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.

"Prayer" for VIKINGS

Article first published TV Review: 'Vikings' - 'The Lord's Prayer' on Blogcritics.

History’s Vikings tied up its second season recently with “The Lord’s Prayer.” Ragnar Lothbrok (Travis Fimmel) is finally home, surrounded by his loved ones, the raiding and wars taking a pause. However, it’s in his own village, the place where he feels most safe and comfortable, in which the most deadly danger may lie. His ally, King Horik (Donal Logue) has grown jealous of Ragnar’s expanding power, and working with a couple of those closest to Ragnar, decides to remove a potential rival for good.

King Horik’s turn is disappointing, but not unexpected. Horik is always weary of those who threaten his position, and Ragnar, a lowly earl, is respected and listened to more than Horik. Horik has become the junior partner in their arrangement, and that’s not a position Horik wants to be in. Viking society is brutal and bloody, a structure built on strength, and Horik does what any viking king would in his position – he tries to murder Ragnar and all his heirs (to prevent anyone seeking revenge or rallying people around a martyr in the future).

Unfortunately for Horik, he underestimates Ragnar, and it’s Horik and his family who end up slaughtered. Horik should know better, having spent extended amounts of time with Ragnar. While Horik doesn’t understand Ragnar very well, he has seen what Ragnar can accomplish, and what happens to those who don’t grant Ragnar the respect he has earned. It is understandable that Horik makes this fatal mistake, but it’s also one that, in retrospect, he should have been prepared for.

The one character that has been feeling inconsistent to me lately is Floki (Gustaf Skarsgård). Floki is a most loyal friend to Ragnar in season one, but in the second year, he inexplicably pulls away, cozying up to Horik instead. As I watched “The Lord’s Prayer,” I was already writing the review paragraph in my head arguing that Floki’s turn could be explainable, but without his motivations explored, feels weak. And then, Vikings reveals that Floki has never shifted loyalties, simply acting as a spy for Ragnar, which explains why Ragnar has not moved to save or severe his ties to Floki.

This does succeed at truly surprising, as does the fake death of Torstein (Jefferson Hall) and the loyalty of Siggy (Jessalyn Gilsig). Siggy will sway whichever way the wind blows, or so I surmised, so she either knows about Ragnar’s plans to stop Horik, or she has more moral fiber than I give her credit for, staying true to her people rather than taking Horik’s bribe. Either way,  I appreciate the writing and plot structure Vikings delivers in its finale, as well as keeping the tale at home, among the major players, rather than abroad.

One of the best scenes in this adrelaine-charged episode is when Ragnar quietly prays with Athelstan (George Blagden). Ragnar’s curiosity for all things outside of his frame of reference is one of his greatest assets, and his friendship with Athelstan, a foreigner himself, is touching. Seeing the two of them together here, after Athelstan finally returns to the fold, is a moving moment.

It also must be said that the strange dynamic between Ragnar, his current wife, Aslaug (Alyssa Sutherland), and his ex-wife, now an earl herself, Lagertha (Katheryn Winnick), is somehow working. Lagertha is right to go away initially, not being the type of share her man quietly. But after some bad experiences in the outside world, she returns to the man who is (mostly) good to her. She may not share Ragnar’s bed any longer, but is as important to him as ever. I’ll bet there will be some more development for her next season, and it could go any number of different ways.

One thing that may be lacking in season two is the death of a main character. Vikings is a very action-intensive show, and people are frequently killed. Season one is full of that, including when Ragnar unseats his predecessor. Season two dances around it, with Torstein’s fake and Rollo’s (Clive Standen) grievous injuries, but never goes there. In a series of this nature, it feels inauthentic that all of the major parts should continue year after year, and if no one perishes in season three (Siggy and Rollo probably being the most expendable at this point), the danger of the series may start to bleed away.

Still, for a show that teaches loose history loosely, Vikings continues to deliver as a compelling, interesting, informative adventure week after week. I am surprised that History Channel’s first foray into scripted programming is doing so well, but I admit really getting into this show, even forgetting about the uneven accents in most installments. I look forward not only to the further telling of Ragnar’s story, but also the next project History launches.

Vikings has been renewed and will return in 2015.

Invaded By VIKINGS

Article first published as Blu-ray Review: 'Vikings - The Complete First Season' on Blogcritics.

The History Channel is not known for doing scripted fare, having barely aired any, so it was with hesitance I checked out its first drama series, Vikings, last spring. The show, which follows real-life legend Ragnar Lodbrok (Travis Fimmel, The Beast) and his family and friends, exaggerated for both effect and because the Vikings didn’t keep good records, so the actual events are somewhat disputed, is quite good. It has action and violence, sure, but also character development, questions of morality in a different time and place, and some really surprising twists. The Complete First Season was recently released on Blu-ray and DVD.


