Elect THE POLITICIAN

Article first published as TV Review: THE POLITICIAN on Seat42F.

Ryan Murphy, Brad Falchuk, and Ian Brennan, the minds behind FOX’s former shows Glee and Scream Queens, have re-teamed for a new Netflix drama entitled THE POLITICIAN. Like their previous efforts, this one centers on young people who act in hyperreal ways, working hard towards single-minded goals with little regard for who they hurt. These kids act like unscrupulous adults, but the show doesn’t prove they aren’t, instead existing within the high stakes laid out by the protagonists, no tongue in cheek wink that the real world will make this all seem trivial in retrospect.

There is a particular style and tone to THE POLITICIAN. Murphy and Falchuk work with high production concepts in American Horror Story, Pose, and their other television series. But this one is a bit different. It’s more like a Wes Anderson flick than their usual work, down to the young, precocious male lead, characters standing stock still in specific places, and the occasional shot of a furniture description page. THE POLITICIAN’s characters aren’t as odd as those in an Anderson work, and it can sometimes take a viewer out of the story here. But overall, it’s mostly a quality work.

Ben Platt (Pitch Perfect) stars as Payton Hobart. Adopted by the ultra-wealthy Georgina (Gwyneth Paltrow, Avengers) and Keaton (Bob Balaban, Gosford Park), Payton feels less valued than his parents’ biological twins, Martin and Luther (Trevor and Trey Eason). Perhaps to make himself noticed, Payton makes it his mission in life to become president of the United States. His immediate focus: win the presidency of his student body. Which is easier said than done with pretty boy and popular kid River Barkley (David Corenswet, Moe & Jerryweather) standing in his way.

There are others involved, of course. Payton wants cancer patient Infinity Jackson (Zoey Deutch, Ringer) as his running mate to get the sympathy vote, not being aware of what Infinity’s Aunt Dusty (Jessica Lange, American Horror Story) is up to. River’s girlfriend, Astrid (Lucy Boynton, Gypsy), is a serious impediment, and Payton’s girlfriend, Alice (Julia Schlaepfer, Charlie Says), might be one, too. Payton’s advisors, McAfee (Laura Dreyfuss, Glee) and James (Theo Germaine, Adam), don’t always see eye to eye.

Yes, Payton has advisors. The election is treated almost as seriously as an adult campaign would be, and the stakes are just as high if Payton wants to achieve his dreams.

Platt is perfectly cast, playing a role so close to his Tony-winning turn in Evan Hanson. There’s even a dead guy and a crisis of conscience for him to play off of. The rest of the cast seem similarly well suited to their roles.

If I have one complaint about THE POLITICIAN, it’s that it seems very convoluted. There’s a lot going on, and circumstances change quickly with each new twist, of which there are many. Plenty of small moving parts could blow up and derail things at any time. However, other Murphy projects have been similarly dense and came out pretty well, so I think it’s best to have patience and wait. Besides, the character study of Payton seems rich on its own, at least from the first couple of episodes, and may be worth it even if the overall plot is less than satisfying, as has been the case on a couple of seasons of American Horror Story.

If you like Ryan Murphy and flair, you’ll probably like THE POLITICIAN. If you don’t like his other work, don’t expect anything too different here. Not that Murphy is one-note by any means, but he does what he does very well, and this is another variation on those themes.

THE POLITICIAN’s eight-episode first season is available now on Netflix.

DVD Review: ‘The New Normal – The Complete First Season’

Article first published as DVD Review: ‘The New Normal – The Complete First Season’ on Blogcritics.

In the 2012-2013 television season, NBC presented a different kind of family sitcom called The New Normal. From the mind of Ryan Murphy (Glee, American Horror Story) and Allison Adler (Chuck, No Ordinary Family), it took what Modern Family does a step further, with an edgier, even less traditional clan, while still remaining thoroughly charming. Finally, the series, which ran only one year, comes to DVD, though the release is strangely subtitled The Complete First Season.

In 2014, we all know that not all families look the same, even less so than just a couple of decades ago, but while the television industry is getting better about portraying that, it still does not reflect the large diversity out there. The New Normal may be quite specific in the make-up of its clan, but the characters are earnest enough that most should find a way to relate, even if their circumstances don’t mirror exactly the mixture shown on screen.

The premise is simple enough: A young mother named Goldie (Georgia King, Little Dorrit), who gave birth to a daughter, Shania (Bebe Wood), as a teenager, is tired of putting her dreams on hold and relying on her bigoted grandmother Jane (Ellen Barkin, Fear and Loathing in Las Vegas, Drop Dead Gorgeous). Jane raised Goldie after Goldie’s own mother, who also gave birth young, split. After Goldie catches her boyfriend cheating on her, she gets the courage needed to make a change. This leads her, with Shania in tow, to the strange land of California.

At the same time, a gay couple named Bryan (Andrew Rannells, Girls, The Book of Mormon) and David (Justin Bartha, The Hangover) are ready to start a family of their own. Armed with eggs provided by Abby (Gwyneth Paltrow, Glee, Iron Man), their first attempt is a misstep. But then they meet Goldie and decide she is perfect. After she agrees to serve as their surrogate, they offer to help her with her goals, much to the dismay of Jane, who has by now tracked them down.

