GLEE's "Dreams Come (Almost) True"

Article originally published as TV Review: 'Glee' Series Finale - '2009' and 'Dreams Come True' on Blogcritics.

FOX’s Glee comes to an end this, week after six seasons on the air . The first hour of the two-part finale, “2009,” takes place during the pilot of the show, revealing different perspectives as the audition process for the brand-new New Directions begins, and filling in some of the gaps in motivation between these early characters and who they become. The second half, “Dreams Come True,” goes slightly into the future, glimpsing the fates of several key members of the cast, before ending about five and a half years down the world in a nearly-perfect world.

Glee’s quality is inconsistent; something that remains through the end. However, the series almost always hits the emotional points it needs to hit, which it does in “2009” and “Dreams Come True.” Honestly, there was little point to “2009,” having no real purpose to its flashbacks, other than to evoke nostalgia. In that, it succeeds, forcing fans to remember where Rachel (Lea Michele), Mercedes (Amber Riley), Kurt (Chris Colfer), Artie (Kevin McHale), Tina (Jenna Ushkowitz), Will (Matthew Morrison), and Sue (Jane Lynch) come from, providing context to where they end up by the series end. And while it was a completely unnecessary episode, it was also a very moving remembrance, especially when including memories of Finn (Cory Monteith, whose untimely death forever changed the show).

Some of the songs were recycled from the pilot; “Mister Cellophane,” and “I Kissed a Girl” are the songs with which Kurt and Tina auditioned, respectively, and the series wastes precious on them. I won’t complain about Glee using “Don’t Stop Believin'” yet again because it is the show’s signature song, and it does allow us to see Finn again, the rest of the episode masterfully matching up the re-used footage. Rachel and Kurt’s “Popular,” Artie’s “Pony,” and Mercedes’s “I’m His Child” are better because they’re new and they fit, at least adding a little bit of something to “2009.”

The episode is fun. Seeing Will married to Terri (Jessalyn Gilsig) again, remembering how neurotic and in-lust Emma (Jayma Mays) first is, hearing the Tina we know justify the Tina Glee starts with, and having Howard (Kent Avenido) around for comic relief are all enjoyable. An unexpected glimpse of Blaine (Darren Criss) is welcome. There are a few poignant bits: seeing Will and Sue’s friendship sort of fall apart, and reminding us how poorly Kurt and his father (Mike O’Malley) communicate, as well as showing Kurt at an extremely low point, mean something. But overall, “2009” doesn’t serve much purpose in the grand scheme of things.

I would have had less of a problem with this bit of nostalgia if “2009” had not been part of the two-hour series finale. Had it aired last week, it would have been better. The issue is, after spending a full episode in the past, there isn’t a lot of time to tie up the endings, which means that many, many deserving characters don’t get their earned send-offs, some of which could be very brief, but aren’t present at all. These two hours do re-focus the story on the core cast, but even they aren’t all given their due, with Artie and Tina, arguably the least necessary characters, shafted in the second hour in favor of allowing Sam (Chord Overstreet) and Blaine some pay-off.

“Dreams Come True” presents an idealized version of the future. Rachel wins a Tony, for which she thanks Will, carries a surrogate child for Kurt and Blaine, and is married to Jesse St. James (Jonathan Groff). Kurt and Blaine are on Broadway, and doing school visits in their spare time. Sam takes over the New Directions, something in which he’d never before shown, but does seem oddly fitting. Mercedes is on tour with Beyonce. Sue is winning a second term as Vice President under Jeb Bush. The last is a bit nightmarish, but it’s the outcome Sue would want.

The most optimistic vision of all finds Will taking over as principal at McKinley, now a school for the arts, and turning it into a model copied nationally. Glee has always championed arts education, positioning music as the magic bullet that can fix a severely broken system. As someone heavily involved in music and drama while in school, I am sympathetic, but Glee takes it all to the super unrealistic nth degree. I certainly appreciate what the show is trying to do, but by tossing believability so far out the window, it pretty much undermines its own message.

What I’d have preferred from the finale is something the two hours do in half measures. Mercedes gets to say goodbye with “Someday We’ll Be Together,” Will croons his “Teach Your Children” thank you to the alumni, Sue lets “The Winner Takes It All” express her emotions to Will, and Rachel is sent off in the penultimate number, “This Time.” All of these are great, especially the Sue song, and they are good ways to let these characters depart. Kurt and Blaine’s “Daydream Believer” is at least as enjoyable as these others, though feeling less final. There are non-singing moments, too, such as see Sue and Will watch the Tonys together, Blaine worrying about Sam, and Tina and Artie’s kiss, that are touching. But there are other characters who matter besides them. Santana (Naya Rivera) and Brittany (Heather Morris) arguably get their due in their wedding episode, but others in the cast are not featured, and that’s a shame.