Ragnar himself is a hero, loyal to his friends, but with a bit of a selfish, caddish quality to him, disobeying the orders of his leader Earl Haraldson (Gabriel Byrne, In Treatment). The Earl would like Ragnar to continue to sail west, as their people have done for awhile now, but Ragnar complains that the west has been stripped barren and would like to go east, into the unknown. Ragnar secretly commissions his eccentric pal Floki (Gustaf Skarsgard, Evil) to build a boat, gathers some followers, and heads east, anyway.

There are repercussions for Ragnar’s actions; he isn’t allowed to just go ahead and defy Earl Haraldson. Yet, Ragnar is also right, the kingdoms of England are ripe for looting, which we see when Ragnar lands in King Aelle’s (Ivan Kaye, The Borgias) territory. And so, an epic showdown is set for the two great men, Ragnar and Haraldson, which comes to a head even before the end of the season.

Vikings is very fast-paced. Besides the struggles with Haraldson and the battles with Aelle, we are also introduced to King Horik (Donal Logue), who rules over the various Earls, and Ragnar travels to the land of another Earl, as well as his people’s religious temples. This, in only nine episodes.

All of this travel means lots of settings, which makes the show feel very big. The landscapes, filmed in Ireland, are absolutely gorgeous and timeless, with the buildings detailed and perfectly fitting into the wilderness. Add to this elaborate costumes and Vikings is a visually amazing production.

Which is why I recommend going for the Blu-ray version. In the dark, rainy scenes, or the murky halls lit only by fire, you’re going to want that extra crispness to really see what’s going on. Plus, it allows you to be impressed with all of the work that went into fully realizing this world. Sound is not as vital, with the soundtrack appropriate, but not itself usually stand-out. However, it’s well mixed, and hearing dialogue amidst the cacophony of other noises is not difficult.

There is also a lot of personal and family exploration. Ragnar is married to a warrior named (Katheryn Winnick, Bones), with whom he squabbles, but loves deeply. They have two children, Bjorn (Nathan O’Toole, The Borgias) and Gyda (Ruby O’Leary), the latter of which is a gentle soul, and the former wants to take after his parents. Ragnar also has a brother, Rollo (Clive Standen, Camelot), who sticks by his sibling, but also may not be entirely satisfied in a subservient role. Further complicating matters, Rollo is in love with Earl Haraldson’s wife, Siggy (Jessalyn Gilsig, Glee).

Perhaps the most interesting part in the show is that of Athelstan (George Blagden). A priest Ragnar captures on a raid, Athelstan becomes part of Ragnar’s family as a slave who begins to question his own faith. Athelstan is the window into this strange world; will he be able to make a life among the savages?

The acting isn’t bad. At times it gets a little flat and cheesy, and there is never a consistent accent for the Vikings themselves, even sometimes among the same character. Yet, for the most part, I found it a thoroughly enjoyable, engrossing world. Vikings isn’t a completely realistic take on things, anyway, with supernatural elements, mostly involving The Seer (John Kavanagh, The Tudors), and this allows a little leeway in the believability of the players, too.

The three-disc set has the sort of special features you might expect for a series television Blu-ray. There are deleted scenes and commentaries on some of the episodes, of course. Every episode offers an extended version, but don’t seem to be much longer than the aired versions. There are also a few featurettes. My favorite is “Birth of the Vikings,”  a 20-minute look at the making of the show. It includes interviews with many of the key people in the production, and a discussion on how the show came together.

Vikings: The Complete First Season is available now.

Vikings has arrived

Article first published as VIKINGS Review on Seat42F.

Grade: 92%

History Channel enters the foray of original series with VIKINGS, premiering this Sunday, March 3rd at 10 p.m. ET. Set in Scandinavia during medieval times, around 800 A.D., the show follows real-life Viking, and subject of myth and lore, Ragnar Lodbrok (Travis Fimmel, The Beast), as he challenges what he considers an unfit ruler and expands the reach of his people.

The show opens at the end of a great battle, with Ragnar and his brother, Rollo (Clive Standen, Camelot), surveying the bodies on the battlefield. I do think it’s a little unrealistic when a thrown spear easily impales one would-be escapee. However, this scenes does a good job setting a tone of the series, and showcasing its hero in a great light.

In fact, this first episode is a lot of setup. Ragnar sits in council with his fellow Vikings, argues with his lord, consults a seer, visits a shipbuilder, and has sex with his wife, all to demonstrate what type of person he is, presenting various facets of his life. A good pilot introduces us to the protagonist, and over the course of the hour, viewers will get a real measure of what kind of man Ragnar is, a smart, ambitious, brave one, and what he has set his sights on.

Which is not to say that the episode is boring; quite the opposite. It may be a setup, but it’s also well made, and extremely interesting. The world the Vikings inhabit, as well as their morals and values, are quite a bit different than those of modern society. We are given a crash course, seeing the power struggles and their version of justice in action. Yet, there is movement enough in the plot to stay interesting.