Oh, and Bryan has an assistant named Rocky (NeNe Leakes, The Real Housewives of Atlanta, Glee), whose love/hate relationship with Jane makes for some of the best material of the series.

Over the course of the year, there is actual growth among the characters, and lessons are learned. Yes, The New Normal can be slightly preachy at times, and the season finale, more so than any other episode, plays to conventional sitcom tropes. But maybe that’s a good thing, as the show needs to help people become more accepting, and by staging a half hour that feels like it could have been written for any other show, it feels ‘normal.’

Thankfully, the last episode ties up most of the major arcs pretty well, leaving us without a never-to-be-resolved cliffhanger.

The writers of this show clearly know what they’re talking about. Adler herself has gone through the surrogate process, and both creators are gay. The situations and characters they’ve created here feel only slightly exaggerated for television, avoiding stereotypes as much as possible, and are definitely well-defined enough to tug the heartstrings, with layers to various characters’ motivations. Bolstered by a terrific cast, The New Normal fully earned the People’s Choice Award it won for Favorite New TV Comedy, and more than a year after its cancellation, it is still missed.

This three-disc set contains all 22 episodes produced, but no special features at all. On the one hand, this is hugely disappointing because there is so much more I want to know about how the show came about and why it didn’t last. On the other hand, I guess fans should just be grateful we get the opportunity to relive the episodes at all, considering how quickly they came and went.

The New Normal – The Complete First Season is available now.

GLEE Stumbles In "New Directions"

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

If there’s one thing I can say about the second half of FOX’s Glee‘s 100th episode celebration it’s that it’s way better than the first. The story about how a high school principal stubbornly shuts down a second-in-the-nation ranked show choir still makes absolutely no sense, but at least the music improves, and the ending nails every emotional note better than anything Glee has done yet.

As “New Directions” opens, Holly (Gwyneth Paltrow) and April (Kristin Chenoweth) are still determined to save the club. Sue (Jane Lynch), who happens to be besties with Holly, something that comes out of nowhere, agrees to let the women try to shoehorn the New Directions into another club. They choose the agricultural one, for no discernible reason, and Holly leads all the kids in an energetic, but weird, “Party All the Time.”

This doesn’t work, of course, and Sue forbids them for trying again. So Holly and April take off to engage in illegal activities, as they should, as they do not belong at McKinley.

With them out of the way, “New Directions” proceeds through serving a number of its long-time cast members, continuing to ignore the five newbies, save for a brief scene where they reminisce alone. The quintet doesn’t even get a song, just a few scant lines, which seems a shame, given how they are built up earlier in their season-and-a-half tenure with the show. I’m still holding out hope that they start a covert, unofficial glee club in the school next year and the series ends with them revitalizing the lost organization, but we’ll see.

Instead, this episode gives due to older and former students. Tina (Jenna Ushkowitz) considers not moving to New York (yay!) when she doesn’t have a reason to. But Artie, (Kevin McHale), Sam (Chord Overstreet), and Blaine (Darren Criss) woo her into agreeing to come with a terrific “Loser Like Me” rendition (boo!) since she didn’t get into her fall back school, Ohio State. But then Tina is accepted by Brown and decides not to head to NY after all, meaning this will be her last episode for the foreseeable future (YAY!!!).

Speaking as someone who lives in the city where OSU is located, I can confidently say that it is definitely not a fall back school and has quite high standards. The fact that it was labeled as such is very offensive. Though, in the end, Brown accepts Tina when OSU doesn’t, so I guess Ohioans get the last laugh.

I’d also like to complain about how only a few dozen students graduate in a school that clearly has a much larger student body than that, but I digress.

Other parts of “New Directions” involve couples getting back together. Quinn (Dianna Agron) and Puck (Mark Salling) announce their renewed relationship with the club’s final song, “Just Give Me a Reason,” which is a good performance, but a strange way to close down the group. Brittany (Heather Morris) and Santana (Naya Rivera) reconnect, with Brit deciding to drop out of MIT and move to the Big Apple. And Santana and Rachel (Lea Michele) make up.

I’m a little disappointed at the ending of the Rachel / Santana split. It’s nice that Mercedes (Amber Riley) and Kurt (Chris Colfer) use a fair “I Am Changing” to point out how stupid the feud is. I also enjoy how Brittany helps Santana come around after Santana slaps aside Rachel’s olive branch. But Santana quitting the Broadway show, a huge opportunity, is lame, and the girls don’t exactly feel like friends, even after the heart-warming “Be Okay” reconciliation number. Is there no hope for frenemies to turn into true chums?

All of this is perfunctory, though, as the real showcase starts about two-thirds of the way through. As Will (Matthew Morrison) gives up on trying to save the day, completely out of character, the students put together an inspiring video message to his unborn child, followed by a phenomenal reprise of “Don’t Stop Believin’” This musical number begins with the surviving original members and expands as appropriate, with lots of people sharing the solos. From the video to the song, it’s one big tear-jerking scene that really feels like a series finale, everyone saying goodbye for the final time.

Why isn’t this saved for a series finale? Is it because the glee club will be revived at some point, since disbanding it flies in the face of the tone of the show? Or is it just a convenient excuse to ditch many of the newer cast and double down on the higher quality, more mature New York stuff? On one hand, I want to praise the show for finally sticking a landing, presenting one of, if not the, best sequence of the whole run. On the other hand, I want to scream that Glee should not be so depressing, and this can’t be how it wraps up, even if it’s just the close of one chapter.