“Dreams Come True” ends with a huge group number honoring Will and the auditorium named for Finn with “I Lived.” This is terrific, with almost all of the previous glee club members (sans Rory and Marley, most noticeably) coming back to be with Will. Such faces are glimpsed as Zizes (Ashley Fink, whose return I long yearned for), Joe (Samuel Larsen), Matt (Dijon Talton), Mike Chang (Harry Shum Jr.), Ryder (Blake Jenner), Jake (Jacob Artist), Puck (Mark Salling), Quinn (Dianna Agron), and many more. That it should include kids that come after them is debatable, since Will gives up coaching in the near future. But I would have liked to have seen a more full Mr. Holland’s Opus press, with all of the alumni parading past their teacher, showing viewers how they end up, while honoring the legacy Will builds.

While some of what I suggested is personal preference, and Glee is, of course, free to handle its swan song any way it wants, the way it did feels a little weak to me. By ignoring so many of the characters that made the show important and going overboard in its support of arts education, it just doesn’t live up to its potential. And yet, it hits emotional note after emotional note, and tears are flowing for much of the two-hour running time. So does it succeed at capping the six-year run, being as almost-great as the rest of the show? Or does is squander a chance at a lasting legacy by not entirely sticking the landing? I guess that’s up for each individual fan to decide for themselves.

It is with some relief that I end my last Gleekonomics column, but there’s no denying, Glee and its characters, despite all of their flaws, will be missed.

Glee Celebrates "A Wedding"

Article first published as TV Review: 'Glee' - "A Wedding" on Blogcritics.

This week’s installment of FOX’s Glee, titled “A Wedding,” is set almost entirely in a barn in Indiana. See, it’s Santana Lopez (Naya Rivera) and Brittany S. Pierce’s (Heather Morris) wedding day, and they still can’t legally tie the knot in Ohio, which is not harped upon, but is definitely wrong. As everyone plans and attends the wedding, the characters apparently make several trips that take multiple hours each direction across state lines, but almost no one important misses the big day, which turns into a double celebration.

Santana and Brittany are one of the two best couples on the series, arguably the best one, so it’s natural that they would get married before the series’ end. They always understand each other better than anyone else can, and their love is true. They break up for awhile and pursue their own interests, but eventually come back together because their bond is so strong. This episode is not surprising and a very welcome development, up to and including Brittany’s superstitious freakouts.

Brittany springs the idea of a double ceremony on Kurt Hummel (Chris Colfer) and Blaine Anderson (Darren Criss), who are just getting back together, and while the boys acknowledge the craziness of the idea, they do say their vows. Klaine is another destined-to-be-together pairing who has explored separate avenues but always come back to one another. It does happen too fast, but no one cares because the guys know who they are and what they want, so it works.

Tina (Jenna Ushkowitz) tries to make it a triple wedding when she proposes to ex-boyfriend Mike (Harry Shum Jr.), but he declines. This feels just as natural as the other two tying the knot. Not everyone meets their soul mate in high school, and despite Glee‘s propensity for mostly only having McKinley students and alum date other McKinley students and alum, most high school sweethearts don’t work out. The promise Artie (Kevin McHale) and Tina make to marry if they’re still single at 30 is a silly, dated reference, and one that probably won’t work out since Glee won’t still be running in ten years.

So, look, the general conceit of this episode, that two pairs of must-be spouses not only date in their teen years, but get married at twenty, is ridiculous. It’s not realistic. But Glee isn’t always realistic, and I’ve pointed out on numerous occasions in the past that the series tends to favor emotion over story structure. In this case, “A Wedding” is an enjoyably sweet episode, even if it doesn’t really make sense when viewed from a real-world perspective.

Which doesn’t mean Glee should be forgiven for all of its mistakes. Will (Matthew Morrison) not showing up until the last minute and Quinn (Dianna Agron), who is around earlier this year, not showing up at all, is pretty inexcusable. Where are the couples’ friends from New York? The frequent costume changes at the wedding and reception are downright ludicrous. Burt’s (Mike O’Malley) lack of surprise at his son suddenly getting hitched and Kurt having ready vows is unforgivable. The girls being gifted a month-long honeymoon while the boys get a weekend and none react to it is stupid, but clearly signals who’ll appear these next few weeks. Why isn’t Sam and Brittany’s fake wedding referenced? I’m just saying the overall feeling of joy one gets from watching “A Wedding” mostly outweighs this, but Glee would be a much better show if their writers exerted a little bit of effort on continuity.

Sue (Jane Lynch) isn’t invited at first because Santana hates her, understandably. But Brittany, like most of their classmates, forgives Sue easily, like one would a racist elder relative, so the principal manages to worm her way in anyway. Sue is a complex character at her best, and while she isn’t always written consistently, her support of these unions is nice and shows a good side to her character.

Sue’s ticket in is by bringing Santana’s abuela, Alma (Ivonne Coll), to the ceremony. I like that Alma doesn’t come around on gay marriage, but decides she wants to be a part of Santana’s life again. Alma’s tears during the wedding likely are as much from disappointment as joy, but this is a realistic take on the generational divide, with Glee’s trademark happy ending twist to it.