Lest anyone worry these strange people will feel unrelatable to modern audiences, Ragnar’s family is given central standing, too. His wife, Lagertha (Katheryn Winnick, Bones) is a fierce shield maiden, unafraid to show her husband affection, fend off two would-be rapists, and use a loom. But when she overrules Ragnar and makes their son, Bjorn (Nathan O’Toole, The Borgias), go to bed, even though Bjorn has just been made a man at the tender age of twelve by their people, it demonstrates that as much as things change, they also stay the same.

I am not familiar with Viking culture, so I cannot say how historically accurate VIKINGS is, but it certainly looks good. Filmed in Ireland, the sweeping scenery is impressive, and the buildings, costumes, and tools used look like they are from an earlier time period. It’s a little like Game of Thrones, and while maybe not at the same level of quality, not to mention comprising a much smaller cast, it’s similar enough that it’s likely to pick up some of the same audience, as long as they can be made aware that it’s airing.

Ragnar himself is the stuff of conflicting legend, and because of that, we can only guess at where the story is going. Sure, he and Rollo will sail east on a ship built for them by the odd and brilliant Floki (Gustaf Skarsgard, Evil), off to raid England and other new lands. And the current lord, Earl Haraldson (Gabriel Byrne, In Treatment), will clash with our hero, proving to be a dangerous foe. But will see Ragnar eventually become king? Will we see his sons grow up to be warriors in their own right? Will we see his eventual death? Until more episodes air, it’ll be difficult to judge what kind of pacing the series’ writers intend to go for in these first nine episodes, let alone over the span of years, should the series prove to be a success.

VIKINGS not only looks good, but it’s also well written. As stated, the pilot really gives us a feel for the time period, locale, and the primary characters, but I also feel that even the supporting players give off a sense of completeness, rounding out the world, making it seem authentic. Haraldson may be evil, but we see his sweet wife, Siggy (Jessalyn Gilsig, Glee), and a flashback to the death of his sons, and realize that there’s a story behind every action and motivation. The acting excellently conveys this mission, and I am already eager to watch the next installment.

My only real complaint is about the accents affected by the various characters. The episode begins with subtitles, with is cool, but I’m glad they fade away relatively quickly. However, each performer has a different take on what a Viking’s English should sound like, and even among each individual, looked at separately, that take does not seem to be consistent throughout the episode. Ah, well. Nothing can be perfect, and accents aren’t so important, especially when the thing wouldn’t have unfolded in English in the real world, anyway.

I have to be honest, I was skeptical to hear History Channel was dipping its toe into historical fiction. But if this is an example of what they have in store, teaching us about a culture and lesser-known hero in such a high quality way, I hope VIKINGS is only the first of many such tales.

Glee goes into a "Funk"

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

     There's a reason FOX's Glee stays away from funk music most of the time. It doesn't go very well with the characters or tone of the series. Yet, in "Funk," the penultimate episode of the first season, funk music is smashed into Glee throughout the episode, regardless of the low quality of much of the resulting material. There's a reason the "Funk" numbers do not end the Volume 3 soundtrack, despite airing last. And that's only part of the problem with a mostly lackluster episode.

     Perhaps the best, most interesting story happening in "Funk" is that Jesse (Jonathan Groff) returns to Vocal Adrenaline. His mission over, he must reintegrate back into his group. But the other members are suspicious, and test his loyalty, even making him crack an egg on Rachel (Lea Michele) to prove it. Given that Jesse undertakes the assignment to go to McKinley in the first place shows his level of support for his director and the group. So it is no surprise that, despite his feelings for Rachel still being present, given the expressions on his face, he does what he needs to to re-win the trust of his classmates.

     This is cool, because it gives some depth to Jesse. The face of the villain, Glee fans have gotten to know him these past months during his tenure at McKinley. As such, it's easy to care about him and his feelings. The test of Jesse's character comes in returning to Vocal Adrenaline at all, considering that buzz is the New Directions are poised to topple their reign. If Jesse were just a selfish jerk, he would stay at McKinley and take the win, with no regard for where he comes from. That he goes to such lengths to go back, and to prove that he's one of them, shows that Jesse is someone who has character, and who cares about his glee club.

     Though, it is hilarious to see his dispassionate "I'm so depressed" following his teammate's declaration that they are "soulless automatons" at the end of the episode!

     Rachel is upset, of course, not seeing why Jesse is doing what he's doing. If she were privy to his motivations, she'd probably forgive him, and help him do what he needs to do. Instead, she talks of feeling betrayed. This reveals that Rachel doesn't care as much about Jesse as he does for her. While he does choose his group over Rachel, were their positions reversed, he would probably stand by Rachel as she humiliates him for the sake of her group. Instead, she abandons Jesse, not even giving him the chance to explain himself. So Rachel is as selfish as she is so often accused of being.

     Will (Matthew Morrison) and Terri's (Jessalyn Gilsig) signing their divorce papers is also an effective moment. It's an end of an era, and one that both look like they regret to some extent, even if the union does need to be dissolved.

