GLEE Lacks in the "City of Angels"

Article first published as TV Review: 'Glee' - 'City of Angels' on Blogcritics.

How can a show that so consistently hits the right notes emotionally and musically be so bad at a cohesive, believable story? This week’s installment of FOX’s Glee, “City of Angels,” delivers when it memorializes Finn (Cory Monteith) and shows how much the kids care, but falls flat on its face when the story takes wrong turn after wrong turn. Will next week’s big 100th episode be any better?

“City of Angels” finds the New Directions heading to L.A. for the Show Choir National Championship. The group sings “I Love L.A.” as they transition from the choir room to the streets of the city the show films most of their scenes in, even though it takes place in Ohio. It’s as much a tribute to the town as the glee club did when they arrived in New York, so it seems appropriate, even as viewers understand the actors actually live in L.A. so their enthusiasm, as believable as it does come across as being, is faked.

The missteps begin right away, though. Since the New Directions are three members short to compete, and the show is exhausted with cheeky jokes to bring supporting characters back after long absences, three new faces are stuck into the ensemble just for “City of Angels.” They don’t have names or lines. Never acknowledged, they are complete filler. What a shame.

Other ridiculous stuff follows. Will taps Sam (Chord Overstreet), without warning, to be the group’s leader at the last minute. Upon arriving at the hotel, Will (Matthew Morrison) is told that Sue (Jane Lynch) has messed with their reservations, although this is a throw-away occurrence that never goes anywhere and is quickly forgotten. Mercedes (Amber Riley) shows up with one of the most unrealistic (second) success stories ever. The chaperones for the trip, Burt (Mike O’Malley) and Carole (Romy Rosemont), irresponsibly take off without even informing Will they’re going. And a deaf woman, Marlee Matlin (herself), judges the singing competition.

If you think all of that is terrible, and it absolutely is, things go from bad to worse when Will and the gang bring home a second place trophy. Sue, surprisingly sympathetically, disbands the club. She lists a bunch of organizations staying intact, but declares the New Directions’ status as number two in the entire country not good enough.

Are we expected to believe that the rest of the teams she mentions won at a national level? I mean, Roz (NeNe Leakes) manages to help the Cheerios get there, but they’ve won lots of times before. Surely the rest didn’t hit that mark. That’s simply ludicrous, and while what Glee is trying to do comes across well enough, the plot–which ends with the only New York scene of the night in which Kurt (Chris Colfer) tells Rachel (Lea Michele) and Santana (Naya Rivera) the news–just doesn’t make sense.

Yes, there are some amazing things in “City of Angels.” The tribute to Finn during the club’s performance, interspersed with clips of the character, is beyond touching. Carole’s struggle with keeping her son’s memory alive and facing Finn’s friends again is moving and raw. The four seniors singing solos, ending together, is great. Even the tiny subplot about Jake (Jacob Artist) and Ryder (Blake Jenner) repairing their friendship, then recruiting Mercedes to help restore Marley’s (Melissa Benoist) faith in herself, works. But balanced with all the crap, this week’s entry doesn’t live up to its potential.

Most of the music in “City of Angels” revolves around the competition. As usual, we get one song from a rival, this time an all-girls choir doing a weird yet good “Vacation,” and two from the main antagonists, Throat Explosion. The latter does an inspired “Mr. Roboto” followed by a very good “Counting Stars,” though as we’ve come to expect, the performance lies solely in the hands of a single individual, the guest character representing everyone else, Jean-Baptiste (Skylar Astin, Pitch Perfect, Ground Floor).

Jean-Baptiste is no better or worse than past foes. He isn’t cruel about Finn, cutting the group some slack and returning a stolen plaque. But he also is a bit of a jerk with the smack talk and is full of himself, though admittedly with the talent to back up such an attitude. I wish he or the group had been introduced before “City of Angels,” but since he fills such a familiar role at this point, I guess that isn’t necessary, as Glee fans will immediately understand what he represents and his purpose for being there.

The New Directions’ numbers themselves aren’t that spectacular, making one wonder why they even got second. We’re told that “More Than a Feeling, “America,” and “I Still Haven’t Found What I’m Looking For” are Finn’s favorite songs (though that has never been established before now), and so the emotion it invokes in the characters and viewers alike lands. But to the judges, it’s puzzling how they would possibly understand or get anything from it, even with Sam’s raised drumsticks at the end.

It’s also worth noting that Carole mentions Finn didn’t have the best rhythm, which makes no sense given that he played the drums. Drummers are notorious for having great rhythm; in fact, it’s impossible to play the instrument if you lack it. So I don’t know why this slips through.

Next week’s 100th episode is sure to elicit a lot of feeling. I just hope it does a better job with the writing than this one, or else it will be just as disappointing. This sloppiness is inexcusable for a show on this level, especially when it wouldn’t take all that much effort to fix it.

Glee airs Tuesdays at 9 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.

GLEE is "Movin' Out" to the City

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

FOX’s Glee finally gets around to the music of Billy Joel in this week’s episode “Movin’ Out.” With graduation looming, several of the students consider their futures and start planning for what they’re going to do after high school. A couple even travel to New York to pursue their dreams, giving fans a hint at who might soon be joining the Big Apple contingent.

The whole thing starts off as Sue (Jane Lynch) sets up a career fair in the hallway, which Will (Matthew Morrison) is appalled to find out doesn’t include any representation for a career in the arts. Sue replies that that’s not a realistic field to go into, and Will argues that he wants his students to dream. In the end, because one of Will’s students helps out Sue’s favorite girl, Becky (Lauren Potter), Sue relents.

In my opinion, promoting a career as a performer is a terrible message to send to kids, on par with pop song lyrics about not letting anyone ever tell you that you’re less than perfect. I know this makes me sound like a grumpy old man (I’m 30 years old), but it simply is not realistic to hang all one’s hopes on a very slim chance. Encouraging kids to pursue their passions as adults is wonderful, but urging all those who desire to make a living in the arts to give it a shot is stupid and irresponsible. Sue isn’t being cruel, she’s telling the kids what someone needs to tell them if Will keeps filling their heads with this junk.