Finally, there’s a weird little subplot in which Rachel (Lea Michele) is afraid of what Finn’s mother will think about her moving on with Sam (Chord Overstreet). I guess, from Rachel’s perspective, this is a concern, but from a logical approach, there’s no reason to think Carole (Romy Rosemont) would disapprove, and of course she doesn’t. I’m still not a fan of Samchel, nor do I think this story is needed here, but if it is going to be done, this is the best way Glee can do it.

The musical numbers in “A Wedding” start late, but are solid. The moms group, including Carole Hudson-Hummel, Whitney S. Pierce (Jennifer Coolidge), Maribel Lopez (Gloria Estefan), and never-before-seen Pam Anderson (Gina Gershon), whom duet with the reconnected Troubletones – Brittany, Santana, Mercedes (Amber Riley), and Sugar (Vanessa Lengies) – on “I’m So Excited,” is all kinds of crazy fun mixed with real talent. Mercedes and Artie’s “At Last” is perfect for the wedding. “Hey Ya!,” which features Artie and a couple of high schoolers who probably shouldn’t be there, may not be generation-ally appropriate, but comes off great. Finally, the two couples sing “Our Day Will Come,” and it may not be the best piece in the hour, but is still pretty good.

“A Wedding” is a feel-good installment designed for maximum emotional impact, and it succeeds there. That the story is full of holes is sadly beside the point, but this close to the end, forgiveness of these glaring mistakes comes a little easier. Overall, I think this episode succeeds.

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

"Homecoming" For GLEE

Article first published as TV Review: 'Glee' - 'Loser Like Me' and 'Homecoming' on Blogcritics.

FOX’s Glee began its final season with two episodes this past Friday. In the first, “Loser Like Me,” Rachel (Lea Michele) sees her Hollywood dreams crash and burn. Returning to Lima, Ohio, she realizes the program that inspired her is no more as well, so she petitions the superintendent to revive the arts at McKinley. He agrees – if she will run the show choir. The story continues in the second hour, “Homecoming,” in which many of Rachel’s fellow alumni return to help her recruit.

I’ve been pretty critical of Glee in recent seasons as the quality of the show, never consistent, noticeably declined. The bright spot was whenever the series moved to New York, with the Ohio plots being much lamer. Unfortunately, this sixth (and final) season pretty much eliminates New York altogether, as there is no one left in the Big Apple to follow.

That being said, something Glee usually nails is emotional heft, and season six is already showing greater willingness to use this hammer. The story may not be entirely believable (Sue’s antics so ridiculously misrepresent what would be allowed in education that I want to scream) nor make total sense (why did Chord Overstreet’s Sam decide to move home and become the assistant football coach?), but “Loser Like Me” succeeds in making me feel something for the characters again. Many of them, especially Rachel and Kurt (Chris Colfer), are at a crossroads in their lives. Things haven’t exactly turned out as they’d hoped, something many young adults face, and they may need to readjust career goals and priorities.

Adding to that is this desperate crusade in the final war against Sue Sylvester (Jane Lynch) to save arts education. The New Directions did something very special for all of the core characters, and Rachel, Kurt, et al. want to make sure that tradition continues. This is an idea many fans of the show can get behind, and it makes it all the more special when old friends, including Puck (Mark Salling), Mercedes (Amber Riley), Artie (Kevin McHale), Quinn (Dianna Agron), Brittany (Heather Morris), Santana (Naya Rivera), and Tina (Jenna Ushkowitz), come together to help one another.

A quick note on casting. I’m glad to see Riley back to full-time status, and the promotion of Dot-Marie Jones’ Coach Beiste makes sense, as well as being very satisfying. But why is McHale sticking around, given that he should be the only one left in NYC? And it’s with great regret to note that Rivera has been downgraded to guest star, though she’s expected to appear in several episodes.

The final season will not only see people come together in opposition to Sue, but it will also test the bounds of new relationships. Kurt and Rachel are heading up the New Directions, and two of their loves ones are now coaching their own glee clubs, Will (Matthew Morrison) having been hired for Vocal Adrenaline and Blaine (Darren Criss) returning to his Warblers. This will provide needed drama, which already begins in “Homecoming” when one of Blaine’s students switches to McKinley. But Kurt and Blaine are destined to repair their relationship and Will clearly isn’t happy with his less chummy group, so those are all just obstacles to overcome, rather than signaling an unhappy ending.

Speaking of Kurt and Blaine, their breakup, shown in flashback in “Loser Like Me,” is incredibly sad. I get why it happens, and I think it’s one of the better fleshed out developments in Glee recently, but it’s still incredibly hard to see this “perfect” couple fall apart. I enjoy Karofsky (Max Adler) getting into the triangle, but I have faith the series will bring Klaine back together in the end, which is how it should be.

