"Frenemies" Make for Drama-Filled GLEE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GLEE Needs Work to Master Puppets

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

Glee aired a brand new episode on Thanksgiving entitled “Puppet Master.” It’s odd that a series would present fresh programming on a major national holiday, but since that is the case, I guess it’s appropriate that the episode was trippy and surreal. Those tuning in with a full belly of turkey will be forgiven for thinking that the weird story had something to do with their food-induced haze. It did not.

In “Puppet Master,” Kurt (Chris Colfer) is excited to book Pamela Lansbury’s first gig. It’s at a Broadway bar, though, and they are a Madonna cover band, so his band mates aren’t so excited, arguing that this is a bad place to launch themselves. Kurt has other ideas, imagining a packed crowd as he, Rachel (Lea Michele), Santana (Naya Rivera), Starchild (Adam Lambert), and Dani (Demi Lovato) perform a rousing “Into the Groove,” much to audience’s delight.

This is just a dream. In fact, only on person shows up to the actual show. But it’s someone who has a connection, and the performance (which, unlike the dream sequence, we don’t see) is enough to earn them a second booking at much more appropriate venue.

Interestingly, Dani is in the back when the band plays, and is barely in the episode, sitting out more scenes that the other four are in. I wonder if it has to do with Lovato’s availability. Otherwise, it’s annoying to sideline someone who should be a part of the plot, much as the Ohio-based stories so often do.

Kurt is the “Puppet Master” of the group since he’s the one in charge. The others do what he tells them to, and they let him have the final say. This does tie into the title and theme of the overall hour OK, just perhaps not quite as strongly as other subplots.

It’s odd when Glee chooses to show Kurt’s inner vision. It’s not that the show hasn’t done something like this before; in fact, many of the musical numbers seem enhanced by fantasy, not quite realistic. This one just feels different, more out of place.

In fact, this label applies to just about every song in “Puppet Master.” Three of the four McKinley numbers are gas-induced hallucinations. I guess that’s why “Into the Groove” is off. There is no gas leak in New York, so why is a character there experiencing something very similar to what his former classmates are seeing in Ohio?

Even stranger is Blaine’s (Darren Criss) story, in which he suddenly gets bossy, is rejected by his friends, and retreats into the world of puppets. He first sees his classmates in felt form singing “You’re My Best Friend.” Then Blaine builds a Kurt puppet to talk to, and later, constructs versions of the rest of the cast, all exactly matching the ones in his mind.

I really enjoyed the puppet versions of Sam (Chord Overstreet), Will (Matthew Morrison), and the others, and the closing number of the episode, “The Fox (What Does the Fox Say?)” is fun, split between Lima and NYC. However, forcing the connections between the two settings feels just that – forced – and it doesn’t exactly make for the best or most cohesive story.

Blaine has been part of the New Directions’ leadership, but he’s never been one to really try to take over. As such, this “Puppet Master” arc comes out of nowhere. I absolutely get that a kid could be having a rough time and speak up to try to assert some form of control, which is what Blaine seems to be going through. What’s weird is that everyone else acts like this is how Blaine normally is, which just isn’t true. And Tina (Jenna Ushkowitz) quickly forgives him for his creepy interactions with Puppet Tina, who is, for some reason, wearing the exact same clothes as Tina when she finds her.

Perhaps my favorite part of Blaine’s bit is Blaine’s conversation with Brad (Brad Ellis), the piano player. Five seasons in, Brad has appeared in dozens of episodes, but has never had a line of dialogue that I can recall. In “Puppet Master,” he has several. They could be part of Blaine’s imagination, but whether they are or not, the meta feeling one gets seeing Blaine ignore Brad who deserves a little attention, which can be construed as a commentary on Brad’s overall role in Glee, is great.

Jake (Jacob Artist) also has visions. Continuing his recent thread, he wants to get back with Marley (Melissa Benoist), who resits. After a pregnancy scare with Bree (Erinn Westbrook), Jake imagines himself and the two ladies doing a mash up of “Nasty” and “Rhythm Nation,” complete with many female dancers. It’s a pretty enjoyable number, referencing Janet Jackson and her work, which seems a good fit for Jake’s character.

If Jake wants Marley back, he has to get over his pride. I feel like the player persona he gives off is purely a coping mechanism that he reverts to when rejected. But it’s exactly this side of himself that is so unattractive. Now that he’s lost his main plaything, Bree, despite that fact that he claims to be sleeping with the rest of the squad, too, maybe it will be a wake up call for him. He desperately needs one.

Sue (Jane Lynch) has her own rude awakening when Superintendent Harris (Christopher Cousins, Breaking Bad), whom she’s been flirting with, thinks she’s a dude. Sue doesn’t take it well, and tries to find her femininity (with a little help from Unique (Alex Newell)). Her own brush with the poison gas has her dancing with Will to “Cheek to Cheek,” but whether in a dream or reality, she doesn’t quite find herself comfortable or able to pull off a traditional lady look.

Let’s be honest, one would have to be blind to think Sue is a man. Even in her track suits, there is definitely something woman-ish about her. Whether she conforms to stereotypes or not, her gender is not something that anyone has ever questioned, nor could they. The whole thing with Harris is dumb, even if it’s great to get a little bit of vulnerable Sue and a fantastic flashback to her first donning of the current look.