In fact, this all culminates in Will leading the school, including many non-glee club kids, inexplicably, in “You May Be Right.” As much as I love this number, and it is very entertaining, the message is a slap in the face that Sue doesn’t deserve. Will is crazy if he thinks he is doing his job as a teacher in serving the students this stuff.

The story that softens Sue, though it shouldn’t really be related, is when Artie (Kevin McHale) helps Becky check out colleges. Becky has Down syndrome, and so Sue wants her to stay at McKinley and continue working as an assistant. In this way, Sue is offering Becky a safe life where Sue can watch over her beloved pupil. Artie shows Becky that she has some college options, with programs specially designed to serve her, while singing a decent enough rendition of “Honesty.”

At first, Sue, fights back against Artie, as she is wont to do. But I credit her for having the wisdom to back off, and she even supports Becky when the kid wants to try leaving her comfort zone. Sue is often the villain of Glee, and that’s a fun role to cast her in. However, the part is best when it’s layered and viewers get the glimpse the motivations behind Sue’s actions. In this, “Movin’ Out” succeeds beautifully in a touching tale.

The other McKinley plot this week involves the battle for Marley’s (Melissa Benoist) affections. Ryder (Blake Jenner) has begun dating the girl, playing the part of “An Innocent Man” (his version is passable, nothing special), however, Marley is torn, not ready to commit to Ryder. Jake (Jacob Artist) continues to beg Marley to take him back, but when scorned, instead tells of her off with (a better than Ryder’s song) “My Life.”

Look, this love triangle has already been done. We don’t need it again. Marley isn’t into Ryder, and even if he is the right guy for her, she isn’t ready to grow up and see it yet. He’s only going to get hurt if they insist on continuing. And Jake reacts like a hothead teen, proving he’s not mature enough for her, either. However, these reactions are very authentic for the age group, so I’m not really complaining too strongly, even when this arc gets a little boring.

As I’ve said before, the New York segments of the episodes are almost always better, and “Movin’ Out” is no different. Sam (Chord Overstreet) and Blaine (Darren Criss) are sent off to the city with a really great rendition of “Movin’ Out (Anthony’s Song).” They are warmly welcomed into Rachel (Lea Michele), Kurt (Chris Colfer), and Santana’s (Naya Rivera) apartment, and then go out to try to get into a good school.

Sam’s college interview is pretty much a joke. He is not at all prepared, and lets the interviewer know he cares more about being in NYC and the boy to girl ratio than the school itself. I don’t know what Sam hoped to accomplish with this, but it’s a ridiculous failure.

Rachel urges him to really think about what he wants, though, and Sam admits to dreaming of being a model. Rachel uses a connection she’s made to get Sam a meeting with Bichette (Tyra Banks, America’s Next Top Model), an agent who is willing to help him if he loses a few pounds. Reluctant to comply, the roomies cheer Sam up with “Just the Way You Are,” giving him questionable advice.

I get that Sam shouldn’t starve himself, but sometimes there are sacrifices to be made for certain industries. If one wants to be a model, one must almost always get used to eating super healthy; that comes with the territory. I’m sorry, I don’t know how Sam’s friends telling him that he’s great as is helps, even if, for the most part, they’re right. But Sam as a model is much more believable than Sam in college, and it could keep him in the cast if the Ohio setting is dropped, so that’s cool.

During “Movin’ Out,” Rachel suddenly seems to develop a bit of a crush on Sam. This comes out of nowhere, since she’s known him for years and there’s never been anything between them. Is this a purely physical attraction, realized when she suddenly sees him in a new light? Because Rachel seems like the type of girl that needs a guy with substance, and as much as I like the character of Sam, he is not intelligent enough to keep up with her. Rachel and Finn were a strange enough pairing for awhile. This would be even more of a stretch, though her being with Finn does at least set some sort of precedent.

Blaine is in New York to audition for NYADA. Despite a terrific “Piano Man” at the restaurant where the roommates work (including Rachel again, who should not have time for such a thing at this point), he gets nervous and starts to consider other options. Kurt talks his boyfriend back from the ledge and convinces Blaine that he’s good enough.

I’m divided on this. Of course Kurt thinks that Blaine can succeed, and to be honest, aside from Rachel, Blaine is the only one in the cast I truly believe has the chops to make it as a performer. Yet, Blaine’s decision to look into other careers is a sound one, and doesn’t necessarily close him off to opportunities in the arts. Thus, he should thank Kurt for his advice, but go with his gut.

Glee really cheats the audience by not showing us Blaine’s audition. Yes, he sings in “Movin’ Out,” but if Blaine should get into NYADA, which seems the route the series will go, we’ve just been robbed of a monumental step on his path. It’s not enough to just tell us he tried out after making Rachel and Kurt’s own attempts so pivotal. Can we get a flashback in the near future to correct this grievous error?

I like “Movin’ Out” because it has a lot of mostly enjoyable versions of great songs. It also uses characters effectively in decent stories. It has enough flaws to not set it apart from the pack as one of the greatest episodes, but there are also elements that keep it out of the group of poor ones, ranking it somewhere just slightly a bit above average, in my estimation.

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

GLEE's "Twerk" is Oh So Right and Oh So Wrong

Article first published as TV Review: 'Glee' - "The End of Twerk" on Blogcritics.

Glee somehow manages to deliver some of its best stuff and its worst in this week’s episode, “The End of Twerk” this week. Much of the hour was a very inane statement about freedom of speech and “twerking,” while the rest was about rebelling in a good way, the best of ways, really, standing up for yourself and fighting back when things aren’t fair.

Since when did a particular obscene dance move count as free speech? And assuming that it does for a moment, as that’s really neither here nor there, when did public schools have to hold freedom of speech over decency standards? Most K-12 institutions would never be considered on the cutting edge of what’s acceptable, taking a much more conservative approach. It feels like a strange battle and an even stranger battleground.

Will (Matthew Morrison) comes out of the gate strong which his argument that the kids should be allowed to twerk, leading what seems like the whole school in a rendition of “Blurred Lines.” The number is highly inappropriate, not to mention, where did all these other students who are joining in the dance come from? It feels staged, false, and is bound to make some, this reviewer included, terribly uncomfortable, based on the setting.