The capper of “New Directions” finds Will and Sue sharing a quiet moment alone in the empty choir room. Sue says she respects him, something completely nonsensical given how completely she has destroyed him, and her peace offering of scoring him an interview with Vocal Adrenaline is dumb.  It comes across as insincere and hokey, and while it’s satisfying to have a sweet moment between Sue and Will, the context ruins any friendship that might have existed.

So now, as has long been anticipated, the high school days of Glee are over. Will that fix what’s been wrong with the show, or will the problems merely transfer to the big city? Can the series ever repeat the emotional highs reached this week? Guess we’ll find out soon enough.

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

GLEE Hits "100" Episodes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Is The New Normal normal?

Grade: 89%

Coming to NBC next week is a different kind of family sitcom. THE NEW NORMAL is from the minds of Ryan Murphy (Glee, American Horror Story) and Allison Adler (Chuck, No Ordinary Family), and takes what Modern Family does a step further, with an edgier, less traditional clan.

In 2012, we all know that not all families look the same, but our television shows still do not reflect the large diversity that is out there. THE NEW NORMAL may be quite specific, making their situation less relatable, but it’s the oddness and quirkiness that should prove entertaining. Also, seeing a group of people in such an untraditional situation may help many find this familiar, even if their circumstances don’t mirror exactly the mixture shown on screen.

The premise is this: A young mother named Goldie (Georgia King, Little Dorrit), who had daughter Shania (Bebe Wood) as a teenager, is tired of putting her dreams on hold and relying on her bigot grandmother, Jane (Ellen Barkin, Fear and Loathing in Las Vegas, Drop Dead Gorgeous). Jane raised Goldie after Goldie’s own mother, who also gave birth young, split. After Goldie catches her boyfriend cheating on her, she gets the courage needed to make a change. This leads her, with Shania in tow, to the strange land of California.

At the same time, a gay couple named Bryan (Andrew Rannells, Girls, The Book of Mormon) and David (Justin Bartha, The Hangover), are ready to start a family of their own. Armed with eggs provided by Abby (Gwyneth Paltrow, Glee, Iron Man), their first attempt is a misstep. But then they meet Goldie, and decide she is perfect. After she agrees to serve as their surrogate, they offer to help her with her goals, much to the dismay of Jane, who has by now tracked them down.

The writers of this show clearly know what they’re talking about. Adler, herself, has gone through the surrogate process, and both creators are gay. The situations and characters they’ve created here feel only slightly exaggerated for television, and are definitely well-defined enough to tug the heartstrings. Bolstered by a terrific cast, the first episode, at least, is a sweet story with a lot of potential.

THE NEW NORMAL does not play to stereotypes too much. While sometimes the characters act exactly as one might expect they would, this isn’t always the case, and there are layers and motivations behind the various decisions they make. For instance, Jane isn’t just a bigot because she’s old. Her husband cheated on her with another man. It’s no wonder, then, that she is uncomfortable around gay people, her personal experiences clouding her overall opinion.

As to why she also is racist, well, that isn’t clear yet. We do know that the guys have a gal named Bryan has an assistant named Rocky (NeNe Leakes), and Jane doesn’t like her, either. But that’s something to explore another day.

Those familiar with Murphy’s other recent work may be expecting a song-less Glee, but hopefully this will not be the case. Glee proved that even if a good pilot is delivered, the story can still be wildly uneven, airing terrible weeks right after great ones. It will be interesting to see if, with a smaller cast, and without the structure that songs necessarily build into the story, Murphy can maintain a high quality. He did it with American Horror Story last year, albeit in a different genre entirely.

All in all, THE NEW NORMAL looks to be a fun new series that feels fresh and different from the standard fare. This opinion could change as the season unfolds, but it has made a good first impression, and on television, as in life, that is extremely important, and not always easy to do.

Glee The Concert, on Blu-ray and DVD, great for those missing Glee this week

     It is no secret to fans of FOX's Glee that the cast of the beloved series does a concert tour every spring, at the completion of filming the TV show. Last year's concert was packaged into a film, released in theaters in 3-D. Most people don't own 3-D televisions, but the special is available on Blu-ray and DVD, and the set comes with a digital copy, so it can at least be partially experienced on a variety of platforms. With Glee taking a break tonight, now seems like the perfect opportunity to take a look at this must-have for all true gleeks.

     Glee The Concert is about eighty minutes in length, showcasing many musical numbers on stage, mixed in with backstage interviews and inspiring stories of Glee fans. Recorded during a live show in East Rutherford, New Jersey, it is clear from the beginning that Glee The Concert does not present an entire concert. Hints of witty banter to bridge songs are seen, but not much. Which is a shame. The small parts that are shown fit more into the spirit of what the live show must be than the packaged profiles and interviews. While it's fun to get a little backstage look at some of the stars, many of whom stay in character, it's also disappointing to be robbed of the full experience. Transitions make sense, but it feels like there's something missing. Not to mention, given the film's short running time, there are probably songs cut out.

