, he could never really be in a fully equal romantic relationship with either Mellie or Olivia when still being so much more holier than they are.

It's interesting that Grant chooses Mellie over Olivia in the end. Again, the reason why isn't completely clear. Is he seriously mad at Olivia for lying to him, or for not believing in him? Does he find Mellie's honesty, brutal or not, refreshing, or is he trying to hurt Olivia by choosing Mellie? Except, Mellie isn't always honest, as Grant tells Olivia he knows Mellie induces labor and thinks she is hiding it from him. There are definitely negative emotions in play here, and the truth could well be a little of everything. I am curious as to how this will play out.

This episode, curiously delivered in February, rather than season's end, is huge. It's the best of the series so far, and all of the various twists and reveals make it extremely memorable. Sprinkled with Emmy-worthy performances, "Nobody Likes Babies" delivers everything fans of the show want, and more. This is definitely an A+ installment.

Next week, rumor has it, we get a big time jump, and then mostly go back to case-of-the-week stuff for the rest of the season. This is disappointing news. Yes, it's hard to follow up something so big as these past few months, but does that mean Scandal shouldn't try? Can it really go back to being an average series after such a triumphant story? Or will it surprise me, taking the time to really delve into the emotional fallout of "Nobody Likes Babies," and build into something great slyly, even as the main stories are smaller? Hopefully, the latter.

Scandal doesn't take a breath, picking right back up this Thursday at 10 p.m. ET on ABC.

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.

Not quite "Blown Away" by Scandal

Scandal - "Blown Away"
Grade: 88%

ABC's Scandal has a clever concept, big scales stories, and a terrific cast. But it still fails to deliver on its potential week in and week out. The issue may be the episodes that tackle large issues, and then seek closure at the end of an hour, keeping the series from breaking out into a true serial. Or it could be that when larger tales do play out, the situation keeps seeming worse and worse.

This week's fall finale, "Blown Away," is thankfully much more serial than procedural. Huck (Guillermo Diaz) is set up for shooting President "Fitz" Grant (Tony Goldwyn), but while his friends try to protect him, he doesn't do himself any favors, tracking down the real killer, Becky (Susan Pourfar), whom he is in love with. All of this plays out admist struggles for power, as the players in Washington won't even wait for Fitz to die before taking control of his office.

The action and mythology parts of "Blown Away" are what Scandal should be every week. The 'B' grade for the episode stems mostly from the fact that it doesn't feel like much of the rest of the season, and only now, well into a second year, are things ramping back up, as they did in season one. That, and things do get a tad predictable. As well as a couple of other issues that I'll get to shortly.

Poor Huck cannot be blamed for trusting Becky. His head is messed up as he struggles with his past and his addiction to killing people. It is because of the way he is trained by the government, and without Olivia (Kerry Washington) to keep a close eye on him, as she is wont to do, he begins to stray. It's no wonder he is easy pickings for another assassin on top of her game.

In the end, Huck decides to do the right thing, but like his relationship, he does so sloppily, giving Becky the chance at escape, but not before slaughtering people that Huck cares about, and leaving him on the hook for a serious crime. Viewers know that Huck will probably eventually be exonerated, even if Becky isn't caught. But that doesn't change the fact that he is in a dark place, and in no condition to handle what comes next. Hopefully, Scandal will allow Diaz to play out this plot to its fullest, taking Huck even deeper into the mire, and making it quite awhile before he can function as a full-fledged member of the team again.

Huck isn't the only one falling through the cracks. Quinn (Katie Lowes) is obsessed with figuring out what happened to her, finally having her suspicions that Huck and Olivia are involved confirmed in "Blown Away." Abby (Darby Stanchfield) is continually drawn towards what she sees as an unhealthy relationship with the "enemy," David Rosen (Joshua Malina). Harrison (Columbus Short) is basically left to run the group, a task he is not yet able to do effectively.

Perhaps a lot of the last few episodes have allowed the various members of Olivia's agency to stray because she herself has her attention divided. Back to flirting with Fitz, acting as the doting girlfriend, gossiping with Cyrus (Jeff Perry), and working at the White House, she has let other things slip, and she should blame herself at least as much as anyone else that her group is fracturing.

Not that I'm complaining about the Olivia / Cyrus scenes. They have been among my favorite parts of the fall run, revealing the depth of their affection for each other, and how they once worked together so well on the campaign.

But the fact of the matter is, Olivia's world is slimy. Politics are disgusting. Watching Vice President Langston (Kate Burton) assume the president's office, seeing Hollis Doyle (Gregg Henry, Bunheads, Hung) take control of the new leader, being betrayed by Justice Verna Thornton (Debra Mooney), it becomes more and more clear every day why Olivia left them behind. Her getting dragged back into it now makes her just as damaged as the rest of her team. Scandal is no West Wing by any stretch.