The evolution of homosexuality in Glee‘s six short years on the air has been astounding. In the beginning, Kurt is bullied for being gay, and Karofsky certainly can’t bring himself to admit who he has feelings for. In “Loser Like Me,” we are introduced to Spencer Porter (Marshall Williams, How to Build a Better Boy), who is “post-gay,” meaning he doesn’t fit into any of the stereotypes gay boys usually fit into, and hardly anyone has a problem with his sexuality. I don’t think the world has changed quite that dramatically in six years, but it certainly has moved majorly in that direction, thanks in large part to shows like Glee and Modern Family, which gets a name drop this week. I hope those involved in Glee are proud of their societal contribution in this arena, and it’s awesome that the show is able to realistically include a character like Spencer before they go off the air.

Joining Spencer (who is not yet in glee club, but certainly will be) in the fresh batch of newbies are: chubby transfer student Roderick (Noah Guthrie, Dancing With the Stars); discrimination-busting Jane (Samantha Marie Ware); and Flowers in the Attic-esque siblings Mason (Billy Lewis Jr.) and Madison (Laura Dreyfuss). Virtually all these performers are unknown, not a rarity for Glee, but they seem like an interesting group, and even if the latter are only comic relief, they should make for some worthy, albeit brief, narratives in the final season. Plus, they can all sing quite well.

I am a bit sad “Loser Like Me” and “Homecoming” introduce a brand new batch of kids without including any of the most recent students like Marley and Unique. I mean, had Sue not transferred them to other schools, they probably would have kept fighting her, and thus Rachel would not have a clean slate. But I like those guys a lot, despite the horrible stories they are often given, and I’m sad they don’t appear to be returning. Kitty (Becca Tobin) is still around, but it doesn’t look like she’s re-joining the choir. It’s not like they’re the first people Glee regrettably diss-ed though; I still miss Zizes.

While I mainly want to talk story this week, I would be remiss if I didn’t touch on the music in “Loser Like Me” and “Homecoming.” “Suddenly Seymour” is a favorite song of mine, and Glee presents it beautifully. I’m not as big a fan of “Let It Go,” but it’s hard to complain about Ms. Berry’s fantastic rendition of it, and I love the mother/daughter angle because the woman that made the tune famous, Idina Menzel, plays Rachel’s mother on the show. “Take On Me” is telegraphed well before it shows up, but that doesn’t negate it’s effect when it finally does. “Uninvited” is nice, “Viva Voce” is cool, and “Tightrope” is spectacular. “Home” works well for the ending of the two-hour episode.

I was less thrilled with “Mustang Sally,” “Problem,”Dance the Night Away,” and “Sing,” but that speaks as much to the song choices as the performances of them. Though Glee has turned me around on icky songs before by finding a new angle, so the fact that these fail to wow is too bad.

Overall, I am reasonably satisfied with Glee‘s return. These aren’t the best two hours of the series, but they are mostly enjoyable, and they appropriately add serious emotion in the beginning-of-the-end plots introduced. It seems like the show is setting up the ending these characters deserve, and since creator Ryan Murphy has a tendency to nail the dramatic stuff, I’m cautiously optimistic about where the show is going.

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

Rachel's Big "Opening Night" of GLEE

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

This week’s installment of Glee, “Opening Night,” has a couple of nice stories mashed together in a very unnatural way. Add to that a big list of what is missing from the hour that should have been included, and it feels uneven. Had this been split into two separate episodes, allowing room to add in some of the glaring omissions, it might have been really good. Instead, it’s a fair installment with some terrific moments.

The ‘A’ plot revolves around Rachel’s (Lea Michele) Broadway opening night in Funny Girl. Her friends rally around her, including Tina (Jenna Ushkowitz), who has come to visit, but not Artie (Kevin McHale), who is out of town, so we trade one annoying character for another. Still, Rachel has severe nerves and has a hard time finding the will to get up on stage. It takes a former frenemy verbally slapping some sense into her before Rachel can perform. Once she does, as expected, she is amazing.

Rachel’s nervousness is understandable, and is well developed. It gives us the fun opening “Lovefool” with welcome appearances by former recurring players Karofsky (Max Adler), Jacob Ben Israel (John Sussman), and Becky Jackson (Lauren Potter). Those three are tormentors of Rachel’s previously, to varying degrees, so it makes sense to see them now. From here, we get to Rachel curled up in bed, unable to rise, doubting herself after reading online reviews of the preview shows. What nineteen- or twenty-year old wouldn’t be nearly paralyzed with fear in this situation?

It’s Santana (Naya Rivera) that manages to make Rachel see the light when her friends, including Kurt (Chris Colfer), Blaine (Darren Criss), Mercedes (Amber Riley), and Sam (Chord Overstreet) cannot. This works for the story, too. Not only does it solidify that Rachel and Santana are over their feud and really can be true pals, but Rachel needs a kick in the pants, not coddling, and only Santana can do that. Tina gives hard truths, too, but only unintentionally, not having the brass to back them up that Santana does, or wisdom to see what’s needed.