     As far as musical numbers go, there are two good ones. Vocal Adrenaline rocks "Another One Bites the Dust," and with the emotional investment established for Jesse, viewers will actually care when this other group does well. "Loser" is also a fun performance, not least of which because Terri, Howard Bamboo (Kent Avenido), and Sandy (Stephen Tobolowsky) get to perform along with Puck (Mark Salling) and Finn (Cory Monteith). Unfortunately, just as fans are enjoying the shot of the characters looking like robots, the song is cut short.


      And that's it for positive parts of "Funk." Pretty much everything else in the episode is terrible. From Will seducing Sue (Jane Lynch) just to prove a cruel point, to Finn and Puck slashing tires, to various songs and one-liners, nothing else really works in the episode.

     For example, let's examine Puck and Finn's story line. Setting aside that Finn likely would never do something illegal like slashing a bunch of tires, they come off pretty well, since they offer to pay back the damage they've done. And that's not even nitpicking about why a local glee club in Ohio would buy all of their members SUVs! Is that legal? Not even the popular college football players get those! But I digress.

     Were the guys actually loyal to Mr. Schue, as they are in other episodes, they'd never go to work for Terri. There must be plenty of other jobs they could be doing! Why work there? Simply so Glee doesn't have to build new sets?

     Now, if one can set aside the circumstances that lead to this job, logistics enter the picture. Shelby (Idina Menzel) claims that the tires Puck and Finn ruin cost $200 each. Doing the math of $200 times 4 tires times twenty-six vehicles, the total the boys must pay back is over $20,000! Finn thinks they will have it paid back in a month. Given their age and experience, and the place of employment, Finn and Puck likely make $7.40 per hour, minimum wage, a fact backed up by Terri talking about how little they are being paid. Even if the two work forty hours a week, unlikely because of their extracurricular activities, they could only make about $2,400 in a month, before taxes. As such, they are looking at a very long road to paying things off.

     Plus, this is supposedly a legal issue. Shelby mentions choosing to not press charges, something she very well could do. Why isn't there a police officer present in the meeting between Shelby and the McKinley people? None of it makes sense.

     Glee is a musical series, so perhaps some people may not care about the factual matters facing the characters. But the songs in "Funk" are no better. Will's "Tell Me Something Good" is anything but seductive. There's no chance Sue would fall for his games, even if she were inclined. Which she isn't, and she's too smart to be tricked so quickly. "Good Vibrations" rings hollow, even with Mercedes's (Amber Riley) fantastic runs, mostly because it's a song that just doesn't fit the series. The same can be said for "Give Up the Funk," despite the dedication that each of the cast members use to sell the performance.

      Worst of all is "It's a Man's Man's Man's World." For one thing, Dianna Agron does not have the right vocal quality to convincingly pull off the number. For another, it's distracting that she is suddenly visibly pregnant after barely showing a bump all these months. And now she'll be giving birth in a week? And how bad a town is Lima that there are half a dozen other teenage mothers, coincidentally at the same stage of their pregnancy, and who can sing, available to back her up?

      Overall, "Funk" is a failure. Glee can, and usually does, do much better.


Random Bits:

• The New Directions talk about the buzz in the Ohio show choir chat rooms. Who still uses chat rooms? Especially among teenagers? And even if anyone does, would there really be multiple ones dedicated to such a narrow concept?
   
• Sue cites betting odds in Las Vegas for the New Directions' Regionals chances. Las Vegas does not care about high school show choir, and certainly not a little Regional competition. Again, a load of baloney.
   
• Mercedes asks Quinn to move in with her. Just how many of her fellow glee club members' houses will Quinn be staying at during her pregnancy? This marks the fourth, starting with her own, in about as many months.
   
• Why is Artie wearing a medical mask when the group cleans up the toilet paper job Vocal Adrenaline does to the choir room? No one else is, and there's really not a point to it. Did someone just think it was visually funny? They were wrong.
   
• Will suggests to his kids that they steal a rival school's statue. Besides being illegal, he usually tries to talk them out of escalating things. Not cool. Why aren't any of the kids shocked by the suggestion? This would probably cost him his job.
   
• Kurt (Chris Colfer) says he is so depressed that he wore the same outfit to school twice this week. In the previous episode, he wears the same Lady Gaga costume all week, and it doesn't appear that he is doing it because of depression. Why is this week so different? If he cared so much, wouldn't have have made multiple Gaga costumes the previous week?
   
• Sue wins the cheerleading Nationals after not practicing the entire week before? And with a fourteen minute Celine Dion medley in French? They expect us to buy this?
   
• How is Sue able to get a display case built for her trophy right in the choir room without disrupting the New Directions' practices? Not to mention, who paid for it, and why would the school allow such a thing?

      Check back for the last Glee season one review later today! And don't miss the Glee season three premiere this coming Tuesday at 8 p.m. ET on FOX.

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

 

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

 

 

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

"Hell-O" to the Glee

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

     Next up for my look back at Glee's first season is "Hell-O." The question is whether "Hell-O"'s theme is "Hello" or "Hell?" It's hard to tell.