I actually respect Sue (Jane Lynch) for dressing down Schue afterwards. Firing him is going too far, though it’s very strange how the rest of “The End of Twerk” acts like Will still has his job. Even the school board meeting scene is Will fighting against a twerking ban, with nary a mention of his career. So as much as I enjoyed both the point Will makes about different dance styles and his mocking the principal with a Sue-style tantrum, Sue is in the right here, and story is mostly poorly concocted.

I could also complain about the reference to “Western Ohio,” but I feel like I’ve got nothing new to say about how no writer on Glee apparently has heard of Google, and how disappointing it is to see a series get just about everything about the Buckeye state wrong, so I won’t.

The other bit that sucks this week is Marley (Melissa Benoist) finding out from Bree (Erinn Westbrook) that Jake (Jacob Artist) is cheating with the Cheeri-o. As mentioned in last week’s review, this seems out of character and comes from nowhere. Not to mention, it just isn’t entertaining story. We get a decent performance of a terrible song as Marley croons “Wrecking Ball,” but other than that, this plot is irredeemable.

Thank goodness the other major McKinley story, this one involving Wade “Unique” Adams (Alex Newell), is fantastic! Bullied by his classmates, Unique seeks a bathroom he can use in peace, and instead finds himself in the middle of a battle that results in Sue bolting down a purple porta-potty in the choir room. The New Directions come together to support Unique, and by the end of the episode, I dare anyone to not be moved by this student’s story.

I can’t imagine any other series giving viewers as real a portrayal of a transgendered teenager in the modern era. Glee broke new ground a few years back with its depiction of homosexuals, but Unique is even bolder territory. It’s easy to see how and why stupid adolescents would pick on Unique, but the brave way the character is used makes Unique feel fully realized and sympathetic.

The climax of this thread happens when Unique laments “If I Were A Boy.” The most moving number in quite some time, we feel the pain. Newell is very much like Unique in real life, as those who watched The Glee Project will attest, and I think that brings a level of rawness an actor separated from the part would struggle with achieving. Unique’s tears are the tears of many a kid out there, and should be required viewing for all high school students. Who could still pick on a person like Unique after watching this and feeling her frustration and hurt?

Kudos to Glee for standing up for what is right and humanizing an issue that is far too often reduced to political or religious squabbling.

In New York, Rachel (Lea Michele) and Kurt (Chris Colfer) feel stuck in their lives, still lamenting Finn’s (Cory Monteith) passing, and decide they need to make some bold changes in order to feel like they are alive again. To do this, first Rachel fakes a new hair style without checking with her director, Rupert (Peter Facinelli), which doesn’t go over so well until she proves she’s still sexy in a charged performance of “You Are Woman, I Am Man” with Paolo (Ioan Gruffudd). Then, Rachel and Kurt get drunk and get tattoos, which doesn’t quite go how either expects.

I like both that Rachel’s “haircut,” which actually fits the part she’s playing very well, causes a problem, but also that it does not become a big, lasting thing. Her attitude that she is untouchable is a little too diva-ish for a young actress getting her first break, but I can see what she is going for, and by donning a wig, not actually trimming the locks, she shows she is smart enough to leave an escape hatch. Rupert has every right to be mad at her, but when he decides he likes the change, that’s a satisfying pay-off, too.

Also, while not a big fan of the side tattoo, Rachel having the name Finn scrolled on her is a sweet tribute. It’s not like she got the tattoo of a boyfriend while he was still alive; it’s a memorial to a loved one who died too soon, making it all right, even as she will eventually move on with someone else. Keeping it a secret may seem a little strange. but it’s really no one else’s business, anyway, a mark done truly only for her own benefit. Very nice.

Kurt’s tale with the tattoo place is actually even more unexpected and cool. At first, Kurt lashes out at the artist (Bradford Tatum, Magic City) for a misspelling that is actually Kurt’s own fault. While some tough guys would kick Kurt’s butt, this particular man sympathizes, offers wise advice, and even helps Kurt out. It’s a surprising pairing, surely a single episode guest stint, but it’s also a really neat one that gives Kurt just what he needs. Well done.
Oh, and then there’s the big finish number of “On Our Way.” Not particularly stand-out, but a feel-good ending in the series’ own style, so it works.

When Glee sticks with its more mature stories, the ones in New York, it does right by its fans. When it continues the original mission of promoting tolerance, diversity, and acceptance of others, as it does in a fresh way with Unique, it soars. There are some things Glee does wrong, and much of the criticism it gets is justified. But there are also things it does exceedingly well, and those should be acknowledged, too. “The End of Twerk” has both, and as much as I might wish for more of the latter, at least it’s true to form.

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

TV Review: ‘Glee’ – ‘A Katy or a Gaga’

Article first published as TV Review: ‘Glee’ – ‘A Katy or a Gaga’ on Blogcritics.

This week’s installment of Glee, the first episode to air in several weeks (and only the fourth of the year) stunk. Glee is all about embracing yourself for who you are, not changing for others or allowing yourself to be pigeonholed. The episode, titled “A Katy of a Gaga,” insisted that each of the students was one or the other, and when one didn’t want to change for an assignment, she was punished.

First of all, I didn’t know there was a rivalry between Lady Gaga and Katy Perry fans. The performers don’t seem that different. Yes, Gaga is definitely more over the top and out of the box, but Katy is no girl next door, letting whip cream shoot out of her boobs. Glee tries to draw a clear distinction between the two, but the comparisons falls flat, and the entire premise doesn’t make sense.

Not to mention, for an episode focused on the music and style of two major artists, there are a scant four songs involved, only two for each, which doesn’t feel right, either.

At the beginning of the hour, the New Directions are concerned with a never-before-heard-of super group who somehow is going to crush them at Nationals. Since this group is all Gaga, Will (Matthew Morrison) divides his club in two and demands that each play to the opposite of their strengths, expanding their range and mastering all genres. There are some funny jabs that Will makes up assignments on the spot, a tongue-in-cheek comment that rings true, and despite this new group stupidly coming out of nowhere, the set up is solid enough, with a sound idea.