When Rachel takes the stage, she’s terrific. An audience kerfuffle tarnishes the first act a little bit, but Rachel’s chums remain supportive and the producer, Sidney (Michael Lerner), tells Rachel like it is, so Rachel rallies. Her opening, “I’m the Greatest Star,” is good, but her closing, “Who Are You Now?,” is even better. Rachel’s skipping of the cast party to hang out with her friends in a rowdy gay club, complete with a spirited “Pumpin’ Blood,” is a little rude, but she needs to let off steam her way. And the rave reviews in the papers the next morning are well-earned, the culmination of five years of story arcs for the female lead of the series.

The worst part of this storyline, though, is that Will (Matthew Morrison), who has come to New York specifically for the show, has to run home before it begins because Emma (Jayma Mays) is in labor. It’s not like Mays even appears in the episode, nor do Will or Rachel struggle with his absence, so what is the point of this? It seems gimmicky, like a bad sitcom, and the episode would have changed not at all had Will stayed, uninterrupted.

Or maybe the worst part is that Rachel’s dads, introduced as two men that would be mega-fans of their daughter, don’t show up, as they never do, their characters having been consistently wasted all throughout Glee. Nor do many of Rachel’s friends come, despite that fact that this person they know and like is starring in a Broadway show! Maybe Glee didn’t want another big reunion episode so soon after the ending of the McKinley plot, but “Opening Night” pretty much screams for one, and fails to get it.

Of course, Glee sticks a couple of touching Finn references in, as it is beginning to do way too often. Rachel thinks of Finn while singing, and Will gives her child the middle name of Finn. These are sweet, to be sure, and definitely fit for the moment. But do we have to be reminded of Finn week after week? Many shows don’t mention a character enough after their passing; Glee is almost doing it too much.

Sandwiched into “Opening Night” is a ‘B’ story in which Sue (Jane Lynch), criticized for lambasting New York City in her news segment because she’s never been there, tags along with Will. Unable to sit through Funny Girl, Sue climbs over the New York Times critic early in the show, then meets up with a man named Mario (Chris Parnell, Suburgatory, Archer), who walks out in a similar manner. The two fall in love over dinner, then have sex all over Rachel’s apartment (because they didn’t know Will had left an empty hotel room?). In the end, though, Sue won’t stay in the city and Mario won’t move to Ohio, so their affair ends, but leaves Sue with an appreciation for the Big Apple.

Sue deserves a romance, and I like her how and Mario connect, Mario even sticking by her after Rachel (justifiably) loudly and harshly tells Sue off. So why bring this up if it’s not going to be an ongoing arc? And why stuff it into Rachel’s episode? Sue’s “N.Y.C.” number with Will is great, but the fact that Sue shares Rachel’s big closer, “Who Are You Now?,” is jarring and weird. It’s nice to see Sue get story, and good story at that,  but it’s just sandwiched so unevenly into “Opening Night” that it doesn’t land as it should.

I’m also a little torn over the Rachel / Sue showdown in this episode. Sue is known to be supportive of her students, using her cruelty as a motivator, not because she’s truly mean. So why can’t Sue be happy for Rachel when Rachel has succeeded? Is Sue resentful that it has come about so easily for the girl? If so, explore that, don’t leave us wondering. Rachel laying into Sue feels good because, in the moment, Sue seems to deserve it, and yet, because we see Sue emotionally bare this week, it also feels a little rougher than it should be, creating unnecessarily mixed feelings.

Once more, “Opening Night” is superior to the NYC/McKinley split episodes, but does not completely fulfill its potential. It will be interesting to see how Glee ties up the New York arc in the next three weeks, and if its final season, which will feature a new format and setting(s?), finally figures out what the show should be. Glee airs Tuesdays at 8 p.m. ET on FOX.

GLEE Stumbles In "New Directions"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A "Trio" of Uneven GLEE Stories

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

FOX’s Glee‘s latest episode, “Trio,” is uneven, as is par for the course of Glee installments lately. The New York scenes are mostly excellent, depressing, but frustrating, with solid character definition and development. The McKinley stuff is silly fluff that doesn’t make sense. But with the end of the high school setting so close, all viewers can do is grit their teeth and wait it out.

Let’s hit the good parts first. Rachel (Lea Michelle), still furious at Santana (Naya Rivera) for being her understudy and at Kurt (Chis Colfer) for remaining neutral, meaning he didn’t side against Santana with her, latches onto Elliott (Adam Lambert) as her new gay bestie slash personal assistant. Santana strikes back, paying Elliott to run scenes with her. This battle continues until Elliott and Kurt throw up their hands and tell the ladies to go away until they can work out their issues, kicking Santana and Rachel out of the band.