I do worry that the conspiracy story will ruin Olivia and Cyrus as sympathetic characters. Finding out that they rigged the election for Fitz, on top of everything else, and worked with the likes of Verna and Hollis, makes them difficult to root for. The more we learn about their actions, the more despicable they become. The writers may eventually try to smooth this over by giving a good reason why Fitz needed to win, but at that point, will it be too late to salvage their reputations?

There is also bound to be collateral damage before they can overcome their past. James (Dan Bucatinsky) is the most likely victim. It appears for a moment in "Blown Away" that he might be saved, when Cyrus agrees to give him a baby, and James vows to quit his job. But James is only fooling, knowing Cyrus is onto him. The love Cyrus has for James looks real, at least in as much as Cyrus is prepared to love another person. What will it do to Cyrus if James is killed? Or, at minimum, if their marriage is dissolved? Their union seems unrepairable at present.

By the end of "Blown Away," it appears that the writers have themselves in a corner. Will they be brilliant enough to get out of it, without tossing believability aside, or ruining all of the characters? Only time will tell, but there is no obvious path to redemption from here.

Scandal will return to ABC Thursday, January 10th at 10 p.m. ET.

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 on TheTVKing

White Collar is most definitely "Wanted"

GRADE: 79%

USA’s WHITE COLLAR is back! In the season premiere, “Wanted,” Agent Collins (Mekhi Phifer, Torchwood, ER), a ruthless man who doesn’t care if Neal (Matt Bomer) is caught dead or alive, begins the hunt. Collins’ big break, of course, comes when he searches Peter’s (Tim DeKay) house, as Peter has already found where Neal is hiding out. Collins flies to the island hideaway with Peter on his heels. Will Peter be too late?

“Wanted” begins a little slow for Neal. He is comfortably ensconced in his new home, hanging out on the beach with best friend, Mozzie (Willie Garson), and wooing a beautiful coffee house proprietor (Mia Maestro, Alias). He struggles with being honest towards the new people in his life, a lesson he learned he must do to make real connections during these past couple of years in New York, while maintaining the secrecy that will keep him a free man. There isn’t a lot of action, but I think that’s kind of the point, showing Neal finally relaxing in a peaceful environment.

In fact, even after Neal gets the call from Peter that Collins is on his tail, Neal doesn’t seem particularly worried or upset. Why should he be? Peter is the only man who has managed to catch Neal before, Peter isn’t actively looking for him now, as far as Neal knows, and his tracks are well covered. There is no reason for Neal to think that he can’t just enjoy his new existence.

In the meantime, Peter is anything but at ease. While he’d like to bring Neal back legally, resuming their partnership, the more immediate concern is Collins, whom Peter believes will hurt Neal. This is something Peter can’t allow to happen. So, with the help of Jones (Sharif Atkins) and Diana (Marsha Thomason), Peter begins yet another hunt for Neal, this time with the goal of protection, rather than capture.

Neal’s fatal flaw is making the call to Peter. This would not have been a mistake he would have made in the past. But then again, Peter was the threat in the past, so Neal wouldn’t have let anything slip to him. Believing he can trust Peter, Neal doesn’t disguise anything on the call, not perceiving a threat. This makes it easy for Peter and company to find him, but that’s not a concern for Neal.

Neal is partially right, as Peter has no intention of capturing his ex-partner to send him back to jail. However, Peter also makes a mistake by leaving evidence in his home, making it easy for Collins to gets his hands on Peter’s findings. Was there any way that Peter could, or should, have predicted this turn of events? Not really, even if viewers can see it coming from a mile away.

Thus, Peter and Neal are both too trusting in their relationship. It may be what makes them strong when the goal is to catch criminals, but it weakens them when they are trying to avoid other law enforcement. This isn’t a bad thing, per se, as Collins is working for the good guys, as bad as he might be. The problem is, there are other bad guys besides Collins corrupting the powers that be, and trusting the system may not work in the name of justice this time.

“Wanted” ends on a heck of a cliffhanger! Again, it’s something that isn’t hard to see coming as a fan, but might be understandable that the characters don’t think about or plan for it. The twist keeps this story from being a one episode adventure before reverting back to formula, so that’s always a welcome development, no matter how sad the situation is left.

USA shows have been getting braver and braver in recent years, no longer confined with cases of the week. “Wanted” is a good episode that isn’t forced to follow the typical path. Based on the ending of “Wanted,” it appears that next week’s episode will be the same. The longer WHITE COLLAR avoids going back to the status quo, the more respect it will earn as a drama series. Not that the earlier seasons of WHITE COLLAR are not good television, because they definitely are. This is just the natural next step, showing a welcome evolution of story and characters.