     Rachel (Lea Michele) and Finn (Cory Monteith) struggle to make their new relationship work. Finn realizes too late that he wants to be with Rachel, as she meets and falls for Jesse St. James (Tony Award nominee Jonathan Groff). Jesse is actually the star of rival glee club, Vocal Adrenaline, sparking unease between Rachel and her fellow group members. Will (Matthew Morrison) goes to speak to Jesse's coach, Shelby Corcoran (Idina Menzel, Rent, Wicked), and soon discovers he is not as solid with Emma (Jayma Mays) as he'd like to believe.
     Musically, "Hell-O" is interesting because each performance is great and adds to the story, but none stand out as requiring paragraphs of discussion to dissect. They are straight forward, and fit with the episode title. "Gives You Hell" is a personal favorite, but "Hello," "Hello Again," "Hello, Goodbye," and "Hello, I Love You" not only share similar titles, but are all solid musical numbers. "Highway to Hell" is sung by Vocal Adrenaline, so it is not required to fit the theme. Though it kind of does, in a slightly more subtle way.

     Two long-simmering, budding relationships don't even get off the ground in "Hell-O." It isn't fair that Glee strings its viewers along for 13 episodes with two couples who can't quite be together, only to break them up after less than one episode. Finn and Rachel have a long road to happiness, of course, as do Emma and Will. "Hell-O" is probably too early for things to end happily ever after for either couple. But then why even tease by allowing the four to couple up, only to destroy them so quickly? It leaves a big feeling of disappointment.

     Yet, neither guy is ready for a new relationship. Finn and Will are jumping headfirst into new loves after just losing their former ones. Both need to take the time to figure out who they are, which they are told, but have trouble taking the advice. As most people do. It's nice to see Will try to mentor Finn, but the effort falls flat when Will clearly doesn't have it together, either. Both need to be alone for a bit.

     Will's lack of readiness is very apparent in his selfish attitude. As he gets to know Emma, he controls all their date activities and the movies they watch. Will tells her, "There are so many things you don't know about me, and I can't wait to introduce them to you." He isn't trying to learn about her, but wants her to care about him. It's a one-sided arrangement that is doomed to failure. That Will doesn't realize he is going about things all the wrong way makes it much more apparent that he needs to slow down and figure things out before adding another person back into the mix.

     Emma is a pleasantly crazy character up until "Hell-O." Then she is shown to be pretty insane, and not just in a cute way. But she does have self awareness, asking Will "How is you compromising yourself for my crazy any different than doing it for hers?" referring to Terri (Jessalyn Gilsig). It's a turning point for the character, actually welcome, as it makes her more layered and flawed. But does this mean Will only goes for crazy chicks? Toss in Rachel and Sue, the other significant female main characters, and it begins to appear that there are no sane females on the series. Which is too bad, really. Do Glee's writers have something against girls?

     Finn's fidelity is tested by Brittany (Heather Morris) and Santana (Naya Rivera) in their first significant plot. What guy wouldn't be thrilled to go out on a date with the two hotties? Santana and Brittany hold hands with each other, though, and Santana tells Finn the date will consist of "You buy us dinner and we make out in front of you." So they appear to be much more interested in each other than in him. Which is probably why fans begin to think the two are an item, even though the truth proves to be much more complicated. Still, it's good to see them do more than listen to Sue's (Jane Lynch) evil plans, and complain about what the glee club does.

     Santana and Brittany begin to feel like part of the group around "Hell-O," as does, to a lesser extent, Mike Chang (Harry Shum Jr.). Up until now, they, along with Matt (Dijon Talton), are barely more than extras. Matt never escapes that stigma, but of course, the other three do. Mike's participation in dancing, and the girls' subplots, help them achieve a level of importance that allude them until now. Brittany cements her status by uttering what is still one of her most famous lines, "Dolphins are just gay sharks." There will be many more memorable moments to come from the trio.

     Sadly, Kurt (Chris Colfer) continues to be lumped in with Mercedes (Amber Riley), Tina (Jenna Ushkowitz), and Artie (Kevin McHale) as secondary members of the club, rather than the breakout star he will become in season two, on the level of Rachel, Quinn (Dianna Agron), or Finn.

     As Santana and Brittany become more accepted by the main characters, Glee seeks other villains besides Sue. Enter Shelby and Jesse. Though more complicated than the resident evil cheerleading coach, the two plot cheating, much as the rival glee club coaches at Sectionals do, but in a longer story arc. These are two interesting characters, played by very talented performers, who are allowed to have more than one motivation. It makes them worthy to go up against, and as most people with feelings on the show do, allow them to grow over time. What's more, they are welcome when they return down the line. Jesse comes back late in season two, and Shelby has a major upcoming story in season three.

     Besides these bad guys, Terri solidifies her self as an antagonist in "Hell-O." While some of Terri's action are sympathetic in Glee, others are just plain evil. She is a woman who can go either way. After Will shuns her, she falls firmly onto the dark side. Terri's attempts to get into Emma's head and manipulate the woman, as understandable as they might be, are not the actions of a good person. Thus, it is time to stop trying to figure out Terri, and just root against her instead.