This part of “Trio” is excellent because, as heartbreaking as it is to have Rachel and Santana at each other’s throats once more, acting like they are back in high school, Glee stays completely authentic to both characters. Rachel is overreacting, she’s always been a bit of a drama queen, and is too proud to back down. Santana doesn’t apologize because she doesn’t want to appear weak, and when threatened, resorts to her old lashing out coping mechanism. Santana didn’t mean to hurt Rachel, but now that she has, neither can back down.

There’s a scene in this episode where we see the girls softening towards one another, and they’re almost vulnerable, admitting they don’t have any other gal pals around. Had Kurt and Elliott not walked in, interrupting, they may have made up, rather than trying to save face as they did, driving them further apart. The question is, can that friendship be found again, or will circumstances keep eroding it until it’s too broken to heal?

I love Rachel and Santana as friends, but they also make great enemies. Fans desperately want them to work it out, so they probably will, eventually. But the presentation of two such powerful voices, conflicted by circumstance, is an enticing one, and I’m glad Glee chose to explore this path, even if, hopefully, it’s only temporary.

I think the main difference between now and high school is that neither Rachel or Santana have any enablers. Their friends, Kurt, Elliott, and even Santana’s girlfriend, Dani (Demi Lovato), recognize that this feud is between two good people, and all move to isolate the women until they can come to their senses and realize the importance they have to each other. Cut the oxygen off to the fire, and it will die out.

I have to admit, I’m expecting Santana to instigate the reconciliation. I do think Rachel needs a big slap in the face to knock her down a peg, so I don’t want to see Santana defeated or to have to bow down. I just think Santana is the one who has to be the bigger person here, having caused the rift in the first place, even if it wasn’t intentional, and is more likely to do so.

This part of the episode results in some pretty solid music, as well. I’m not a big fan of Elliott and Rachel’s “Barracuda” just because it doesn’t feel like a Rachel song, but it showcases Lambert well. “Gloria,” an all-out battle between Rachel and Santana with Elliott caught in the middle, is much more entertaining, allowing both girls to showcase their vocal talent. Kurt, Dani, and Elliott’s debut as One Three Hill, “The Happening,” is plain fun, light and amusing, as well as well sung. And then they all participate in the closing song, shared with the McKinley cast, which is awkward, as usual, but it’s a good number.

Back in Ohio, Tina (Jenna Ushkowitz), Sam (Chord Overstreet), and Blaine (Darren Criss) are celebrating and mourning their final weeks together as seniors. They decide they need to do something epic and memorable, and so after Sue shuts down their idea for a lock down, they sneak into the school at night, because apparently McKinley is the only high school left in the nation without a security alarm or cameras, and party down, only to be interrupted by Becky (Lauren Potter).

It makes sense to see the seniors played up as their time comes to an end, even if that means five cast members, just promoted to series regular status in the fall, have had virtually no screen time for awhile. And the antics in the halls are entertaining, very John Huges-esque, which makes sense for the characters’ sensibilities.

Then, Becky turns up, but is never given a good reason for being there. Glee could have explored Becky’s loneliness and desire to bond with her classmates, but it doesn’t. What’s more, the seniors cruelly leave Artie (Kevin McHale) out until the very end of the episode for no stated reason, just another misstep from Glee. And worst of all, Sam and Tina make out, even though they’ve never shown any interest in one another and don’t afterwards, either. “Trio” is a bundle of stupid contrivances that don’t make sense for them.

I have to admit, their music is good, though. I don’t know how any teenagers today are familiar with “Jumpin’, Jumpin’,” but it’s a welcome blast from the past. “Don’t You (Forget About Me)” reinforces the tone the episode is trying to sell nicely, even if the performance is weak. And the end ending “Hold On,” despite unfortunately including the New Yorkers, hammers in the message of this side of the story.

The third plot this week finds Will (Matthew Morrison) and Emma (Jayma Mays) trying to conceive. He puts too much pressure on her at first and, after some advice from Sue (Jane Lynch) and Beiste (Dot-Marie Jones), backs off and concentrates on the romance instead. This results in successful impregnation.

To be sure, the pregnancy story is a little rushed, starting and ending in a single hour. However, Will and Emma have been through enough crap, so they don’t need more heaped on top of them. Plus, Mays has limited availability due to her starring role on The Millers, which is why we’ve barely seen her this season, so it makes sense to get through the story all at once.

There are some wonderful moments present. “Danny’s Song” is sweet and soulful. I absolutely love when Will puts paint on Emma’s nose and she freaks out, a play off the familiar trope bent to stay true to the characters, beautifully played by Mays. The affection between the pair is evident, and it appears their union is strong. It’s nice to see them get a happy ending.

That being said, there are parts of this that are absolutely horrid. How dare Will and Emma have sex in a school, cycles be damned? That has to be illegal and immoral and should result in immediate firing. And on top of that, they don’t even lock the door, allowing Becky to walk in on them? I admit, Sue gets some great lines out of this, but the whole thing is ridiculous and disturbing.