     The three teenagers that tell their stories in between the songs of Glee The Concert are moving stories full of optimism and accepting people for who they are. Which is exactly the theme of Glee. There is a gay guy (of course), a girl with Asperger's, and a popular cheerleader who happens to be a dwarf, and is eventually crowned Prom Princess. For those not inspired by the regular Glee show, or American Idol profiles, these come across as cheesy and unnecessary. For those gleeks caught up totally in the mania surrounding the show, and think that a simple television program impacts their lives in deep ways, it's a treat to eat up. As such, opinion will be divided on the value of including these features, and both sides have valid arguments. It's a 'love it or hate it' situation.

     Many of the songs performed in Glee The Concert are favorites from the show. The movie, predictably, opens with a welcome performance of "Don't Stop Believin'." Also included are "Empire State of Mind," "Born This Way," and "Loser Like Me," all of which are big group numbers that succeed wonderfully. If one stays past the first couple minutes of ending credits, one is rewarded with "Somebody to Love."

     Most of the major characters are featured in solo or duet performances. Brittany's (Heather Morris) "I'm a Slave 4 U" is a great fit that really pumps up the crowd and showcases her dancing and body. Those missing Zizes (Ashley Fink) this season, this reviewer definitely among them, will love Puck (Mark Salling) wooing her with "Fat Bottomed Girls." Rachel (Lea Michele) busts out her "Don't Rain On My Parade" and "Firework," both stunning performances. Finn (Cory Monteith) shines in "Jesse's Girl." Artie (Kevin McHale) gets to ditch his chair and groove out to "Safety Dance." Kurt (Chris Colfer) fans will swoon to his soulful "I Want to Hold Your Hand," still a highlight of the second season. Substitute teacher Holly Holiday (Gwyneth Paltrow, the sole adult appearing) even pops up to belt out "Forget You."

     Those who prefer more than one singer will not be disappointed. Kurt and Rachel duet "Happy Days Are Here Again / Get Happy," while Mercedes (Amber Riley) and Santana (Naya Rivera) slay "River Deep - Mountain High," as only they can. And, to the delight of girls everywhere, Blaine (Darren Criss) leads the Warblers in a trio of songs comprising a short set in the middle of the film. In fact, a highlight of Glee The Concert is a young boy dressed as Blaine performing in front of his TV, which is revisited in the ending credits. In short, Glee The Concert makes some great musical choices, and they are extremely well performed, as fans would expect them to be. Energy is high, and no lip synching is evident.

     That being said, there are a couple of issues. For one thing, Artie performs too much. Sure, he gets "P.Y.T. (Pretty Young Thing)" more as a way to highlight Mike Chang's (Harry Shum Jr.) dance moves, but it's still McHale singing. It's not disappointing that Tina (Jenna Ushkowitz) is not featured, but Quinn (Dianna Agron) deserved her own song, rather than being reduced to a duet of "Lucky" with Sam (Chord Overstreet), as great at that number is. However, those are small complaints in the overall picture.

     Glee The Concert comes with a handful of special features. Two songs not appearing in the film, "Dog Days Are Over" and "Friday," are included, as well as extended versions of "Ain't No Way" and "Happy Days Are Here Again / Get Happy." Which is beneficial, because both numbers seem short in the picture. "On Stage With the Cast" provides a couple of cameos by Sue Sylvester (Jane Lynch) that probably should not have been cut, as well as a wonderful proposal between Kurt and Blaine that hints a major season three development to the audience. "Backstage With the Cast" is what you would expect, a few minutes of speaking with the performers behind the scenes. Shazam also provides content to a mobile device, if one is tech savvy and wants even more content.
     Glee The Concert will not replace the show, but it's a nice companion, and revisits some favorite musical numbers. Buy your copy on Blu-ray or DVD today.

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Glee: The Complete Second Season arrives on Blu-ray

     Now available on Blu-ray is Glee: The Complete Second Season. Year two is quite eventful for McKinley High's glee club students, and a number of them go through some big changes. There are the obligatory romantic pairings and splits, and some real social issues get dealt with, too.

     Homosexuality plays a large part in season two. Kurt (Chris Colfer) is forced to transfer to a new school after being bullied by Karofsky (Max Adler), who is secretly gay. Fortunately, Kurt soon meets Blaine (Darren Criss), who not only helps him feel comfortable with himself, but proves to be a love interest. Also, Santana (Naya Rivera) struggles with her feelings for Brittany (Heather Morris), who seems to like guys and at least one girl.

     In other relationship developments, Emma dates Carl (John Stamos), and Will (Matthew Morrison) falls for Holly (Gwyneth Paltrow), which provides a distraction to keep them apart for awhile. Finn (Cory Monteith) goes back to Quinn (Dianna Agron) for a time, despite his feelings for Rachel (Lea Michele). Quinn takes an interest in Sam (Chord Oversteet). Puck (Mark Salling) does his best to woo new member Lauren Zizes (Ashley Fink). Artie (Kevin McHale) loses Tina (Jenna Ushkowitz) to Mike Chang (Harry Shum Jr.), but soon dates Brittany.

     Among the other new characters is Beiste (Dot-Marie Jones), the new football coach who befriends Will. She is such a unique person, that she certainly adds another layer to a very diverse cast. Jones, a talented actress, is a nice addition.