It turns out, the gas leak is a ploy by Figgins (Iqbal Theba) to wrest his office back. This is completely unacceptable. No matter how much Sue deserves to be de-throned, any halfway decent principal would never do anything that poses a danger to the students, and that exactly what Figgins does in “Pupper Master.” He proves himself unfit as principal, and even as a janitor. Sue can’t prove anything, and I assume she doesn’t try because she realizes this. And, admittedly, the episode doesn’t explicitly name Figgins as the cause of the leak, however, it seems to be implied. Because of this, the story is infuriating.

To be honest, in the end, it seems like Glee had the opportunity to have puppets made of most of its key cast members (a trend other shows, such as Angel and Community, have already done better), and decided to come up with, at the last minute, a quick story that made use of them. Perhaps that’s why the installment is sloppy and a bit of a train wreck. Some large plots do get a little screen time, and the musical numbers aren’t all bad. Yet, this episode is not good by almost any general measure. Maybe they’ll do better with Christmas next week?

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

Still "Love, Love, Love" GLEE?

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

Glee kicks off its fifth season on FOX this week with part one of a two-hour Beatles tribute. Entitled “Love, Love, Love,” the story picks up in the spring, where last season left off, shortly before prom. Rachel (Lea Michele) attends her callback audition for Funny Girl, Blaine (Darren Criss) tries to lock down Kurt (Chris Colfer) once more, new love blooms for Artie (Kevin McHale) and Kitty (Becca Tobin), and McKinley High has a new principal.

I like the new crop of characters, added last year and now promoted to series regulars, a lot, but I’m kind of glad “Love, Love, Love” more serves the longer-running roles. Sometimes there are too many subplots going on in a single episode of Glee to really get a satisfying amount of screen time for any of them, but this week’s premiere keeps the focus on a few people, which works really well, especially as it serves some of the more popular parts.

The most anticipated cliffhanger this summer is finding out if Rachel gets to be on Broadway! In “Love, Love, Love,” we see her go for a chemistry reading with Funny Girl‘s leading man (Ioan Gruffudd, Ringer, Fantastic Four) and director (Peter Facinelli, Nurse Jackie, Twilight), but the two experienced Broadway vets certainly have doubts about her, and think Claire Danes might be a better choice.

Rachel’s lamentation of “Yesterday” is a moving number, though not completely earned. She’s been in the Big Apple less than a year. Some stars are born over night, and given the pacing of a TV show, she probably practically will be; she may even get this part. But it’s not like this is a make-it-or-break-it moment for her, so as much as I appreciate a nice melody, it’s a little overly dramatic. Admittedly, that’s in keeping with her character, just the part of her character that makes one sigh and shake their heads.

Luckily for Rachel, she has a second chance when the guys show up in the diner where she and Santana (Naya Rivera) now work, which just happens to allow singing from its waitresses. The staff belts out “A Hard Day’s Night,” and while the song would probably be more effective as a Santana-led number, it does the trick. We still don’t know if Rachel will get the job or not, but Glee fans are sold on her worthiness for it.

“Love, Love, Love” is kind a reboot for Glee in many ways. Although they choose not to move on to the next school year yet, many of the stories kind of reset themselves, and fresh beginnings emerge. Rachel’s job is one such development, as is Sue’s (Jane Lynch) triumphant return to McKinley, with merely a mention that Becky (Lauren Potter) confessed the gun was hers and got a one-month suspension, thus clearing Sue’s name.

One one hand, I like that Glee isn’t beholden to all the hanging threads from last year, which those unresolved things weighing it down and driving the fall plot. On the other, it would be nice if the series took the time to resolve bits instead of just moving past them, essentially abandoning a few of the stories. It just didn’t feel like last year’s tale was done, but season five is moving on anyway. I guess it might have been poor planning on arc structure, holding onto things longer than they should have, and then deciding enough was enough.

Sue’s promotion to principal is directly a result of her framing Figgins (Iqbal Theba) for a variety of unsavory activities in the workplace. This isn’t the first time Sue has assumed the position, and last time I wondered if it might be permanent to cut down on the swelling cast. This go-round feels just as temporary, though, with Figgins sticking around as janitor and vowing revenge. I actually look forward to the goofy war that might be waged between these two comic-relief characters.

Sue’s first act is to call Will (Matthew Morrison) and Roz (NeNe Leakes) into her office, demanding that they both take home national championships this year if they want to keep their jobs. Never mind that the year is almost over, and that the national title for cheerleading is handed out in February, a couple of months prior to this episode, and the New Directions shouldn’t even be eligible for Nationals. Oh, well.

It’s a little frustrating when Glee sacrifices authenticity for what they deem to be the most “fun” story. I like to see a new side of Sue, helping teachers and coaches make their clubs succeed instead of only caring about her own brood, but I just wish the writer’s room would make better use of Google. These facts aren’t that hard to check, and I’m sure the episodes could still play out in a similar manner given a little creativity.