So Glee delivers the good with the bad. Viewers have gotten used to this, but still long for the run of multiple great episodes in a row that occasionally pops up through the series, not currently being delivered. Any chance ditching the Ohio stuff and building towards next spring’s series finale will allow them to finally shed the weird unevenness dragging the show down and allow the show to finally, five years in, reach its potential? Maybe. But for now, we’re still saddled with hours that mix terrific moments with bits that clearly have not been thought through.

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

"Frenemies" Make for Drama-Filled GLEE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GLEE Should Have Skipped Christmas

Article first published as TV Review: 'Glee' - 'Previously Unaired Christmas' on Blogcritics.

Seven episodes into season five, Glee is still telling a story set last spring, which makes it difficult to do a Christmas episode. The solution? Have Sue (Jane Lynch) record an introduction in which she says the latest installment, “Previously Unaired Christmas,” was the first holiday special made last year, but considered “too controversial” to air (while putting coal in stockings for Lynch’s award-show competition). Now, though, it’s been edited so it can finally be broadcast.

This does adequately explain how there was still a Christmas special last year and another this year set at roughly the same time. But it also takes us out of the story and reminds us that Glee is just a television show. It would be one thing for a variety series to this; it’s quite another when a serial dramedy does so, interrupting flow and feeling very fake.

Yes, Sue’s statement is a total lie, “Previously Unaired Christmas” being freshly filmed only months ago. The most obvious tell is that Heather Morris and Cory Monteith do not appear as Brittany and Finn, respectively, the former actress no longer being on the show, and the latter having passed away. Their unmentioned absences make the premise impossible to accept. Add a very staged way to get Santana (Naya Rivera) in the New York scenes, as her character had not moved there yet, and no mention of Brody (Dean Geyer), whom Rachel (Lea Michele) is serious with at this point of the story, and it just doesn’t hold up.

Now, Glee has always been a little bit cheesy, and some might say that’s part of its charm. The tongue-in-cheek reference when Rachel tells Santana she should drop out of college and come live with them is a fun little poke. And the matter of having religious displays at a public school is brought up and dropped, acknowledging that ridiculousness of the premise, kind of works. But Glee can do better than this, and it leaves one with a sour taste after viewing.

The story begins in New York when Santana brings gifts for Rachel and Kurt (Chris Colfer). She stays a few days in their apartment, and the three get temp jobs working as elves at the mall for an alcoholic Santa. Santana ends up filling in for the red suit, which is both antastic and a terrible idea. They try to salvage the situation with the help of a new “friend” (Bryce Johnson, Popular, Pretty Little Liars), but he just gets them drunk and robs them, leaving Kurt in a naughty, pretty wrong state.

The songs in this thread are good, if thin. “Here Comes Santa Claus” is a pretty straight-forward take, and “The Chipmunk Song (Christmas Don’t Be Late)” is mostly lip-synched, but at least the staging for both is fun. It’s less thrilling that this trio sings “Away in a Manger” with the McKinley crew, a trope that is already feeling tired, but overall, the NYC plot is enjoyable fluff.

In Ohio, the New Directions compete for the best Christmas tree in the school and to participate in a living nativity scene. The former of those stories just gives the show an excuse to tug the heart strings, as driven winner Tina (Jenna Ushkowitz) finds compassion and hands over the prize to poor Becky (Lauren Potter), who really wanted to win but didn’t understand the assignment of a “green” tree. This also gives us a tame “Rockin’ Around the Christmas Tree.” The latter is where the offensiveness that Sue referenced at the start finally becomes apparent.

See, Unique (Alex Newell), Marley (Melissa Benoist), and Tina all want to play the Virgin Mary. That’s weird, because they choose to audition with a mostly-out-of-character, scandalous, vaguely Jamaican rendition of “Mary’s Boy Child.” Marley wins, but she realizes Kitty (Becca Tobin) holds the role in high regard, and so the girls get even worse with “Love Child,” a hilarious and very wrong number, to force Kitty to step in and save the day.

As far as making one feel the Christmas spirit, “Previously Unaired Christmas” does that in the most basic sense, with the annual softening of Sue and the generous acts by others. But the quality of the musical numbers is definitely down, and the tale feels unnecessary and not quite in keeping with continuity. As such, perhaps it would have been better for Glee to take a year off, as much as the format of the series lends itself to holiday cheer more than most shows on TV.

Glee will return February 25th 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 Not Quite Worth "Diamonds"

Article first published as TV Review: 'Glee' - 'Tina in the Sky With Diamonds' on Blogcritics.

I’ll be honest. I groaned when I saw that part two of Glee‘s Beatles tribute on FOX was called “Tina in the Sky With Diamonds.” If you follow my Gleekonomics column at all, I have periodically complained about Tina (Jenna Ushkowitz) as a character in the past, finding her grating and adding little to no value to the series. My mind was not changed about her by this episode, but she did feature less prominently than I had feared, not even getting to make it far into the opening number, “Revolution,” before being cut off, and as a consequence, the installment wasn’t bad, overall.