Besides Maestro and Phifer, “Wanted” features Gregg Henry (Hung, Bunheads) as the man protecting Neal and Mozzie on the island. It’s an exciting premiere, and one fans will not want to miss.

Catch the WHITE COLLAR season premiere, “Wanted,” tonight at 10 p.m. ET on USA.

"Better Luck Next Year!" Bunheads

ABC Family's Bunheads continues to delight this week with "Better Luck Next Year!" Fanny (Kelly Bishop) is devastated to learn that the Joffrey summer camp auditions have been moved to a different venue, away from her studio, with very little notice. Michelle (Sutton Foster), frustrated with her failed attempts to fix her own life, throws herself into Fanny's problem instead. In the end, it takes Fanny and Michelle working together to save the day, and they get the auditions back.

There is something heartwarming about every episode of this series, and "Better Luck Next Year!" is no different. Fanny and Michelle are both in bad places in their lives, feeling like they haven't accomplished what they set out to do, and barely hanging onto a fragile reputation. Losing the Joffrey event could kill Fanny's self-esteem the same way that Michelle's inability to hang a curtain rod does to her. But by helping each other, these two are going to find their way, and I mean that in the larger sense, not just in this particular instance. This can be seen as they sit and sip wine, watching over the studio with serenity. This is their place.

"Better Luck Next Year!" illustrates Michelle's uneasiness with moving vans full of stuff that may or may not be hers, a (literal) broken home, and a pair of dream sequences. While each of these work very well as metaphors, the latter also showcases Foster's singing and dancing ability, something I sincerely hope the show continues to do periodically. She is experienced on stage, and using that only enhances her character. Now if only we could see some of the same for Bishop...

Bunheads does very well in serving their side characters, which lend serious charm to the setting. This week, Rico (Gregg Henry, Hung, Gilmore Girls) is featured in a single scene to great effect, and Bob and Don, who run the local hardware store, are introduced.

The scene stealer is Stacey Oristano's Truly, who knows what everyone wants but herself. It's sad, knowing that Truly would love to be in Michelle's place in relation to Fanny, yet isn't a strong enough personality to do so. Truly does lend help, being there for Fanny, and hanging curtains for Michelle, while giving a bit of advice. It will be interesting to see how this character grows, if she will always be on the outside, or if Fanny and Michelle might include her a little more actively over time. If this happens, it will be because of Michelle's influence, as Fanny and Truly's relationship, or lack thereof, is already well established.

Boo (Kaitlyn Jenkins) and Nanette (Jennifer Hasty, True Blood, Horrible Bosses) are shaping up to be a pair to watch. Nanette is introduced as flaky, yet supportive. However, as Boo discovers in "Better Luck Next Year!," Nanette doesn't have as much faith in her daughter as she probably should. Nanette buys Boo a cake with the phrase that doubles as this episode's title before the auditions even taken place! It may be that Nanette just knows her daughter very well, but if so, she should realize that it's a terrible idea, bringing that cake into the house, where Boo can find it, ahead of time!

Gilmore Girls thrived on mother-daughter relationships, and as Bunheads is mostly a continuation of the themes and stories of that show, without actually using the same characters (at least not yet), one expects the same from them. Michelle and Fanny are obviously going to have that type of interaction, but not being related, they also flirt with friendship. It's Nanette and Boo viewers should look towards for the family stuff, though Nanette is not a main character.

There may be a second mother-daughter story building with Sasha (Julia Goldani Telles), though her mom sits out this week, which is appropriate. While Sasha's main story is making nice with Boo, which is great, because fans finally get to see her compassionate side, there is an undertone of the relationship Sasha has with her own mother, too. Boo's mom may screw up, but there is still affection present, while Sasha's parents are almost absentee. Maybe Nanette could serve as a surrogate to Sasha, thus saving her soul? If Boo and Sasha manage to deepen their friendship, this is a possibility, and would serve as a good spring board to bring Sasha's mom more to the forefront as well.

As many things as Bunheads has going for it, there definitely seems to be a lack of budget. This stands out most noticeably in "Better Luck Next Year!" because, with the Joffrey auditions occurring, only two of the four main ballerina girls are even in the episode. Granted, there is enough story with Michelle, Fanny, Boo, and Sasha, the four more developed girls, that the other two aren't missed. Except, this is a big deal for the dancing they are all so committed to. They should have at least been seen.

Ah, well. Minor flaws like that are easily overlooked because of the genuine joy Bunheads inspires with its complex relationships and feel-good stories. This week continues that tradition, and there is no end in sight, with dozens of stories already teed up to go forward. Check it out, as it airs Mondays at 9 p.m. ET on ABC Family.