Another big moment that doesn’t feel quite real afterwards, but is so great while watching one doesn’t realize it at the time, is Blaine’s proposal to Kurt. Making up with an energetic “Got to Get You Into My Life,” being just boyfriends again isn’t enough for Blaine. So he recruits all the rival glee clubs in the area in the fantastic “Help!” number, including Dalton Rumba’s (Michael Hitchcock) deaf students, Vocal Adrenaline sans any familiar faces, and a remorseful Warblers club led by Trent (Dominic Barnes) and Sebastian (Grant Gustin), to do (what else?) “All You Need Is Love” for Kurt. It’s a big, splashy proposal that delights as a visual and auditory treat, times two, but doesn’t really fit in at all with Glee‘s established world and character rivalries.

My one complaint about the finely executed “All You Need Is Love” scene, besides the premise of it, is that Mercedes (Amber Riley) is present but doesn’t have a single line of dialogue. Recently dropped from the full-time cast, it does make sense to bring Riley back for such an important moment, but it’s cruel to waste her as set dressing. This will only be made up for if she sticks around to talk some sense into Kurt and Blaine in the second half, next week.

It’s way too early for Blaine and Kurt to get engaged. Kurt says yes because how can he not when confronted with the massive, showy, dream proposal? But his conversation with his father (Mike O’Malley) on the way there proves he isn’t fully committed to this. Why must all the teenagers at McKinley try to get married the second they leave the halls of high school, or even before? Can’t they just enjoy their youth and being with those they care about, without rushing towards commitment?

I understand Blaine’s desire to do this. He feels he has lost Kurt and wants to solidify his hold on him. However, it’s a sign of immaturity. Where is Will’s scene trying to talk Blaine into waiting, or at least offering sound advice? Some of the students are hesitant, but this arc really begged more exploration and characters’ self-reflection before the big moment. I hope we get some after the fact, rethinking what has been promised.

Two original cast members of Glee that the show has never, ever found a good use for, though god love ‘em for trying over and over again, are Artie and Tina (Jenna Ushkowitz). They just do not resonate the way others have, yet somehow remain in the show (after somehow being demoted to juniors in season three). “Love, Love, Love” tries valiantly to serve both of them, but despite signs that Artie, especially, is going nowhere, it’s long past time to let them go, especially when better players such as Mercedes and Brittany (Heather Morris) have already been given the boot.

Artie’s new romance is with Kitty. This makes for an entertaining trip to the fair and a group rendition of “Drive My Car,” which immediately devolves into a secret fling when Kitty’s new rival, who emerges from nowhere, Bree (Erinn Westbrook), disapproves. Then we get a sad, but terrific, “You’ve Got to Hide Your Love Away,” before a confrontation from Tina pushes Kitty to make the relationship public.

This is actually one of Artie’s better episodes. McHale gets to show a range of emotions, but the character is still too much of a pushover to be sympathetic. What Artie tries to make look like understanding for Kitty’s reputation ends up casting him as a schmuck. Perhaps many kids in his position would do the same, willing to keep his fling a secret in order to continuously get some sugar from a beautiful girl, but Glee is about not being ashamed and standing up for yourself, so this doesn’t fit the message of the series.

Kitty’s growth into a fully developed person, not just a Cheerio mean-girl, is welcome, and has been going on for awhile. However, her quick flip-flopping between whether she’s OK with people finding out about her and the boy in the wheelchair rings false. She goes from thinking hiding things is a great idea to being fully supportive of a public pairing in no time at all. And what exactly does she see in Artie, besides, admittedly, a great singing voice? It doesn’t gel.

Tina, for her part, is shown to be bitter and nasty after last year’s events. Her attacking Kitty seems noble at first, protecting a friend, but is quickly unmasked as jealousy and pettiness, doing her character no favors in the likability column. Which is why it’s weird that Blaine, Sam (Chord Overstreet), Jake (Jacob Artist), and Ryder (Blake Jenner) try so hard to cheer her up. Blaine has an inexplicable friendship with Tina, but the rest don’t owe her anything. And the result of this little subplot is that Tina is going to the prom with Sam? Poor Sam, is all I can say.

Now, the boys’ way to make Tina is enjoyable, staging a classic Beatles presentation of “I Saw Her Standing There.” Marley (Melissa Benoist) sort of steals this scene, making a perfect screaming, crying fan girl with big glasses dancing near the stage. It’s a really fun piece of music, well performed.

And that’s why “Love, Love, Love” works. For all its many flaws in character development and authenticity, these songs rock. Glee does as much justice as one would expect from the show with these classic numbers, and even when the story doesn’t quite work with them, viewers are likely to forget that in the moment and just enjoy themselves. It’s why the Beatles are so enduring to this day, and I’m glad Glee is spending a second hour with them next week, which can only benefit the show.

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

"Lights Out" Creatively On Glee

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

"Lights Out" plague Glee this week as a power outage thrusts the school into darkness. This ruins Will's (Matthew Morrison) plan to stage a huge, stadium-style number to impress the judges at Regionals, and forces the kids to go back to their musical roots with acoustic and a cappella performances.


The basic story of "Lights Out" makes absolutely no sense. A Mylar balloon gets stuck in an electric socket and knocks out the electricity for the entire building? The kids are not sent home? Somehow, the school has hundreds of flashlights on hand to combat the situation? This is lazy and unrealistic writing.