Random Bits:

• Is the piano that Jesse plays in a public library or a music store? Dialogue indicates the latter, but it looks like the former, and no music store in Ohio is that nice. The instrument seems especially out of place in a library, but having been to several music stores in Ohio, none that I have visited have one out to play on.

• So McKinley's basketball team has the same players and coach as the football team? This makes sense for a small school, but not one the size that McKinley appears to be. Thank goodness basketball does not become a major recurring thing on the series the way that football has.

• Rachel admits to wearing a training bra in "Hell-O," and Kurt says people mistake him for his dead mother on the phone. Is their confidence in themselves increasing, or are these just bad throwaway jokes?

• Figgins's (Iqbal Theba) continued threats to cancel the glee program are stupid. Will is just starting the club, and even with budget problems, most school programs are allowed time for growth. Virtually no group does well in competition in its first year. It's to be expected, not bullied.

• Another Lauren Zizes (Ashley Fink) sighting in Sue's Old Maids' Club! Gotta love some Zizes!

• How did Will get his apartment back after he leaves Terri? Oh, wait. I know. Set budgets trump reality.

• Will brings Shelby back to his place. But they were at her school, so surely her place is closer. See previous random bit for explanation.

• Vocal Adrenaline appears in earlier episodes, but not Shelby or Jesse. This makes no sense, especially for Jesse, who is their best singer, and gets all the solos. Except that the pair had not been cast yet. Not really a good excuse. Why not just add another glee club to the mix and avoid continuity problems?

     Check back for another season one Glee review soon!

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

 

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

 

 

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

Glee competes in "Sectionals"

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

     We continue with season one episodes of FOX's Glee, this week, "Sectionals." This episode is iconic for a number of reasons. Coming as a winter finale just before a four-month hiatus, it is the first hour to feature the New Directions in performance competition, something the initial thirteen episodes all build towards. "Sectionals" not only finds the group having to come together as never before. With the outing of Quinn's (Dianna Agron) baby daddy, Finn (Cory Monteith) must find his heroic qualities to save his friends. Plus, Will (Matthew Morrison) and Emma (Jayma Mays) make big decisions about their romantic lives. And Sue (Jane Lynch) suffers her first significant defeat. 
     Glee is a music show, and in an episode like "Sectionals," the songs are front and center. While there are campy portions of the other competing clubs doing "Don't Stop Believing," "And I'm Telling You I'm Not Going," and yes, even "Proud Mary" in wheelchairs, "Sectionals" is a chance for our main characters to shine. Given the stakes in the episode, and the emotional heft that those scenes carry, every New Directions number is top notch, and among the best the series offers. For the primary group, there is not a single weak number among their set list.

     The first example is Mercedes's (Amber Riley) rendition of "And I'm Telling You I'm Not Going." It comes early in the episode, likely both to space out some of the bigger singing numbers, and also to feature Riley, who the writers have scant time for later in the episode. It's nice that she gets to shine at all, considering Mercedes isn't as central as some of the other characters. This performance proves she can hang with the top dogs. Besides being just as exciting as the other characters' reactions indicate, it also makes viewers long for more from the powerful diva, who often gets overlooked more than she should be.

     "Don't Rain On My Parade" does something similar for Rachel (Lea Michele), though, of course, Rachel never has any shortage of opportunities to showcase her talent. Still, it's an awesome moment, as she strides down the aisles and captivates the audience with her ballad. The song is a perfect example of the girl's talents, and is staged in an interesting way. Though one does wonder how appropriate lighting is arranged so quickly, but only if one nit picks, which one tries not to do with such a great scene.

     "You Can't Always Get What You Want" solidifies the New Directions predictable first place trophy. Since the group's third and final piece is not shown in this episode, even though it is mentioned to be a repeat song from an earlier installment, the second number has to prove that the group deserves the win in very little time. Though some arguably corny dialogue from Will spurs Finn to choose the particular song, it is still quite effective, showcasing a number of the group members in Glee, as well as being a very enjoyable performance. Simple choreography helps it come off as believable for a last minute fill-in, but at the same time, is also appropriate for the piece.

     Finally, "My Life Would Suck Without You," despite boasting cheesy, uneven choreography, including line dancing with cowboy hats and fair flipping, is both effective and moving. Some of the lyrics are quite appropriate, and it's hard not to tear up. For the teenage characters, Will makes a very important impact in their lives by forming this glee club. Even Santana (Naya Rivera), while admitting to being a spy for Sue, says she is glad to be there. It's a fitting ending for the initial batch of episodes.

     Despite the glowing evaluations of the musical selections performed, there are a few things wrong with the Sectionals competition. First and foremost, setting aside that this system doesn't actually exist, at least in present day Ohio, why are only three groups performing? It's not economically sensible. Many choirs in the state compete for ratings, but these are days long events, with dozens of schools coming together. Putting on such a big thing for only three small groups seems unrealistic, especially considering the current state of budget cuts. And the auditorium audience is full for three dozen kids? Nope. Never going to happen. Not to mention, none of the parents shown in Glee so far are at the event.