Unique (Alex Newell), Kitty (Becca Tobin), Tina (Jenna Ushkowitz), and Jake (Jacob Artist) identify themselves as Gaga. Of course Unique is on this list, and Kitty, sure. But while Tina does act that way now, it makes me groan and roll my eyes at the inauthencity, and I really don’t understand why Jake is included.

The four spend the whole hour trying to come up with a Katy number to showcase how “toned down” they can be, and yet all of their brainstorming sessions reveal only outrageous thoughts. These are not stupid kids; surely they understand the assignment enough to not be so ridiculous.

In the end, the four settle on performing “Wide Awake” while sitting atop stools. It’s a pleasant, sweet song that they do really well. Too bad it comes at the end of a convoluted mess of a story.

The Katy side is even worse. Artie (Kevin McHale), Blaine (Darren Criss), Sam (Chord Overstreet), and Ryder (Blake Jenner) have no trouble going all Gaga in their over-the-top, well-outside-of-school-budget  production of “Applause.” This is all well and good.

But Marley (Melissa Benoist), feeling pressured to have sex with Jake, refuses to let her inner wild child out. First of all, when did Marley become so goody two-shoes? Secondly, when did Jake stop appreciating Marley for who she is, so much so that he runs off and cheats on her with Bree (Erinn Westbrook)? Third, when did Will become so cruel that he would suspend Marley for a week for staying true to herself, or at least the version of herself in “A Katy of a Gaga?” Fourth, when did not participating in a single school assignment qualify as suspension-worthy?

While this plays out, Sam is still attempting to win over Nurse Penny (Phoebe Strole), whom I thought he had already won over. Inexplicably, she shuns his good guy image early in the hour, then shuns his bad boy persona later. This episode doesn’t know who Penny is or what she wants, which ruins the entire subplot.

Then, after all this, Sue (Jane Lynch) storms into the choir room and re-declares war on Will, suspending the kids, who defiantly fight back with “Roar.” I missed the villain Sue, and she makes a good obstacle for Mr. Schue and the students. And she’s right, the glee club’s costumes, besides being completely unrealistic in how good they are, are totally not school appropriate. One week’s suspension seems far too harsh, again, going outside the realm of believability as much as Artie swinging in a vine from his wheelchair does, but the emotional cues in this sequence are nailed. Too bad it’s too little, too late for the episode.

The only thing that slightly bothers me about Sue lashing out is that she does need the New Directions to succeed to make her look good as principal. However, we’ve seen her tough-love approach before, and she may think they’re floundering and need this kick in the pants to rise to the occasion of Nationals. If she wants them to win, she might want to start with making the rest of the glee club, mostly MIA for half a season, actually show up to practice.

As usual, the New York City part of the episode is much, much better. Kurt (Chris Colfer) starts a band, which Dani (Demi Lovato) and, to a lesser extent, Santana (Naya Rivera), eagerly agree to participate in. Rachel (Lea Michele) tries to beg off, citing how busy she is, but can’t resist offering suggestions, and eventually comes around.

Rounding out the group is Elliott ‘Starchild’ Gilbert (Adam Lambert, American Idol), who kills in his audition of “Marry the Night,” but whom Kurt is reluctant to let in for being too flamboyant. It’s Rachel, the best friend, who drags out of Kurt what is really bothering him: he wants success, and thinks mainstreaming it is the only way to get some. Rachel talks him down from his ledge, and they gleefully welcome Starchild into their midst.

The five participate in “Roar,” too, and it is icing on the cake for their tale. As bad as the McKinley stuff is, the New York thread is solid. Kurt’s crisis of confidence is completely understandable and in character, and Rachel plays the perfect adviser. I don’t hate Lovato as much as I expected to, and anyone who listens to her has to admit that she can sing! Add the incredibly talented Lambert to the mix, and this is a story I want to see more of.

Rumor is, Glee may soon drop the high school setting all together and focus exclusively on the Big Apple. For the sake of the quality of the series, let’s hope this comes in the very near future. The show has outgrown its roots, and it’s time to move on.

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

Blu-ray Review: ‘Glee – The Complete Fourth Season’

Article first published as Blu-ray Review: ‘Glee – The Complete Fourth Season’ on Blogcritics.

Season four is when everything changes for Glee. Post-graduation for many of the students, the story became split between McKinley High School and New York City, with practically none of the alumni leaving the cast, and a bunch of newbies added in. It was a busy, full year, with many great installments, as well as some pretty weak ones, especially in the spring. Now, all twenty-two episodes are available in the four-disc Glee: The Complete Fourth Season.

The move to New York was a breath of fresh air for the show. Rachel (Lea Michelle) was always meant for bigger things than Ohio could offer her, and as she embarked upon a college career at NYADA, the series grew along with her. Following arguably the lead character of the ensemble show was great, and it provided the opportunity to bring in actresses like Sarah Jessica Parker and Kate Hudson, who added a terrific new element. The fact that Kurt (Chris Colfer), and later Santana (Naya Rivera), joined Rachel in the Big Apple was even better.

At McKinley, it was a little confounding at first that Artie (Kevin McHale), Tina (Jenna Ushkowitz), and Sam (Chord Overstreet) were only now getting to their senior year, since I swear they had been established as being older before, but combined with Brittany (Heather Morris) having to complete a fifth year of high school and Blaine (Darren Criss) sticking around, they provided cohesion, allowing some of the setting to stay the same. And, of course, Will (Matthew Morrison) and Sue (Jane Lynch) remained on staff.

They were soon joined by new cast members Marley (Melissa Benoist), Jake (Jacob Artist), Kitty (Becca Tobin), Ryder (Blake Jenner), and Unique (Alex Newell). Despite these fresh faces seeming a lot like the not-so-fresh faces, repeating stories and dynamics from earlier seasons, the quintet did resonate, eventually each earning promotions to series regulars for season five.

Pretty much all of the graduated seniors remained in the cast, even those who were not followed to New York. Finn (Cory Monteith) ended up working at McKinley, a twist that made no sense and wasn’t at all realistic, but allowed him to have a journey viewers wanted to see. Others, like Puck (Mark Salling), Mercedes (Amber Riley), and Mike Chang (Harry Shum Jr.), only briefly dropped in from time to time, which is why it came as no surprise that this would be their final year as full-time characters.