How about use a more realistic hook to get the students performing sans the tools they are used to, which, by the way, often include only non-electric instruments? Sam (Chord Overstreet) talks about having to entertain his brothers with just a guitar because his family is poor. Isn't this enough of an in without going off the grid?

"Lights Out" does provide some pleasing musical performances. Sam and Ryder (Blake Jenner) lead the New Directions in the classic "You've Lost That Lovin' Feeling," Ryder soulfully laments "Everybody Hurts," everyone does a Stomp-esque performance of "We Will Rock You," and the episode ends with "The Longest Time." These are, without exception, fantastic songs, and they are all executed very well.


Ryder's sadness stems from his on-going issues with his Catfish-gal, Katie. He still doesn't know who she is, but his continued obsession with her causes him to dismiss Kitty (Becca Tobin) when she tries to go out with him. It's believable for a high school boy to fall in love with someone online, but it's too bad Ryder passes on Kitty, a flesh and blood girl who is interested in him, for a fantasy that may or may not pan out.

I don't think a lot of guys would have made the same decision Ryder does. Kitty is hot and she's there and she's willing. Katie could be a dude, for all Ryder knows. However, there is something romantic about falling for someone you've poured your soul out to, even if you don't know what they look like, and Ryder is becoming more interesting because of this plot. I'm curious to see where it goes in the remaining hours of the season.

Meanwhile, Blaine (Darren Criss) investigates why Sue (Jane Lynch) left the school, finding her seemingly happy to be a personal trainer, running group sessions. One gets the distinct impression that Sue is just putting on a brave face, especially during her fun / sad rendition of "Little Girls," and it's easy to be sympathetic to her plight.


That being said, Sue can't reveal the truth, nor can Blaine figure it out, because this story relies solely on Becky (Lauren Potter). Missing Sue and fed up with Roz (NeNe Leakes), Becky makes her way to Figgins (Iqbal Theba) in "Lights Out" to confess to the crime. We aren't sure what will happen with Sue or Becky as this point, but it does seem the plot will get some resolution.

Kudos should be given to Glee for the outstanding way Becky's character is handled, and equal praise goes to Potter, the actress bringing the role to life. Becky is not defined by her handicap, nor is that ever the focus of her tale. Instead, she is just as well developed as other important Glee characters, and going down such a dangerous, bold, yet realistic, road with her is brave and compelling.

In New York, Kurt (Chris Colfer) and Rachel (Lea Michele) try to get Santana (Naya Rivera) to follow her passion, but she's resistant, not knowing herself what she wants to do with her life. That is, until Isabelle (Sarah Jessica Parker) offers them the chance to work a ballet event, and Santana's past comes out.

I am glad to see Kurt is still working part-time for Isabelle. After his acceptance in NYADA, it looked like we might have seen the last of her. Parker fits wonderfully into the series, and provides a great recurring part. I hope she remains in this capacity for the next couple of years.

Santana is a tough nut to crack, and Glee isn't about to make it easy for her friends to help her. However, she also is very in-touch with her feelings, going back into her past, as well as that of the others, in "At the Ballet." This is a great way to explore that background, while staying true to the persona created, even if the song is a bit boring.


I also like that Santana doesn't know what she's going to do. Many young people don't after high school, and it's satisfying to see her struggle with this, frustrated at others' pushes for her to define herself. This will be an ongoing process, and hopefully Santana remains in the cast at least until she figures things out.

It's not hard to imagine there will be some casting shake-ups for season five (Glee was recently renewed for two more seasons). Santana, Kurt, and Rachel seem stable in New York, and hopefully Blaine, at least, will join them next year. But it's time for most of the other alumni to move on.

Finn (Cory Monteith) will probably still be a player going forward, and if he stays at college with Puck (Mark Salling), that provides room for both of them to continue. It is highly strange that Finn isn't participating with Will in "Lights Out" throughout the whole hour, preparing for Regionals, just after they get their partnership on track last week, but that could be due to outside influence, since Monteith recently entered rehab, missing filming the end of the season. One assumes that Finn will continue to work at McKinley, picking up this story next year.

However, this may be the end of the road for lesser-seen characters this year like Mercedes (Amber Riley) and Mike (Harry Shum Jr.). They can still guest star, like Quinn (Dianna Agron), but there doesn't seem to be reason to keep them contracted if they're not going to be used. The same could also be said for graduating seniors Sam, Brittany (Heather Morris), Artie (Kevin McHale), and Tina (Jenna Ushkowitz), unless new purposes can be found for them.


This would make room for new main characters, such as Ryder, Marley (Melissa Benoist), Jake (Jacob Artist), Kitty, and Unique (Alex Newell), who have been in just about every episode this year, but remain on the guest list. These five are the future of Glee's McKinley arcs, and deserve the promotion.

Which leaves side players like Joe (Samuel Larsen) and Sugar (Vanessa Lengies). They have been absent for the past few installments, including during times where they should be present or mentioned, but aren't. It's OK if Glee wants to cut them, since they aren't main characters, and there is precedent for such drops, most notably the unjust and regrettable way Zizes (Ashley Fink) departs. However, it would be nice, after logging more than twenty episodes apiece, if they get a good sendoff, rather than just disappear.