     There are some pretty special episodes in Glee's second season. "Britney/Brittany" boasts all Britney Spears music, and an appearance by the singer herself. "The Rocky Horror Glee Show" takes on the musical "The Rocky Horror Show." "A Very Glee Christmas" is the series's spin on a Christmas special, complete with holiday tunes. "The Sue Sylvester Shuffle" aired after the Super Bowl! "Original Song" marks the beginning of premiering all new music on Glee. Finally, "New York," the spectacular season finale, is set and filmed in New York City as the New Directions compete at Nationals.

     The nice thing about this release is that Glee is meant to be watched in HD, which Blu-ray allows. The picture is very detailed and crystal clear, while the songs sound pitch perfect. There is much detail in the setting, and high def picture allows one to see each and every one of those. It's great to get such a great quality for the music, since this show is so melody heavy. Glee: The Complete Second Season has 5.1 DTS-HD surround sound, and is presented in 1.78:1 widescreen aspect ratio.

     There are lots of bonus features on Glee: The Complete Second Season, mostly drawn from the previously released DVD sets. Glee puts out a release mid-season, so one can buy the year in two parts or one, but only the full season is available in Blu-ray, so that is recommended.

     Over ten minutes are spent examining how the cast shoot the season finale, "New York," in New York City. It's especially touching to see all of the fans that show up to see the actors. Eight minutes of "Guesting on Glee" features interviews with guest stars including Katie Couric, Carol Burnett, Gwyneth Paltrow, Cheyenne Jackson, Charice, Kristin Chenoweth, John Stamos, and Jonathan Groff.

    Cory Monteith takes viewers behind the scenes and spends five and a half minutes talking about building an auditorium set. A real auditorium is used in season one, but for the second year, a set is built on a sound stage. The featurette takes you through the entire process of creating the set, from sketching, to actually putting it together.

     "The Wit of Brittany," which is about two minutes of some of Brittany's (Heather Morris) best one-liners, is fun, as she does provide a good laugh. Even better, an almost six minute short takes fans into a "Day in the Life of Brittany." Morris is in character, but touring the set. Extremely amusing.

     I like "Getting Waxed with Jane Lynch," in which we get to see some of the process it takes Madame Tussauds's to make a Sue Sylvester (Jane Lynch) wax figure. Two minutes of Sue's one-liners have their own track. Santana gets almost three minutes of her slams put together. There are also fifteen minutes from the Glee panel at the San Diego Comic-Con from summer 2010. "Stevie Nicks Goes Glee" spends three and a half minutes on the Steve Nicks music-heavy episode.

     "The Making of The Rocky Horror Glee Show" is a seven minute look at the very special Halloween episode. Bits of trivia are doled out, such as that Carl was originally supposed to sing "Sweet Transvestite," though Mercedes (Amber Riley) eventually gets the number. Jayma Mays gives the low down on some of the "ab-ulous" going-ons. In general, the cast is very relaxed and talkative about the experience, which is what one wants in such a featurette.

     One feature that is truly disappointing is the exclusive bonus song from "The Rocky Horror Glee Show." Called "Planet, Schmanet, Janet," it is about a minute long. There isn't anything new filmed, just the old red-lips-mouthing-the-words trick used for the opening. The music itself is enjoyable, but longs for something more substantial. There is also inexplicable screaming throughout.

     As always, the Glee Music Jukebox is included, to allow fans to find their favorite musical numbers with a click of the remote. There is a shuffle option, but it only lets you shuffle between pieces from the five or six episodes on the disc currently in the player, so that's a little disappointing.

     It's not a bad lineup, of extras, but it's too bad there aren't some episode commentaries or further discussion with the cast and crew.


     Buy Glee: The Complete Second Season on Blu-ray today.

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

Article first published as Blu-ray Review: Glee: The Complete Second Season on Blogcritics.

A "Throwdown" Erupts on Glee

     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.

     "Throwdown" is a nice, solid episode of FOX's Glee, with enjoyable musical numbers, and interesting, dramatic plot. Will (Matthew Morrison) and Sue (Jane Lynch) attempt to be co-directors of the New Directions. Sensing some of the students are feeling neglected, Sue splits off all of the minorities into an "elite" glee club. This does not sit well with Will. Quinn (Dianna Agron) faces a tough decision about her pregnancy, while Finn (Cory Monteith) feels frustration that he doesn't have a say. Will understands, and pushes Terri (Jessalyn Gilsig) to let him have a more active role in their own "pregnancy." Rachel (Lea Michele) tries to prevent Jacob Ben Israel (Josh Sussman) from outing Quinn's situation, but when Sue learns the truth, the Cheerios coach feels personally betrayed, and makes sure everyone knows about Quinn's mistake.

     Glee tackles an interesting social issue in "Throwdown," namely the rights and responsibilities of an expectant father. Much is often said about a woman's rights, to choose, over her body, etc. But not nearly as much attention goes to the father. Finn grumbles because he is responsible for the act that makes the baby, and will have to raise the child, or at least provide for it financially, but is not permitted to make any decisions until the baby is born. Quinn is allowed to choose whether to keep the baby or give it up for adoption, and there's little Finn can do about it, unless he wants to take her to court and sue for custody. He certainly can't control anything Quinn eats, what vitamins she takes, etc., even though those actions help shape Finn's child.