The season started pretty strong, but it soon became clear that Glee was now two shows, and the New York part was stronger. It didn’t help when some members of the New Directions would disappear for weeks at a time, and a Will / Emma (Jayma Mays) walk down the aisle kept being delayed artificially, including a terrible plot in which Finn kissed Emma. The worst, though, was when Finn disappeared, the actor entering rehab, and the writing never taking the time to explain his obvious absence. Sadly, Monteith passed away over the summer, and this will never fully be resolved.

The most polarizing episode of this season, and of Glee ever, was the spring installment “Shooting Star.” It begins as any normal episode would, but then gunshots rings out in the halls of McKinley High School, scaring the crap our of students and viewers alike. For a large chunk of the episode, the show becomes a super-intense, on-edge story that hits very close to home at a time when school shootings happen on a semi-regular basis. While it is arguable whether something like this belongs in a series like Glee or not, the hour is finely produced and not to be missed.

There are lots of special features in this release, including multiple extras dealing with the New York addition to the show. We get the Jukebox, deleted scenes, and more. Basically, no one should be disappointed here.

I’m a fan of Blu-ray, and always want to watch programming in high definition. Glee isn’t particularly visually stimulating in the way that it must be seen in HD. There are great costumes and choreography from time to time, but those can be enjoyed in a standard definition picture, too. The songs will obviously sound better with a sharper soundtrack, and Glee does have a lot of music, so for those who care more about audio, the argument is there. But for viewers who are only concerned about picture, I guess it’s up to personal preference whether you go DVD or Blu-ray, without a huge difference between the two. I still prefer the latter.

Glee: The Complete Fourth Season is available now.

Glee Not So "Wonder-ful"

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

Regionals are fast approaching, so in this week's installment of FOX's Glee, titled "Wonder-ful," Will (Matthew Morrison), still inexplicably sans Finn (Cory Monteith), has the New Directions sing the music of Stevie Wonder. Which also carries over to characters not at McKinley, for some reason, and no one gripes about it, even though a frequent concern among the students is that the music Will likes is too old.

"Wonder-ful" provides a lot to complain about. From giant plot holes, to confusing character developments, to a pretty boring soundtrack, there is little about this episode I liked. "Wonder-ful" is great in small doses, but the further into the hour we go, the less interesting the songs, which include "Signed, Sealed, Delivered I'm Yours," "I Wish," "Higher Ground," and "For Once in My Life," become. Also, theme weeks worked when the character were all together, but now that series has multiple settings, it's time to stop them.

Also, I know Finn's absence is out of the control of the show's creators, Monteith having been in rehab, but can't we get a line of dialogue that establishes why he's no longer around? It doesn't make sense for the story that he's just gone.


That's not the only thing that doesn't add up in "Wonder-ful." Kitty (Becca Tobin) suddenly takes an interest in Artie (Kevin McHale), getting Artie's mother (Katey Sagal, Sons of Anarchy) involved in helping him choose a college. Why is Kitty doing this? Isn't she with Puck (Mark Salling)? And there is no chemistry between her and Artie, so it's hard to believe that she might be interested in him.

Artie has been accepted into a film school in Brooklyn, which all but guarantees he'll be joining the New York crew next year. This is very disappointing because Artie is one of those characters who I am anxious to see depart the series. It was bad enough he seemed to do senior year twice, now he's sticking around after high school? He has never had an interesting story, and he tends to drag down the episodes that focus on him. Glee would be better served letting him wheel off into the sunset, rarely, if ever, to be seen again.

Speaking of those who should move on, Mercedes (Amber Riley) comes back to Ohio to film a music video, intending to use Mike Chang (Harry Shum Jr.) and Jake (Jacob Artist) as her back-up dancers. As much as I miss and love Mercedes, are we really supposed to believe she already has a record deal, and enough influence to move production of said album to a small town in Ohio, as well as pick her dancers? She must be the most sought-after artist of her generation!


Except she's not, as we quickly find out, when she loses her deal because she refuses to act sexy in the album's cover shoot. I understand holding onto one's morals, and it's a good message for Glee to promote, but it's not realistic. It's not like Mercedes is asked to go nude. What's wrong with showing off a little shoulder or cleavage to get a career off the ground? She makes a big mistake walking away over something so minor. If they aren't going to be used properly, it's time for Mercedes, and Mike, to move on.

The one good thing Mercedes does during her visit is to encourage Marley (Melissa Benoist) to find her inner diva, as we see happen when they perform "Superstition" together. I hope this is something that sticks because Marley has slowly been coming out of her shell, and she's very good. I'd like to see her take over as leader of the group next year. She can handle it. Combined with Jake's dancing, they are our new power couple.

Kurt (Chris Colfer) also returns to Ohio, but he has a valid reason to visit, as his dad, Burt (Mike O'Malley), has an appointment to learn if his cancer treatment has been working. It has, thankfully, and Burt's disease is in remission.


I love Kurt / Burt stuff, but as far as father / son moments go, Kurt singing "You Are the Sunshine of My Life" just fails to deliver. It's not the right forum to be sweet; most of the group isn't involved, so it doesn't feel right in the choir room in front of everyone, and Burt's enthusiasm for it is just a little too over the top.

Also, why does Kurt exhibit bad OCD when he is worried, but this is almost immediately dropped, without Blaine (Darren Criss) even getting a chance to bring it up? Blaine clearly notices the odd behavior at the coffee shop. Why doesn't this go anywhere? It doesn't seem like the type of thing that will be addressed next week in the season finale, and with so little time left this year, it likely will not be mentioned again.

Something that may or may not make it into the finale is Blaine's desire to propose to Kurt. Blaine has a terrific scene with Burt, asking for Burt's blessing. Burt shoots him down, but not unkindly, basically telling Blaine that the boys are too young. Blaine later chickens out asking Kurt, but that doesn't mean he won't screw up the courage later.

I applaud Glee for allowing Burt to view Blaine's request merely as an age issue, rather than a legal one, with Burt establishing he vocally supports gay marriage. This is the mindset we need to have, as a society, in order for equality to take root.

But Burt's right, Blaine and Kurt are too young. Not to mention, they haven't been dating since early fall. Going from barely being in each other's lives to getting married, skipping the romance steps in between, is a horrible idea.