"Lights Out" is a filler episode, which provides some fun songs, but only a little development. As such, it sparks musings of larger issues, rather than speculation on its own merits. We need these every once in awhile, but they will never be favorite installments.

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

Glee gets "Naked"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



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

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

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

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

 If you like my reviews, please follow me on Twitter! Click here for all of the Glee reviews I've ever written. To purchase Glee DVDs, streaming episodes, music, and more, please click here. Article first published as TV Review: Glee - "Prom-asaurus" on Blogcritics.

Glee americano

This week's installment of FOX's Glee is called "The Spanish Teacher." Figgins (Iqbal Theba) tells Will (Matthew Morrison) that he is up for tenure, but that he should probably learn some Spanish if he wants to be considered for the position. Will is, after all, a Spanish teacher. Enrolling in a night class taught by David Martinez (singer Ricky Martin), Will realizes just how little he knows, but tries to correct that by bringing a Latino flair to glee club, as well as his normal teaching duties. In the end, remembering what passion is all about, Will opts for a transfer to the history department, leaving his old job open for David. Emma (Jayma Mays), who is already comfortable in her position, is chosen for the tenured position over Will.

While Glee has never shied away from camp, exposing Will as a fraud of a Spanish teacher crosses the line. Will says that Spanish was the only teaching position open at the time he was seeking employment, so he took the subject. And that was how many teachers settled into their jobs decades ago. However, such hiring practices have not been realistic in Ohio, or almost any other state, in quite some time. There is no way that Will would be hired to teach a foreign language without majoring in it in college and passing tests. The educational process in Ohio is pretty strict, and he could not teach a subject he knows nothing about. As such, the entire thing is completely ridiculous.

And that's not even getting into the outdated system of tenure shown in this episode.

Does McKinley not have a choir director position? It is understood that glee club is an extracurricular, but most high schools of any size have a teacher devoted just to vocal music. McKinley certainly qualifies as such. If there is a teacher already holding that position, why haven't they been seen on the show before? It would make sense, given the musical focus. And if there is not, why aren't Will and the club lobbying for a levy to pass to restore their music program to normal, basic standards? Certainly this is something that they could get people in the community behind.

Those involved in the educational system have plenty of reason to be offended by "The Spanish Teacher," but those of Latin descent may have even more beef. Will and the guys massacre "La Cucaracha" in a silly performance. Later, Will's "A Little Less Conversation," an Elvis number by the way, is not any better. Both have mediocre vocals and unacceptable costumes. Adding bulls into the dance in the latter song is terrible.

But "The Spanish Teacher" does have a handful of redeeming qualities. For one, Santana (Naya Rivera) is as angry at the racism and the injustice as any viewer, and she shows it. She puts Will in his place, and tells him just how wrong what he's doing is. In this, she serves as the voice of the audience. Thank goodness Glee chooses to include this position.

Also, most of the Latin music is actually quite good, owing mainly to the fact that Rivera and Martin perform it. Their "La Isla Bonita" is exciting, and Martin's "Sexy and I Know It" lives up to its title. By showing an alternative to the bad performances, Glee somewhat salvages the plot, even though it can't save the character of Will this week.

Martin does pretty well in his acting gig. There really is nothing to complain about in his character of David, nor the way he plays the role. While it is regrettable that David did not sing any Ricky Martin songs in "The Spanish Teacher," perhaps this can be corrected in a future appearance. And if David starts dating Holly Holiday (Gwyneth Paltrow), it could be a perfect match up!
 
Other plots in "The Spanish Teacher" come out better than the A story. Mercedes (Amber Riley) and Sam (Chord Overstreet) go to Emma for advice, and after giving them some very funny pamphlets, Emma advises them not to talk to each other for a week. They sort of break this rule when Mercedes sings "Don't Wanna Lose You," and Sam comes back with "Bamboleo / Hero." If there is anything Glee delivers as a recurring message, it's that music can speak louder than words. But the pair does not have any actual conversation for seven days.

The problem is in the way this story ends. After a week, both appear anxious to talk to one another. But then Mercedes leaves with Shane (Lamarcus Tinker). Based on every physical and stated clue in "The Spanish Teacher," one would assume that Mercedes would dump her boyfriend to be with Sam. And maybe she still will. But she certainly doesn't tell the devastated Sam that as she walks away. It's an interesting story that drops the ball at the last moment.

Will and Emma's romance is given a happier ending. Will gets annoyed with Emma's pamphlets when he is stressed out by the tenure issue. Seeing that he is wrong to criticize, and that the pamphlets are a wonderful achievement, he apologizes. It's pretty inexcusable that Will treats Emma so meanly, but at least he understands that he is in the wrong and tries to make up for it. And Emma getting the tenure, totally justifying her career performance, overshadows her boyfriend's bad behavior.

Rachel (Lea Michele) tells Kurt (Chris Colfer) and Mercedes about her engagement to Finn (Cory Monteith). Kurt is supportive when Rachel asks him to think about his relationship with Blaine (Darren Criss, taking a short break from Glee to do Broadway), but later, Kurt confronts Finn. Kurt tells Finn that he is getting married for all the wrong reasons and selling himself short. It gives Finn something to think about, and Kurt is completely correct in his assertions. The question is, can Rachel and Finn survive as a couple after calling off their engagement? And how much have things been set into motion for the nuptials already? If next week's preview is any indication, the marriage plans have hit the ground running.