Tina’s mission in “Tina in the Sky with Diamonds” is to be prom queen of McKinley. Inexplicably, she is nominated. Bree (Erinn Westbrook) initially tries to ruin Tina’s chances at the crown, disappointed by a recent streak of Cheerio losses. But after failing to win Kitty’s (Becca Tobin) support for the goal, Bree decides to let Tina win (I assume by rigging the vote?), and then has Tina’s very-occasionally-seen sidekick, Dottie (Pamela Chan), dumb red slushie on Tina, a la Carrie.

Unlike Carrie, though, Tina has friends, who quickly clean her up and comfort her with a wonderful “Hey Jude,” changing her into Kitty’s gown and sending her back out, head held high. I can’t say the sequence is very touching, given that Tina is at the center of it, and her head has grown so huge before being knocked down that she deserves the penalty. However, the New Directions coming together for one of their own is in keeping with true Glee fashion.

I wonder how long Kitty can keep one foot in both worlds? Her arc from mean girl to sympathetic glee club member has happened more quickly than Quinn’s did in the first couple of seasons, and with the introduction of Bree, suddenly Kitty is challenged with an either-or choice. Kitty is still in the squad, as far as viewers know, but it seems likely Bree will bully her out of it sooner rather than later.

Which is fine. It’s always been a challenge for Glee when it tries to make its geeks popular, and it never quite works right, including Tina and Artie’s (Kevin McHale) nominations for king and queen in this episode. The sooner that band-aid is ripped off and Kitty is sorted into one group, rather than two, the better for the story, even if it’s not quite the right message to send to kids.

Bree isn’t going anywhere because, rather than be punished for her stunt, which Coach Roz (NeNe Leakes) awkwardly praises while demanding consequences, Principal Sue (Jane Lynch) rewards the girl, making her Head Cheerio. Sue’s reason for doing so is that the glee club needs a villain to reach its potential, which might give a logical reason for her own evilness over the past few seasons, though it’s way too misguided to make Sue seems reasonable. I did love Sue’s own proclamation that Bree comes out of nowhere, true, since the character was only recently added to the series, despite most of the characters pretending she’s been around for awhile. It’s a nice meta reference.

The other thread happening at McKinley this week is much more sweet. Freed from the shackles of having to take Tina to prom, something he really doesn’t want to do, Sam (Chord Overstreet) falls for Nurse Penny (Phoebe Strole, Hamlet 2), a bumbling college student who Sue has hired to give out immunizations. She’s nerdy in a cute way that matches Sam’s odd charms, and they make a great pair. Perhaps it comes a bit too easily, but if Sam is nearing the end of his tenure on the show, a strong possibility with his impending graduation, she could be his happy ending.

I just wish he had sung “Penny Lane” to her. Yes, that would be cheesy, but Glee is nothing if not cheesy. Sam’s “Something” is a pleasant enough number, but it skips the over obvious song choice.

In New York, Santana (Naya Rivera) is also falling in love, when she’s not making hilarious vaginal yeast commercials. Her new girlfriend is fellow waitress Dani (Demi Lovato, Sonny with a Chance), a full-blown lesbian, which is new for Santana. Dani comes on a little strong at first, but by the time she duets “Here Comes the Sun” with Santana, they do seem like a natural fit.

I was a little concerned with Lovato’s inclusion on Glee. She’s part of that Disney pop-princess conglomerate, and the success of such stars post-Disney is mixed. Lovato is not the best actress Glee has brought on, but she’s not the worst, either, clearly having some acting chops. “Tina in the Sky With Diamonds” has not sold me on the relationship, but it hasn’t been the awful mess I was expecting, so we’ll wait and see.

Finally, Rachel (Lea Michelle) gets the part in Funny Girl. This wasn’t a forgone conclusion, but it’s not a big surprise either. She needs to move forward with her career, and this is good way for her to do so. Perhaps it is quite a big part for someone with so little experience, but Rachel is a formidable talent.

The only regret here is that surely Rachel will not have time to continue to work at the diner. Thankfully, Kurt (Chris Colfer) now has joined the staff, so the diner scenes can include him, as well as Santana and Dani. But this does remove Rachel from the equation. At least she still leaves with her fellow alum, so she shouldn’t be totally separate.

As for the more random musical numbers in “Tina in the Sky With Diamonds,” “Sgt. Pepper’s Lonely Hearts Club Band” is kind of weird for prom, but works OK, “Get Back” is a fun little piece with cool piano choreography, and “Let It Be” is a great way to end the two-part tribute, involving both the McKinley and New York contingents. I think the first half was stronger in songs and story, but this follow up hour isn’t bad. There are still many great Beatles songs I’d love to see the show do, but I guess that will have to be another time.

Next week, we get the Goodbye Finn tribute episode, which is sure to be a tear-jerker. Rumor is, Rachel will not appear until the end of the episode.

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.

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.