In New York, Rachel (Lea Michele) must ask Cassandra July (Kate Hudson) to move a midterm for her so that she can attend a 2nd callback for Funny Girl on Broadway. To her surprise, Cassandra not only agrees, but leads the class in singing and dancing "Uptight (Everything's Alright)" with Rachel, telling the student that she will succeed.


I'm sorry, but I don't buy Cassandra's about-face. It comes out of nowhere, and is in stark contrast to the way she has treated Rachel all year. There has never been a hint that Cassandra's sternness might be covering up a soft heart, as the film trope goes, and Cassandra has been downright petty. She has to be up to something, hoping to sabotage Rachel. If not, this is a pretty poor turn of events.

Other complaints about this episode include Will's sudden re-engagement to Emma (Jayma Mays), with no explanation or reconciliation shown, and the continued absence of Joe (Samuel Larsen) and Sugar (Vanessa Lengies). At least where Brittany (Heather Morris) is this week is explained, but the other two are just gone, and have been for far too long.

So what can we expect from next week's season finale? There's a lot to get through! Sue (Jane Lynch) must be re-instated and Becky's (Lauren Potter) story resolved, the New Directions have to go to Regionals, Will will marry Emma, and Rachel has her audition. If we're lucky, Glee will have time to jump forward and show the graduation of the seniors, but that seems to be stretching things at this point, especially as I haven't heard anything about a two-hour finale, which feels necessary. Maybe they could wrap up this school year next fall? Doubtful, but it seems like they sort of need to.

Glee, which has already been renewed for two more reasons, concludes its fourth year next Thursday at 9 p.m. ET on FOX.

Glee Shoots More Than a Star

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Glee is a satisfying "Guilty Pleasure"

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

FOX's Glee explores "Guilty Pleasures" this week. We all have things that we are somewhat ashamed of liking. But because this applies to everyone, you should not feel embarrassed. And as the New Directions learn, if you are willing to share that hidden interest, you may just realize that others around you have the same love.

This is a feel-good story, to be sure, but also an incredibly cheesy one. If there's one complaint I have about Glee overall is that every student in the club seems to know every song that ever comes up. This is incredibly unrealistic, but unfortunately also somewhat necessary to keep the story moving forward. It's an element very apparent this week, as their songs are supposed to be more obscure, though they pick some awfully popular "obscure" pierces.

However, setting that aside, "Guilty Pleasures" is a fun episode with some nice character moments and a lot of fun musical numbers. There may be songs you don't want to admit to enjoying, but they are enjoyed for a reason.

It all starts with Sam (Chord Overstreet) and Blaine (Darren Criss). They decide to give the club a project, since Will (Matthew Morrison) is taking the week off. Again. They pull out the guilty pleasure card, and it allows them to get some unspoken things out in the open.

After watching Tina (Jenna Ushkowitz) harbor an unrequited crush for Blaine for months, we now see Blaine hold Sam in the same regard. Thankfully, Blaine is far less creepy than Tina, and Sam and Blaine's friendship feels more natural than Blaine and Tina's. I don't know if the writers think they misfired with the Tina/Blaine story and decided to try it again with Sam, but for whatever reason it came about, I like seeing the two guys together.

At first, Blaine hems and haws, avoiding talking about his feelings towards Sam. But Sam coaxes them out into the open, letting Blaine know this changes nothing between them. It's a message many high school guys should hear, that its OK to find another man's attention flattering without risking your masculinity, and that there is still a path to friendship there.

As much as the Sam/Blaine thing works as a story, it also helps with Glee's continued themes of tolerance. Gay bullying has never been more of a problem, but as society begins shifting away from this prejudice, it's nice to see such a positive portrayal of homosexual teens on television, not new for Glee, but in using Sam, someone who is very straight, rather than a girl or another gay man, it feels fresh. For this alone, "Guilty Pleasures" is a valuable episode, even as it manages to also be entertaining.

Plus, Blaine and Sam bring us "Wake Me Up Before You Go-Go," a beautifully staged and performed retro number by the whole glee club. I wish the same treatment would have been given to "Copacabana," or better yet, see the story told in the song acted out. But both are good numbers as they are. And Blaine's "Against All Odds (Take a Look at Me Now)" also works.

While the boys work out their friendship, the girls rediscover the Spice Girls. I don't know that today's high schools are really familiar with the British girl group from quite awhile ago, but those of us older viewers certainly appreciate a dusting off of "Wannabe." Any chance we can get a full Spice Girls episode at some point?

The Spice Girls segment also allows Kitty (Becca Tobin) to prove she is a member of the group and can play nice. She's been a bit of an outsider, but has been trying to fit in. Cooperating with Unique (Alex Newell), Marley (Melissa Benoist), Brittany (Heather Morris), and Tina allows her to walk the walk, and hopefully puts her in a better place in the ensemble going forward. Every series needs an antagonist, of course, but redemption is also a satisfying tale.

Lastly at McKinley, Jake (Jacob Artist) gets major flak from the girls when he wants to sing a Chris Brown song, given Chris's treatment of women. His eventual choice of Bobby Brown's "My Prerogative" gets a little bit better reception, perhaps because the memory of Bobby has started to fade, but Marley is still mad at him for doing it.

Jake argues that we need to separate art from the artist, which is a tough call to make, and one hotly debated in society. Can we appreciate a good song by a bad man? Some people have in the past, and will likely do so again, while others rail against such behavior. There isn't an easy answer, as Jake learns, and I wish Glee would devote more time to the question. But at least they've raised it here.

In New York, Santana (Naya Rivera), Kurt (Chris Colfer), and Rachel (Lea Michele) bond as roommates after the truth about Brody (Dean Geyer) comes out. I do wonder when and how Santana moves back in, after she storms out in the previous episode. However, Santana is feisty and has a temper and it's not surprising she's back, even if the show skips showing us the resolution.

I really dig the chemistry between these three. Santana can be herself a lot easier in a small group, and gets to show her softer side more often. The three of them bond with arm pillows and movies, and I can't wait to see what happens with them next. It's kind of like the zany sitcom spin-off someone would suggest when viewing an earlier season, fully realized and integrated into the series.