Finally, Sue (Jane Lynch) has the strangest scenes this week. For some, her character is extremely erratic, first chewing out Santana for reporting her misbehavior to Figgins, then saying to Becky (Lauren Potter) that Sue understands why Becky turned her in. So Becky is the culprit, and because Sue likes Becky, Sue is willing to consider motivation behind the act. However, is that any excuse for the drastically different reactions Sue has towards the two students? Or for her misbehavior in the first place, which involves asking high school boys for their sperm?

Yet, there is a really sweet bit between Sue and Emma where Sue explains why she is asking for Will's swimmers. Sue's words are sincere and heartfelt. While Emma is still not comfortable with the arrangement, suddenly fans can get on board with a Sue/Will baby. Then the plot is abandoned without explanation, when Sue says that she has found another donor. She gave up so easily? Who's the new daddy? So, again, erratic, and strange.

If the writers can decide which version of Sue they'd like to right for, please let us know. It would be nice to have a consistent character. There is a difference between have a layered persona, and acting contrary to established behavior patterns, and "The Spanish Teacher" definitely achieves the latter.

Which means between the music, Sue's story, Will's character, Mercedes's decision, and everything else going on, "The Spanish Teacher" comes across as a garbled mess. Not one of Glee's best efforts, unfortunately, though it contains a handful of solid moments.

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

MORE GLEE: If you like my reviews, please follow me on Twitter! Click here for all of the Glee reviews I've ever written. To purchase Glee DVDs, streaming episodes, music, and more, please click here. Article first published as TV Review: Glee - "The Spanish Teacher" on Blogcritics.

Glee finishes the "Journey to Regionals"

     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.

     It's with both relief and sadness that the summer of season one Glee reviews reaches its end. The finale of the FOX hit, "Journey to Regionals," sometimes wrongly listed as "Journey," is just about a perfect episode, and thus provides some closure for the first year of one of television's most original series. In the finale, the New Directions compete in Regionals, and lose. Romance is explored, and a baby finds a loving home. Sue (Jane Lynch) even grows a heart. In the tradition of Glee, it's all about feeling good.

     As the episode begins, the New Directions are devastated to learn that Sue has been named to the all-celebrity judging panel for the Midwestern Regional Show Choir competition. Feeling like this means an automatic loss for them, and s Figgins (Iqbal Theba) has vowed to disband the club if they come in last, the whole group spirals into depression. It's up to Will (Matthew Morrison) to raise their spirits, reminding them that it's all about the fun of the journey, not the results. Finn (Cory Monteith) separately convinces Rachel (Lea Michele) that they must step up and lead in this dark hour, which brings them back together as a couple. So the New Directions do not lack direction.

     Because of the journey theme, Will decides that they will perform only Journey songs for Regionals. This ties into the episode title nicely, and this whole season has been about the "Journey to Regionals" for the kids, anyway. They absolutely slay "Faithfully," a mash-up of "Anyway You Want It / Lovin', Touchin', Squeezin'," and, of course, a new version of "Don't Stop Believin'," which features more soloists. It's a triumphant performance set, made all the better because the kids finally look and feel like a real show choir group. Their costumes may be cheesy, but they capture the spirit. The audience, made up of Glee fans, roar their approval.

     OK, so maybe a show choir audience wouldn't rise to their feet, or cheer Puck (Mark Salling) just for opening his mouth. So it is kind of obvious that these are fans of the series, and not just extras lined up to fill seats. But that also makes their enthusiasm real, and the young actors feed off of it, delivering a fantastic performance. The authenticity comes through on screen, leading to a more powerful set. So it's a good decision, even if threatens continuity. The only question left is, how do they possibly come in third place?

     That can be explained by the judging panel, and we're not talking about Sue here. Olivia Newton John and Josh Groban return to play terrible versions of themselves, the former even claiming to be offended that only one group honors her in song. Rod Remington (Bill A. Jones) is back, too, strangely, since that makes two people from McKinley's area in a regional celebrity judging panel. All three call into question Sue's status as a celebrity. Never mind that Rod is a local newscaster, and Sue is a nationally known coach, so she is arguably more famous. They also trash the New Directions, Newton John wondering if they come from a "poor school." And they lump Sue in with the kids as people that try hard, but just don't have the talent to make it.

     Sue is personally offended, but she also feels bad as an educator. No matter what one says about Sue, and there is plenty to bust her on, at the end of the day, she cares about kids. She is generally portrayed as tough because she thinks that is what will help them succeed. As much as she hates Will, even Sue knows how hard the New Directions work. Faced with equally heartless judges, she rebels, and votes for the New Directions for first place. Though her one vote is not enough to keep them from finishing last.

     It's a devastating blow to the New Directions' egos, after what they consider their best performance to date. They are sent home where the group will be disbanded. Will packs up his room, and the kids sing a tearful "To Sir, With Love" goodbye to thank him for how he has touched all of their lives. Even Matt (Dijon Talton) gets to speak up with a rare line. Finn says Will is a father figure.