     Absolutely, a mother should have rights over her own body, and thus, many of the chores of pregnancy fall to her. But is it right that the father has nothing to do for nine months, and no input if the woman doesn't want it? Even worse, though Glee does not go down this route, a woman can abort the baby without consulting the dad, and there is nothing he can do about it. Yes, she does have to carry a fetus for nine months, but if she engages in the activity that makes the baby and the man wants to keep and raise the child, is it right that she can kill it before he even has a chance to do so?

     The issue is further complicated because Finn and Quinn are still in high school, and are, in fact, only sophomores. Few people would argue that kids with two and a half years of schooling left are fit or ready to raise a child. Glee does little to judge the two for their actions, but instead, treats them as individuals, doing their best to handle a mistake they made. Not that Finn actually makes it, but he thinks he did. The only thing not handled very well is the lack of parental involvement, something surely much more present most times in this scenario, especially in the type of families that these two come from. While they may be hiding the whole thing at present, that won't always be the case, and parents are needed to help.

     Will also struggles with his lack of control, but as a married man, he has a little more say. That's because he is in a committed relationship, and so partners work together more. As Finn is just a teenage boyfriend, he and Quinn have no where near the level of bonding and trust needed to make those sorts of decisions together. True, Terri is faking her pregnancy, and Will is not having a child, unless, as Quinn promises, she hands over hers to Terri. But Will doesn't know that, so at least, in his mind, he can insist on participating far more than Finn is able to.

     As Will and Sue battle over control of the New Directions, both are far more focused on winning leadership over the other than how it affects the kids they claim to care about. Sue is trying to destroy the glee club, but Will is letting ego get in the way of his job. This isn't completely out of character, but it's regrettable. Will even flunks the Cheerios, not because they deserve it, which they do, but because he uses them as pawns in his feud. It's the height of irresponsibility, and not at all becoming of an educator.

     Because of these actions, Sue almost looks better during certain portions of the episode. Many of the minority students are feeling neglected, and she gives them what they want, actually pretending to care about them. As we will later learn that Sue has a disabled sister, and that Sue can show compassion for students, perhaps she does get caught up in Sue's Kids, in spite of herself. Allowing them to do that wonderful rendition of "Hate On Me" is a sweet spot in the episode, as one sees the kids come alive with joy.

     But Sue doesn't end on such a superior note. When learning of Quinn's secret pregnancy, Sue takes it very personally, and reacts with great vengeance. She treats Quinn as a close friend who stabbed her in the back, which demonstrates that perhaps Sue did really care for Quinn deeply. If she did not, why would she react so strongly when being deeply disappointed by the cheerleader captain? Torpedoing Quinn's reputation is a huge overreaction, and likely a fireable offense in the eyes of the school. But it's also a very emotional display, showcasing some very deep feelings. It both humanizes and demonizes Sue at once.

     Thank goodness Will comes around. Part of that can be credited to Terri, who is still trying to be a loving, supportive wife, even while lying to her husband. There are plenty of moments in "Throwdown" that evidence Terri is not the totally evil person many fans see her as, but that she wants her husband to be happy. The fake sonogram also affects Will, as he sees the "baby growing inside of Terri." It's Will's family that grounds him, and the New Directions are becoming a second family for him.

     The most free flowing, happy song is "Ride wit Me," which the kids sing when secretly meeting all together, unhappy about their forced separation. It's pure joy, and every singer has a huge, genuine smile on their face during it. Many songs in Glee are done with enthusiasm, but this one may be the most fun they are ever shown having on screen. It's such a treat, and it's worth wondering if this was rehearsed much at all, or if the actors were allowed to just play with it. It certainly seems the latter, though that could just be a credit to how good the actors are.

     "No Air," which is sung by Will's half of the club is nice, but not particularly special. Rachel and Finn have outstanding vocals, per usual, despite Will telling them they are going to need to spend crazy hours practicing it. But then, this is a musical show, so viewers don't expect to have to wait for their great performances. Still, "Hate On Me," the song mentioned before as Sue's Kids' number, is better.

     Quinn's "You Keep Me Hangin' On" flows in an acceptable manner. Agron is not nearly the singer many of the other kids are, but she does a serviceable job when called upon. She is a better actor, allowing her grief and jealousy to play very expressively before, during, and after the song. Her tears during the final number are wrenching. This is a girl going through some very heavy, serious stuff that most people her age do not have to deal with. Quinn can be grating and hard to like, but she is also a human being with feelings. These moments remind everyone of that, and stop her from being a two dimensional shrew.

     Then there's the closer, "Keep Holding On," a superb coming together as the groups reunite. It's doesn't have the raw quality that "Ride wit Me" has, but instead, it is a well polished, appropriate ending for the tumultuous episode. Other episode endings are more exciting, but this one fits perfectly in "Throwdown," providing a capper to events, and, as usual, the lyrics actually mean something in relation to the plot. This is important in any musical.

RANDOM BITS:
 
     Quinn is told the sex of her baby, even though she's only ten weeks pregnant. Genital organs do not begin to form until at least fourteen weeks.

     Finn talks about how cool Gwyneth Paltrow's baby name is. Ironic, considering Paltrow has a recurring part in season two. To make matters more coincidental, Finn jumps to Drizzle as a possible moniker, and Paltrow performs a big number in the rain on the show.