It's a shame that their "Mama Mia" is shared with the high school group as the episode's closing number. Since it's the only piece the New Yorkers get in "Guilty Pleasures," it would have been great for them to really have a showcase, even if the end result is hard to complain about.

It's also too bad that Rachel lets Brody off the hook, to an extent. She says they're done, but she's nicer to him than she should be, and I feel like this leaves the door open for a return of their pairing, albeit in secret from Rachel's roommates, down the road. If she wants to be on the right path, she should ditch him altogether, but I guess everyone makes mistakes.

Speaking of mistakes, the Rachel / Brody duet of "Creep" is the one musical misstep in "Guilty Pleasures." It's certainly a different tone than the other songs, and I found it somewhat boring and out of sync with the rest of the hour.

Glee is going into re-run mode for the next two weeks, but will return Thursdays at 9 p.m. ET on FOX to finish out their fourth season.

"Feud" disrupts Glee

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

Glee takes off the gloves this week and focuses on the "Feud" between Will (Matthew Morrison) and Finn (Cory Monteith). Will wants to forgive Finn for kissing Emma (Jayma Mays), but finds himself unable to do so, making the atmosphere of the glee club toxic. The students challenge their two directors to sing out the tension.

It's a solid idea, I guess, to have Will and Finn battle it out musically. That's the kind of show Glee is, using music to express and solve everything, so it makes sense. But it does feel awkward, and despite using two great songs for their sing-off, "Bye Bye Bye" and "I Want It That Way," the plot never quite gets to be cohesive. The mashup doesn't gel right, especially the cut scenes of Finn and Will physically fighting, and neither does the story.

In the end, though, I'm glad "Feud" doesn't solve the problem between these two men. Finn did something that can't be forgiven in a week or two. Eventually, it would be nice to be done with this dumb side trip of an arc and have the two back to being pals, but for now, it feels completely authentic that Will can't bring himself to let Finn off the hook. The heated words between them are raw and real.

So what's Finn to do? He can't stay at McKinley. Marley (Melissa Benoist) suggest he go get a teaching degree. The surprising thing is this clearly hasn't occurred to Finn, since it's such a "duh!" suggestion, but he appears to be considering it. Of course, that would keep him away from the show's action for four years, so I doubt the writers will really commit to it. But from a character stand point, it would be a good decision.

Which begs the question, what will season five look like? Presumably, some of it will take place at McKinley the very next year, as Glee has done a fine job of setting up a new crop this season, which I'll get to in a minute. But we'll want more characters to make their way to New York (at least Blaine (Darren Criss)), which limits who can stay in the show. It's been fun to see lots of the old favorites this year from time to time, but it might be necessary to slim the cast down a bit.

Another idea could be to time jump the series. This way, Finn could be done with his degree, and others could move into other roles as well. Finn is a primary, important character to the show. Unless they're ready to let him go, which would make sense on their current path, at least for a few years, he needs to find some entirely new story that somehow connects to this, which will be difficult. If he doesn't, it's likely going to feel awkward to keep him in focus.

Back to the glee kids, it does feel manufactured that Ryder (Blake Jenner) now has a feud with Unique (Alex Newell) all of the sudden. It springs out of nowhere, as does Ryder's chat with the girl on the computer (which is definitely someone we know, right?). The results of this plot, including the mystery of who Ryder is chatting with and a heartwarming scene in the choir room among the five newbies is great, but it's a little weird getting there.

Ryder's real beef is with Jake (Jacob Artist) and Marley, whom he has wronged. It's a testament to Jake that he can be the bigger man and give Ryder a second chance, especially when it's totally unfair of Marley to put Jake in that situation, trust or not. This is nice, to see that the guys' friendship may not be over.

But why does Unique get involved? I'm not exactly complaining; I love the character. It just feels a bit forced. As does Kitty's (Becca Tobin) last minute inclusion, even though, again, I really like the chemistry and camaraderie of these five, and hope it sticks.

Unique and Ryder's sing-off is a mashup of "The Bitch Is Back" and "Dress You Up." It's well sung, but not especially memorable, like most of the music in this episode.

If there's one complaint I have about "Feud," which has a decent story, is that the musical performances are lackluster. From the opening, "How to Be a Heartbreaker," to the closer, "Closer," nothing really stands out. Unfortunately.

The sing-off that comes closest to making an impression is the annual Sue (Jane Lynch) song. This year, she channels Nicki Minaj with "Super Bass," drowning out Blaine's attempt of "I Still Believe." This would be great if Sue didn't feel so out of place in the role. Maybe it's because she doesn't fully commit to the dance moves, which I definitely believe Lynch can handle. While showy, the number still falls flat.

They sing this piece as part of Sue's attempt to blackmail Blaine back onto the Cheerios. I kind of like this twist because we haven't gotten much of the Cheerios lately, and it gives Blaine something to do besides pine over Kurt (Chris Colfer). He makes a fine cheerleader, and making the story go a little deeper, that he has a goal of destroying Sue, is at least fun adjacent. I look forward to seeing the two clash.

When Sue calls Blaine "Clark Kent" it occurs to me that Criss needs to play Superman in some form. He has the look, both for the hero and the mild-mannered performer. This is a role that must happen for him at some point.

In New York, Santana (Naya Rivera) creates her own "Feud" with Brody (Dean Geyer) in the name of protecting Rachel (Lea Michele). Rachel's pregnancy scare is, thankfully, a false alarm, but that doesn't satisfy Santana, who doesn't like what Rachel is becoming and blames Brody for the transformation.

I don't know if Santana is entirely right. I mean, Brody is definitely a bad dude, and all love for him has been lost with the confirmation that he is a male prostitute. But I think Rachel's problems go deeper than that. Having lost Finn and trying to fit into a world that doesn't completely connect with her high school persona, she is attempting to figure out who she is in the Big Apple. Santana is right, what Rachel is doing isn't working, but it's more about her than the guy she is seeing.

Santana ends up confronting Brody at NYADA when she bursts in and performs "Cold Hearted." It's weird that the dancers fall in line behind this girl they don't know, but that's Glee and I can forgive that. What's harder to forgive is that we finally get a Santana performance, and it's this mediocre. Sad.