     Sue witnesses all of this, and knows that she cannot possibly allow the club to go under now. As tough as she is, she knows this is just too much for the kids to take. So she blackmails Figgins to reinstate them for another year, telling Will she is worried about losing a nemesis. It's a thin excuse, and Will sees her for what she is being - a nice person - and calls her on it. Sue denies it, and status quo is reinstated. To celebrate, Will sings "Over the Rainbow" to his ecstatic group.

     Perhaps somewhat surprising is Emma's (Jayma Mays) reaction at the threat of no more New Directions. She screams at Figgins in his office, something that seems out of character for her, but under the circumstances, works. Will knows it must be about more than the students, and confesses his love to Emma, despite her having an, as yet unseen, new dentist boyfriend. He even kisses her, something the actress Mays didn't know was going to happen, and so her shocked reaction is genuine. This leaves a hanging thread all summer, as the audience wonders if Emma will dump her new guy for Will. Spoiler: she won't.

     Interestingly, one of only three groups (see my previous complaints about the competition system in earlier reviews), Aural Intensity, is not shown singing. We hear them only briefly, and see them just at the awards. Characters also talk about how much better the New Directions already are than Aural Intensity. This is a little strange, because Aural Intensity is seen as a serious competitor in season two, one that is a real threat to the New Directions winning. Perhaps it would have been better to not re-use this group name next year.

     Vocal Adrenaline is shown performing. This allows one last showcase of Jesse's (Jonathan Groff) talents in a large, sweeping version of "Bohemian Rhapsody." It's fantastic, even though, as Rachel correctly asserts, he doesn't show much heart. Even better, the number is intermixed with scenes of Quinn (Dianna Agron) giving birth, and some of the lyrics even make sense with the cut scenes they are paired with. This deepening has the affect of making the whole number mean much more.

     Quinn's life comes together just in time for the baby. Mercedes (Amber Riley) and Puck, as well as the rest of the glee club, stand by her side for the event. Quinn's mother (Charlotte Ross) even shows up to right her wrong, saying she kicked Quinn's dad out, and wants Quinn and the baby to come home with her. Given those circumstances, one might think Quinn would choose to keep the baby, providing an all around happy ending. Instead, in a very sad moment, Quinn decides that it will be better if she doesn't keep the infant, which Puck goes ahead and names Beth. It's a mature decision for a high schooler to make.

     Rachel gets one more scene with her mother, Shelby (Idina Menzel), congratulating her on her group's performance, but asserting, apparently wrongly, that the New Directions are better. Perhaps she just means that the New Directions are on an upswing, while Vocal Adrenaline is coming down. But either way, Rachel asks Shelby to switch to McKinley and co-coach the glee club. She declines, dashing Rachel's last hope that they will form a mother-daughter relationship.

     This is a little odd, because Shelby cites that she will be leaving glee club coaching to raise a family. She knows she's missing something important from her life, and seeks to correct that imbalance. That's all well and good, and it's great that Shelby takes baby Beth. But shouldn't she also include the family she already has? It's a slap in Rachel's face for Shelby to say that she wants a family, but not offer her biological daughter a place in the structure. Hopefully that will be corrected with Shelby's upcoming season three arc.

     And so, there you have it. Lots of emotion, lots of wonderful singing, and a nice wrap up to a number of large arcs. There are still things to look forward to in season two, such as seeing Rachel and Finn together, and how Quinn will reinvent herself. But it's a neat ending, properly finishing off the first chapter of a bold television experiment.

     Make sure you tune tomorrow at 8 p.m. ET for the season three premiere of Glee on FOX.

     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 - "Journey to Regionals" on Blogcritics.

Glee celebrates "Theatricality"

     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.

     Theatricality is hands down one of the best episodes of FOX's Glee to date. It embraces the inner freak, encouraging the kids to be true to themselves. It also begins tackling the serious issue of gay bullying, reunites a mother and her daughter, and dwells on the emotions behind giving a child up for adoption, both before and after it takes place. There are serious, dramatic moments that bring tears to your eyes, triumphant bits to make you feel good, and several fantastic musical performances.

     Who better to bring out the freak in everyone than Lady Gaga? While "Theatricality" is not an artist-dedicated themed episode, surely the spirit of the pop star permeates most of the things that play out on screen, in ways both obvious and subtle. The biggest splash Gaga makes is the with the costumes the girls and Kurt (Chris Colfer) don the entire week, and their performance, in said costumes, of "Bad Romance."

     While some of the guys watching the "Bad Romance" performance are less than enthusiastic, that surely must be because of things going on behind the scenes, rather than a bad performance. Other boys give them the applause they are due. It's a perfect song, not only because of the message of Gaga, but also because its staging and execution are neat and unique. A number of the singers get to shine with small solos, and the choreography keeps things interesting.

     Finn (Cory Monteith) is likely turned off by Gaga because of his struggle between wanting to be in glee club, and wanting to fit in with the jocks. Azimio (James Earl) and Karofsky (Max Adler) turn up their tormenting to whole new levels in "Theatricality," offended by the fact that the New Directions would upset the high school environment by dressing so crazily. Finn doesn't seek to cause trouble with them, but neither is he a bad guy who looks down upon others for being different. After all, the glee club members are his friends.