     Weird that Finn would angrily tell Will and Sue that if the kids wanted to see mom and dad fight, "those of us with two parents" would watch them on payday. Finn is being raised by a single mother, already established on the show, and the scenario he brings up is specific, as if he has experience. From what? Shouldn't this line go to another student?

     There are only two OB GYNs in town, and they're both Asian? Seriously? This seems vaguely racist, though likely intended to be humorous.

     Will and Terri are extremely worried about money at the beginning of the season. Now, with a baby on the way, which will cost a lot, they eat take-out frequently. How can they afford it? Did they get a windfall that wasn't mentioned on screen?

     Mercedes (Amber Riley) says that her father is a dentist. Why, then, does Brittany (Heather Morris) go to Carl (John Stamos) to get her teeth cleaned in the early season two episode "Britney/Brittany?" Wouldn't Brittany trust a friend's dad more than a guidance counselor's new boyfriend?

     Sue has the piano steam cleaned. This is not a thing, and if she does insist on it, it's probably terrible for the piano.

     Sue calls her group Sue's Kids. This is surely a take off of Jerry's Kids, a charitable organization run by Jerry Lewis that does a telethon every year.


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

Glee hosts "A Night of Neglect"

     FOX's Glee returned last night with an all new episode. In it, the members of the New Directions decide to stage a "Night of Neglect" to raise money to get themselves to Nationals, as well as to pay for several of their group to participate in an academic contest. Sue (Jane Lynch), newly determined to destroy the club, forms a Legion of Doom to combat them. Meanwhile, Will (Matthew Morrison) and Holly (Gwyneth Paltrow) have problems when Holly suspects that Will is still in love with Emma (Jayma Mays).

     It is about time Will and Emma moved along! She is now free of husband Carl (John Stamos), who is seeking an annulment after months of living in an unconsummated marriage. Will is dating Holly, but Holly always says their relationship will be temporary. She is a "wandering, wild substitute," which, by the way, is not a real thing. There are no substitutes anywhere who live and travel like Holly Holliday. But the writing is on the wall, because Paltrow is a big name movie star, and while she has been kind enough to do three episodes this season, her intentions were never to stick around long-term.

     Will and Emma are the on-again, off-again couple that just can't seem to make it work. She likes him when he's married, then he likes her when she is with Carl. Both pine for the other while they are unavailable. Now, both are single, and with the season finale fast approaching, it's finally time to see how they work as a couple. Best guess is that will be the beginning of season three. Can't rush into it too quickly.

     The most likely obstacle for Will and Emma at this time is Terri (Jessalyn Gilsig), missing for most the season, despite her name remaining in the opening credits. As a member of Sue's band, and someone who is still very fond of Will, look for her to stir up trouble just when it appears Will and Emma are heading for a happy ending. Terri is not something that cannot be overcome, but she will toss up some drama for a bit first. This is great news, because as much as Terri might be unlikable, Gilsig is great fun, and it will be enjoyable to watch her in action again.

     As for Holly, she may be back in season three. The writers and producers would love for her to return, and why not? She doesn't even have to come in to start trouble, but rather, just as a returning friend in town for a warm visit. Her performance of "Turning Tables" is a perfect ending for now, but it is likely we have not seen the last of her.

     Anyone who was excited to learn that Charice would be joining Glee this year may have been disappointed by her long absence after only one episode. She returns as Sunshine Corazon, member of a rival club, in last night's episode. After convincing the New Directions that she is serious about helping out with their benefit by delivering a powerful version of "All By Myself" and promising to pack the house, she and her fans are a no-show.

     It's easy to see from a mile away that Charice is part of Sue's evil scheme, asked to participate by her vocal coach, Dustin Goolsby (Cheyenne Jackson), a.k.a. Mr. Handsome, in the Legion of Doom. Why only Rachel (Lea Michele) can see that is a bit mind boggling, especially after Rachel brought another spy from the same group in last year. Yet, somehow, all hopes for the event hang out Charice, and not even Glee Club parents show up.

     Songs at the benefit include Tina (Jenna Ushkowitz) singing "I Follow Rivers" and Mike Chang (Harry Shrum Jr.) showing off his dancing skills to Jack Johnson's "Bubble Toes." Tina's song is a little boring, but Mike really has moves, as we've seen numerous times before.

     The only people in attendance are Kurt (Chris Colfer) and Blaine (Darren Criss), making their weekly, brief appearance, and Sandy's (Stephen Tobolowsky), a.k.a. The Pink Dagger, all-familiar heckling club consisting of recurring characters Becky Jackson (Lauren Potter), Jacob Ben Israel (Josh Sussman), and football bully Azimio (James Earl). While the hecklers could have had their own episode, the four actors being so fantastic, a bit of taffy and a talk from Holly handily defeats them, leaving only a couple of cheering fans by the end of the show.

     Sure, Sue's choices of fellow baddies are slim, as most adults in the series, unlike fellow students, adore the New Directions, but did she have to go with Sandy, of all people? Tobolowsky is worth adoration, but his character is never much of a threat. The former glee club director, turned pot dealer, is brought to his knees as soon as Mercedes (Amber Riley) belts out Aretha Franklin's "Ain't No Way," and he ends up donating all of the money for the academic trip himself.