Check out my new website, JeromeWetzel.com. If you like my reviews, please follow me on Twitter!

Glee sings a "Ballad"

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

     The season one episode "Ballad" finds the New Directions tackling the all important staple of ballads. Rachel (Lea Michele) gets a crush on Will (Matthew Morrison) after they sing together, and Will tries to discourage her. Speaking of relationships that will never happen, Kurt (Chris Colfer) likes Finn (Cory Monteith). The boys grow closer as Kurt helps Finn figure out how to tell Quinn's (Dianna Agron) parents about her pregnancy. Unfortunately, this backfires, as Quinn's father (Gregg Henry, Hung, The Riches) kicks Quinn out. And her mother (Charlotte Ross, NYPD Blue), who knows about her pregnancy, but never says anything, does nothing to stop him.

     "Ballad" has a lot going for it as a Glee episode. There is feel good music ("Lean On Me" and "I'll Stand By You"), an emotionally compelling story (see: good music), and some really funny bits. The biggest issue with the episode, however, is that it feels like the story is tailored to the music they wanted to use. There is no indication that Rachel is attracted to Will prior to, or after, "Ballad." Thus, that particular plot in this episode feels forced and phony the entire time. Sure, he is a talented, attractive man. But Rachel has very specific ideas about the type of guy she wants, and a much older, married, high school teacher does not exactly fit her bill. Plus, Rachel singing "Crush" is just over the top.

     The weirdness is at maximum threshold when Rachel and Will sing "Endless Love." I do not remember any other song ever done on Glee with so much voice-over interruption. Yet, the awkward, disturbed facial expressions with which Will reacts only have so much power to hold interest, so hearing a variety of characters' internal monologues are necessary to make the scene continue to flow, and be tolerable. As such, the whole thing ends up being pretty successful as a musical number, if very odd, other than that Rachel takes no notice of Will's very clear disinterest in her.

     Will's "Don't Stand So Close to Me/Young Girl" is better. His gestures at the start of the song are patronizing, but after that, it's easy to see why both Rachel and Emma (Jayma Mays) swoon. Even when trying to communicate a message to turn off the girl, Will is working his sexy magic. He's so convincing, that both women even forget to be jealous of each other's attentions towards him, and concentrate only on the way they feel about Will. Perhaps he should have said things with something other than a song.

     Which brings up the other major problem with this episode, besides bending plot to fit selected music. It is perfectly understandable that sometimes characters in Glee will choose to express themselves through music, rather than talk it out. It is less understandable when those characters keep making a point of saying that only a song can communicate what they want to say. It's simply not true, and by doing it so blatantly, and talking about how they are doing it, so much in a single episode, it comes awfully close to ruining the device. "(You're) Having My Baby" is honestly the final straw, as Finn could say something far more elegant than performing that particular ballad in front of Quinn's parents. Too much.

     The other unrequited romance story is quite a bit better, and fits the characters. Kurt plainly has a thing for Finn throughout season one, though Finn will never see Kurt as a sexual interest. Poor Kurt has to understand that Finn can never be with a guy the same way Kurt has no desire to be with a girl. But as a naive, lonely teenager, Kurt is taken in by Finn's talent and looks, rather than thinking logically through the situation. It's a bit sad, as both guys deserve to be happy, and if Finn was gay, Kurt could likely make him so.

     But at the same time, just being friends is also beneficial for the pair, so it works out. In "Ballad," the real beginnings of that friendship are apparent, as they bond over having a deceased parent. Though different people, their family situations of one adult gone by circumstance, not choice, and the other doing their absolute best to love and take care of the child, are very similar. It's something they can both relate to, and it really makes their bond seem real and strong. Obviously, to those who have watched Glee past this point, the seeds are planted here for their long-term relationship.


Random Bits:

*Mike Chang (Harry Shum Jr.) is referred to as "other Asian" when choosing ballad partners. Surely, there is a deleted scene where Sue (Jane Lynch) switches out his name in the hat. Yet, the mildly racist label is actually charming in this context.

*When did Kurt learn to play the piano? And how come he almost never does again, even though there is ample opportunity to use this skill?

*Finn's facial expression when he thinks Quinn catches him looking at Rachel's butt is priceless, and one of the best moments Monteith gets in the series.

*Will's former pursuer, Suzy Pepper, is played with a perfect mix of geeky and crazy by Grey's Anatomy's Sarah Drew. It's a shame she didn't recur on Glee, but she was a bit busy. Best line, said to Rachel: "We're both mildly attractive and exceedingly grating."



     Check back for another season one Glee review soon!

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

 

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

 

 

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