     This simmering tension comes to a head because Finn moves in with Kurt. While Kurt has long hoped for a shared bedroom with Finn, things quickly get awkward between them. After all, Finn is not gay, and Kurt doesn't keep his feelings hidden very well. Finn tries to be polite, but it's no wonder that he erupts at Kurt. That being said, it's also not acceptable to call Kurt or his things "faggy," so it's heartening when Burt (Mike O'Malley) lets Finn know exactly how not welcome that word is in his home. It's a moment that really cements the relationship between Burt and Kurt, and by Finn's reaction, it's apparent that he knows he went too far. He didn't mean to be quite so hurtful, and he's sorry. He also realizes just saying sorry is not enough, so he looks for some other way to make it up to Kurt.

     It's likely because of this confrontation, and the build up to it, that Kurt finally finds the courage to stand up to his bullies. He is frustrated at home and at school, and can only take so much. Azimio and Karofsky don't take back talk very well, and want nothing more than to put Kurt in his place. Even Finn coming to the rescue in a shower curtain doesn't stop them, but facing the entire group does. Finn's courage, finally, to stand up for what is right is a fantastic moment, and one that does much to repair his relationship with Kurt. Finn may not want to jump into bed with his mother's boyfriend's son, but he does want a friendship. This is how he will get one.

     Because of Finn's reluctance to do Gaga, the guys search for a similarly outlandish male role model. Or rather, models. They choose Kiss, whose look is surely at least as shocking, even if the band sticks with one basic image the entire time. "Shout It Out Loud" doesn't have the same impact that "Bad Romance" does, but it does provide something that may be a tad more relatable to the guy members of the New Directions.

     Luckily, Kiss has a second song up its sleeve in "Beth," which Puck has the guys sing for Quinn (Dianna Agron). It's a tear-worthy moment, when Puck (Mark Salling) declares he is there for Quinn in any circumstance, and demonstrates the maturity needed to be a father, even if only biologically. It's no surprise that Quinn is moved by the performance, much in the way viewers at home are. Puck is not generally the most responsible individual, but here, he shuns that image to act like a man. It is most welcome.

     The final two songs in "Theatricality" are "Funny Girl," a Shelby (Idina Menzel) solo, and "Poker Face," a Gaga duet shared between Shelby and Rachel (Lea Michele). The first serves two purposes: to showcase Menzel's talent, and to let Rachel figure out that Shelby is her mother. The second is a moving goodbye from a parent who has just found her daughter, but can't deal with the ramifications, so is letting her go. Sung in a very melodic style, "Poker Face" has appropriate lyrics, and is done in a way that really showcases the feelings of the two women.

     Shelby is sincere when she tries to begin a relationship with Rachel, but finds she cannot handle it. She isn't used to having a daughter around, and when facing the reality of picking up after sixteen years apart, she backs away. It's understandable, but still sad, especially for Rachel, who always wonders about her mother. Shelby leaves before Rachel can ask many of the questions on her mind, or get to know exactly which characteristics she inherits from her mom. Hopefully, this will be rectified when Shelby returns for a longer arc in the upcoming third season of Glee.

     One thing that does bother me about this episode, though, is that Will is OK with Rachel and others spying on Vocal Adrenaline, and even stealing their Gaga idea. Yes, he scolds them, but then he lets his kids do Gaga, and asks what they learned from their spying. Considering how hurt the New Directions were at Sectionals by similar behavior from rivals, it doesn't make sense that Will would allow this to go. Or that the kids would engage in the espionage in the first place.


Random Bits:
 

• Lauren Zizes (Ashley Fink) is shown to be the leader of the school's Twilight-loving vampire group. This doesn't really gel with anything else we see in her character before or since. But it continues Glee's trend to stick Zizes in whatever silly group of the week it wants to show. Thank you for Zizes, but no thanks for the stunt.

• Fun is fun, but Figgins (Iqbal Theba) believing in vampires, and that Tina (Jenna Ushkowitz) is one of them? Beyond ridiculous.
   
• I'm not sure Tina really fits the goth stereotype. Sure, her clothes are often black, and sometimes her hair and makeup borders on that genre. But she isn't really goth in personality or action, so it kind of ruins that label being affixed here.
   
• Rachel and Shelby's talk, sitting in different rows of the auditorium, looks great, but isn't the least bit practical. Thank goodness Rachel comments on it, showing that Glee is self-aware about its own cheese sometimes!
   
• A moment along the same lines occurs when Rachel calls for Brad (Brad Ellis) to play the piano for "Poker Face." Again, Glee diffuses the weirdness with a joke. Bravo!
   
• Did the New Directions girls and Kurt really wear those same costumes all week? They must smell quite bad by the end of it!
   
• I know it's established to be temporary, but really, Kurt and Finn are expected to share a bedroom? Are they ten? Their parents must realize this isn't a practical arrangement, especially considering Kurt's attraction to the same sex in general, and Finn specifically. Even if those exact feelings aren't know to the adults, this is a dumb set up.

     Check back for another of the final two Glee season one reviews later today! And don't miss the season three premiere of Glee this Tuesday at 8 p.m. ET on FOX.

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