     Not only that, but there would never be long lulls between the groups, so much so that the New Directions can put together an entire new set. The audience just sits for long silences staring at an empty stage? It just doesn't make any sense at all, the way it is portrayed. To accept what is shown, belief must be suspended, and one must look at Glee's competition system as operating by its own rules, strictly for the purposes of the series. Which is possible to do, but it does take one out of total immersion, reminding us that Glee doesn't actually take place in the real world.

     The scene with the Sectionals judges is out of sync with the rest of the episode. Perhaps it's kind of fun to see Rod Remington (Bill A. Jones) in this unexpected setting. Patricia Forte (Happy Endings) and True Blood's Anna Camp are not unwelcome as the other judges, either. But their scene debating the winners is fluff. It makes no sense to include it in the episode from a storytelling perspective, and serves no purpose to do so. Should Glee want to feature Sectionals judges, give them something to do, as in done in other episodes, or just don't do it.

     Even more bizarre is Will being reinstated as head of the New Directions at the end of "Sectionals." While it's unfair that Will must quit, the rule he breaks to be taken away from New Directions is not caused by anything that Sue does. Even exposing the Cheerios' coach's manipulative, cheating ways would not lead to Will being allowed to work with the kids again. The two have nothing to do with each other, and the explanation given just doesn't hold up.


     "Sectionals" features some pivotal moments for principal characters. Finn really gets a chance to shine as an heroic lead. He's still flawed, of course, as he cannot bring himself to forgive Quinn and Puck (Mark Salling). But really, who would in his shoes? It's enough that he steps up as a leader and helps the group win the competition. Monteith handles several pivotal moments better than expected, and shows he has real acting chops for a wide range of emotions, including anger and disappointment.

     Agron also continues her trend of making a complicated Quinn sympathetic. Her torn feelings between her two men, as well as not being truly angry at Rachel, someone Quinn always seems to hate, make for a very good performance for the young actress.

     Rachel's plot reveals some fundamental truths of her character. She is able to overcome her own personal desires for the good of the group when stepping aside to let Mercedes sing the ballad. Initially, anyway. But when it comes to the Finn situation, Rachel is OK with risking the glee club's chances in order to sabotage the relationship between Quinn and Finn for her own possible gain. This is a duality that will come back later in Glee. Rachel can be kind and work well with others, probably because it also helps her own goals in a way. But her feelings for Finn cloud her judgment, and ultimately put her future as a performer in jeopardy. The seeds are planted for an arc that is not yet finished, a year and a half later.

     Will's love life is now a full-blown triangle, as he leaves Terri (Jessalyn Gilsig), and Emma professes the depth of her feelings. Again, Gilsig makes the character slightly sympathetic, reminding Will (and viewers) that she didn't always act so crazy, she's seeking professional help, and the couple once had a real relationship. Will can't be with her, though, because her betrayal is too deep. At the same time, although Emma wants very much to be with Will, and thinks of Terri as repulsive, she is smart in recognizing that Will is still upset over his wife, and this is a bad time to start a relationship. Sure, there's the cheesy, predictable kiss at the end as Will seeks to stop Emma from quitting her job. But overall, the trio is handled very well here.

     Sue touches on being out of character in "Sectionals." This is because her revulsion for, and efforts to destroy, the glee club are later explained as a personal vendetta against Will. While not being kind to the glee kids, Sue is not usually nice to the students she likes, either. But Sue does care about kids, or so we're told down the line. Yet, in "Sectionals," Will is no longer part of the New Directions, and she still tries to screw up their Sectionals performance. Perhaps this is because Sue knows Will will eventually be reinstated, or it will hurt him to see them fail, but both seem a bit far fetched.


Random Bits:

• Rachel claims to be a little psychic. Really? How so? Just because she senses that something doesn't feel right between Finn and Quinn? As enjoyable as Rachel's eccentricities usually are, it's good that this one is not explored further in future episodes.

• Brittany (Heather Morris) actually admits to many members of the group that she and Santana have sex in "Sectionals." Talk about a bombshell spoiler that is treated as a throw away line! Which works because of how insane many other things that Brittany says are.

• Having the various New Directions members talk on a party line in their cell phones in school, with many walking right beside each other, is silly and insipid. Yet, it allows many minor characters to get small bits in a busy episode, and it funny enough that it can easily be forgiven.

• When Rachel is lecturing the glee club, she mentions trying out for community theater productions. Kurt (Chris Colfer) puts her in her place by pointing out that Rachel never wins those parts. Seriously? Someone with Rachel's immense talent cannot score a role in community theater? I don't believe it.

• Why is Emma in her wedding dress when Will arrives to the empty reception? Glee shows before that Ken (Patrick Gallagher) is furious at her for postponing the wedding slightly. Does she really not know he's not coming until she arrives?

• Plus, where are all the guests? They might have gone home, but it seems unlikely some family members wouldn't stay to offer comfort. A kitchen worker is still there waiting. Why?