     Mercedes rarely gets a chance to shine. This episode addresses head on how, though Mercedes talent matches Rachel's, the former is never in the spot light. It is extremely welcome for Mercedes to get her due with a killer musical number, while Rachel takes the entire week off of singing, a true rarity in the series. While both are fantastic characters, it would be nice if Mercedes got several episodes of focus, not just this one.

     Lauren Zizes (Ashley Fink) continues her streak of awesomeness by appointing herself Mercedes's manager, and making diva-level demands on Rachel, who is assigned to handle the talent for the event. While Mercedes is generally a kind diva, it is easy to see why she would embrace Lauren's big plans when having her ego stroked a bit, a long overdue occurrence. Lauren and Mercedes are great fun together, and perhaps the two can be chums, since Quinn (Dianna Agron) seems to have abandoned her former gal pal.

     Another highlight in this episode is Santana's (Naya Rivera) verbal take down of Dave (Max Adler) in the hallway as the bully threatens Blaine and Kurt. Santana seems to be embracing her homosexuality, as the whole confrontation has a "stick together" vibe to it. Dave, who earlier in the season admitted he is gay to Kurt, has backtracked into the homophobic crowd, understandable in the setting where he dwells, even though it is also regrettable. While Kurt and Blaine don't seem to be of much help to Dave embracing himself, perhaps Santana's method of kicking butt can turn the tide?

     Lastly, the brief cut scenes of the academic team, consisting of Mike Chang, Tina, Artie (Kevin McHale), and Brittany (Heather Morris) is hilarious! Who'd have thought that Feline Diseases would be a category, making Brittany invaluable in a thinking challenge? The pay off at the end, with Holly's teaching coming in handy, is a nice trough gag. While outside of the normal plot of the show, the connections made, as well as the superb humor, makes this bit memorable.

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

     Glee airs Tuesday nights at 8 p.m. ET, and next week will present a special 90-minute episode! Quinn and Lauren will battle it out for prom queen.

Article first published as TV Review: Glee - "A Night of Neglect" on Blogcritics.

Blu-ray Review: Country Strong

     Like most new movies released on Blu-ray, Sony Pictures' Country Strong looks fantastic. The picture quality is perfect, and the sound is crystal clear. Colors are rich, without overtaking the picture, and the darks have depth, not being lost in the corners. The cast looks great, and every detail is easily seen. Even the heavy reds and blue during performances don't distract, as they sometimes do, because there are enough hues mixed in to provide plenty of contrast.

     My only complaint in either of those categories is that the musical performances were quite a bit louder than the sometimes mumbled dialogue, so it is necessary to keep the volume remote control handy. That is a problem I didn't expect on modern home video, as advanced as sound mixing has become, and cannot recall any release with such drastic level changes I have experienced before. That being said, the music mixing is superb, and once you tone down the volume a little, you can really enjoy the harmonies. Perhaps the sound mixing was done by someone who really loved the music, admittedly an essential part of the film, and wanted to play it up.

     Sadly, the film itself is not very good. It premiered to mixed reviews, and after watching it, I fall on the side claiming a low quality flick. I do not blame the actors. Gwyneth Paltrow does as much as she can with such an unlikable character who can't even decide what she wants from one moment to the next. Her vocals are fine for the part. Garrett Hedlund and Tim McGraw face similar challenges, trying to make a pair of slightly creepy men who seem to care mainly about sex (Hedlund) and fame and fortune (McGraw) real human beings. They fail, but they're putting real effort into it. Leighton Meester, who is trying to launch a music career alongside her acting one, has a beautiful voice, but is saddled with less than memorable songs.


     The story is trite, and reminds me of a bad Lifetime movie. We do not need a four way love mess, with each man involved somehow with each woman. I'm a little surprised, because of the forever changing partners, they kept things strictly heterosexual, except that the target audience for this film is the moralistic heartland of our country, who enjoy country music, and even less people probably would have seen it had they crossed those lines. I am knocking neither mid-Westerners (I am one myself), nor country music fans (as both my parents are), as I respect high quality examples of both. Crazy Heart is one of my favorite movies of last year. Country Strong doesn't achieve half the total package Crazy Heart had.

     If you actually liked the movie, as I'm sure plenty of people did, as everyone's tastes differ, you'll love the plethora of extras that come with the Blu-ray disc. In fact, I am jealous some movies I like better don't have half as much. Most of the basics are there, of course, including a handful of deleted scenes and subtitles for Spanish, French, and Portuguese. Strangely, a commentary track is absent.


     Additionally, as you would expect from a film about music, there are a couple of music videos from Paltrow and Sara Evans and one extended musical performance of Paltrow singing "Shake That Thing". An original ending gives you a different way things could have ended. The Blu-ray edition gives you three featurettes covering the costumes, songwriters, and cast. The menus are among the best I've seen, allowing easy scrolling while still watching the film. Along those lines, a movieIQ option is included that allows you to look at trivia while the movie is playing. Really, a treasure trove of riches.

     As you may have gathered, I cannot recommend this purchase for the film itself, but the studio certainly did a good job of making an enjoyable, immersible experience for fans with the special features. If you liked Country Strong, the Blu-ray is a must have.

     The Blu-ray and DVD versions of Country Strong will be released April 12th.