For her trouble, Santana is kicked out of the apartment by Rachel and Kurt. I get that they feel she has invaded their school and threatens their place in it, and Santana forces her way into the apartment in the first place. However, I really like having her there, and the three of them together makes for an interesting dynamic. Once Santana is proven right, Kurt and Rachel need to beg her forgiveness and shower her with thanks, bringing her back home.

Santana's plot doesn't quite end there, though, when she lures Brody to a hotel room and gives Finn the chance to beat on him. This is a more adult plot than Glee usually treads down, but considering the circumstances, I like it. It's very satisfying to see Finn sock the slime ball in the face, and it's very Santana to set up the pins and walk away triumphantly as they fall down behind her. Hopefully, there will be no legal ramifications, as Brody has every right to have the pair arrested for this.

So, in summary, loving Santana in New York, enjoying the new batch of kiddos at McKinley, but the songs are weak this week, and some of the writing really stretches believability. In all, a middling episode, kicked slightly into the good end of the spectrum by the hotel room scene.

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

Glee Goes to the Movies

Article first published as TV Review: Glee - "Girls (and Boys) on Film" on Blogcritics.

FOX's Glee is certainly frustrating. After a great fall run, they completely dropped the ball during February sweeps, one of the most important times of the year for television, with several weak episodes in a row. Now, the ratings push being over, Glee returns with another good episode, "Girls (and Boys) on Film."


Part of why this week's installment works so well is the music that is used. The episode features the 500th musical performance ever on the show, as well as many other great numbers inspired by movies. From "Shout" to "In Your Eyes" to "Come What May" to "Unchained Melody" to "Footloose," Glee chronicles some of the best know moments in film involving song. They also toss in a couple of mashups, such as "Diamonds Are A Girls Best Friend" / "Material Girl," the same combo used in Moulin Rouge, and a Tom Cruise tribute of "Old Time Rock and Roll" and "Danger Zone," as well as the old style, beautiful looking dream opening "You're All the World to Me."

That list in the preceding paragraph is quite a long one, and without a weak link in the batch. Many are used effectively for the ongoing stories, while others are entertaining choir room performances. Many of the cast are featured in these numbers, rather than just a couple of them, and everyone must have had a ball filming "Girls (and Boys) on Film," which really translates on screen.

It does strike me as odd that the rest of the student body really gets into "Shout" as the New Directions run down the halls and dance on tables in the lunchroom. Were I their classmate, I would probably groan and say "Here they come again!" rather than clap and bob my head. However, it's so entertaining that I can't complain much, and I'm glad it's included.


I'd also like to mention how much I loved Unique (Alex Newell) headlining "Diamonds Are A Girls Best Friend" / "Material Girl." He has been such a pleasure to have in the cast this year, and her voice is amazing. I do have a little trouble deciding which pronoun to use sometimes when discussing the character, as evidenced by the previous sentence, but whether identifying as male or female, Unique brings something fun and powerful and, well, unique, to the show that I wish was used more.

Several of the romantic duos get screen time this week. Marley (Melissa Benoist) confesses to Jake (Jacob Artist) about her kiss with Ryder (Blake Jenner), which ruins their relationship. I'm disappointed by this plot in general because it does feel like a retread of season one. The quicker Ryder gets out of the picture and Marley is with Jake for good the better, even as I knowGlee won't be quick about it because they have to stretch out the drama.

Even more unsatisfying is Finn (Cory Monteith) telling Will (Matthew Morrison) about kissing Emma (Jayma Mays). It is a dumb mistake in a bad moment on Finn's part to kiss her, and he does everything he can to make up for it since. I understand Finn doesn't want it to come out later, but who is he helping by telling Will now? It just upsets Will, who gives his "pal" the cold shoulder, as Finn deserves. I guess that's what Will gets for befriending a student so closely.


I do like the way Will and Emma resolve their differences. Having her leave him at the alter sucked, but she has a point that Will has changed and has been away for awhile. Yes, she should have talked to him before the ceremony, but I'm glad they're choosing to work through it, hopefully meaning an actual wedding, maybe smaller this time, in the near future, a much better option than a permanent breakup.

It is a little weird that Emma's parents (Don Most and Valerie Mahaffey) pop up this week in "Girls (and Boys) on Film," rather than during the wedding episode. It is firmly established they are at the wedding, but we don't see them. One could argue there isn't really a plot for them in the wedding episode, but then again, there isn't really here, either. Just a confusing choice by Glee.

In New York, Adam (Oliver Kieran Jones) is worried that Kurt (Chris Colfer) may still have feelings for Blaine (Darren Criss). Clearly, whatever is going on between Adam and Kurt is more than just a fling for the senior. Sadly, I'm not sure Kurt sees it that way. What is up this year with Kurt hurting boys who like him? It's sad, and I hope his character gets a reality check soon because neither Adam nor Blaine don't deserve to be strung along. They're good guys, and they deserve better than how Kurt is being right now.


Also in the apartment, Santana (Naya Rivera) begins a campaign against Brody (Dean Geyer), whom, after rifling through everyone's stuff, she suspects is a drug dealer. It's nice to have Santana there to confront Rachel (Lea Michele) about Brody, since Kurt seems to be annoyed by the boyfriend, but not doing anything about it. It does cause tension, but not so much that Santana needs to go.

In fact, Santana's snooping has a happy ending when she is able to comfort Rachel regarding her pregnancy. Rachel and Kurt seem a little distant lately, and Rachel doesn't feel like she can turn to the men in her life, not knowing who the father is. But Santana, despite her grating qualities, is a warm-hearted individual, and cares about Rachel after everything they've been through. Because of this, I think Santana is earning her place in the loft, and hope she sticks around for awhile.

What's more, this episode is genuinely funny. From Santana ransacking the apartment to Finn and Artie (Kevin McHale) pretending to be gingers to get Emma's parents to open up to them, there are some fantastic moments. More of this will only benefit the show as a whole.

That's pretty much it on the story front. "Girls (and Boys) on Film" doesn't have too much time for plot arcs since it spends so much time singing. But what plot is present is good, the songs are great, and I'm looking forward to the next installment again, something I couldn't say throughout the month of February.

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

Glee "I Do"nt

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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