• And Emma knows Will is still coming and waits just to tell him they can't yet be together? Setting the dialogue aside, the entire scene is full of plot holes.

     Check back for another season one Glee review soon!

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

 

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

 

 

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

Glee jumps on a "Mattress"

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

     One episode of FOX's Glee that seems pretty bizarre is "Mattress." That's likely because there's a lot of sadness and anger in the episode, not your typical Glee fare. As such, it's a little unclear whether it fits in appropriately with the series overall, or if it's a stand alone oddity. Pathos are fine on Glee, and often done well. But when the whole episode revolves around depressing material, it tends to almost seem out of tone.
     "Mattress" aired just before winter break, so a lot of it builds up to a mid-season finale. Will (Matthew Morrison) discovers Terri's (Jessalyn Gilsig) treachery, and considers leaving her. Emma (Jayma Mays) is forced to choose between attending the glee club's Sectionals, or her own wedding to Ken (Patrick Gallagher) when he purposely schedules the latter event on the same day as the former. Quinn (Dianna Agron) stands up to Sue (Jane Lynch) once and for all. And all of the New Directions worry what might happen to their year book photo, if they even take one.

     The plot between Will and Terri is a long time coming, and not exactly unwelcome. While Terri's intentions are originally good, as Emma admits she sees to Will, the lies are carried too far. There is no happy ending possible for the couple, and years of resentment and anger erupt. It's startling to see Will get so mad, but at the same, it's the only logical way to act after being betrayed so deeply. A root cause of the problem is, as Terri says, "This marriage works because you don't feel good about yourself." But Will has found purpose with the glee club, and that has ruined their status quo, even if that status quo isn't exactly great in the first place. Thus, without Will acting like that, they are disrupted.

     A quick note about Will's heroic self-sacrifice at the end, removing himself from the glee club so that the group can still compete at Sectionals. This is how a hero acts, and what he does is very noble. Great use of a lead character, and it redeems him after the ugly fight scene with Terri earlier.

     The larger implication of a Will/Terri dissolution is how it may effect Emma. Emma is in love with Will, and is only marrying Ken to try to move on, deciding that Will will never be available. Now that idea is turned on its head, and while Will says he isn't yet sure if divorce is in the cards, it seems likely Will may be single again soon. With that tempting prospect, should Emma go ahead and marry a man who has, as she states, "Seventy-four flaws, as of yesterday?" Truthfully, she should not be marrying him in the first place if she feels this way, so the wedding has a very good chance of not happening.

     This melancholy tone is reflected in much of how "Mattress" plays out, and, of course, in the music chosen for the episode, even though the titles of the songs sound happy. "When You're Smiling" is sad as Rachel (Lea Michele) tries to gain the courage to take a smiling photo. The Charlie Chaplin version of "Smile," which ends the episode, is even more blue, not least of which because it plays over footage of Dave Karofsky (Max Adler) defacing the New Directions year book photo with his laughing friends around him. What a depressing final shot!

     The Lily Allen version of "Smile" is just plain weird. It is an atypical choice for a Rachel and Finn (Cory Monteith) number, and neither looks entirely comfortable singing and dancing it. The piano player bobbing along with that odd look on his face is actually, by far, the best part of the song. While not sad, this "Smile" doesn't do anything to make the episode better. It just doesn't work too well at all.

     Strangely enough, among the episode's many sad moments, there is the joyful, stand-out performance of "Jump." More than anything else, "Jump" is what "Mattress" will be remembered for. Not quite fitting in with everything else, it is still one of the best choreographed performances in all of season one, and is incredibly fun to watch. Good thing the mattress store just happens to have big mattress trampolines laying around for the kids to use! Oops, being too critical again.

     Quinn really shines in "Mattress." Up until now, there are occasional hints of a good person, but Quinn is kind of one of the main villains of Glee. Yet, she completely makes up for her bad behavior when she stands up to Sue. Not only does she get the glee kids one of Sue's six (six!) cheerleading pages in the yearbook, but she also puts Sue in her place. Quinn admits that glee teaches her more than the Cheerios does, and it's a superior club. Bravo, young lady! Way to go!

Random Bits:

• The news program in which Sue does a segment appears to be filmed in Columbus, Ohio. Though it's not a cityscape view usually used, a couple of the buildings look like this is so. This is especially odd, as Glee takes place hours from Columbus. Maybe. Read my full rant about the inconsistency of Ohio layout in another Glee review.

• Great Brittany (Heather Morris) line! When Rachel says that maybe the glee club photo won't be defaced in this year's yearbook, Brittany replies "Yes it will. I'll be the one doing it." At least she's honest!

• Why does Rachel go through the charade of picking a co-captain through a process? She approaches Mercedes (Amber Riley), Artie (Kevin McHale), and Brittany before asking Finn. Not only do none of these three options make any sense for Rachel to choose, but it's completely obvious to viewers that Finn will, and should, be the co-captain. It feels forced that Rachel would even consider anyone else.

• How did Quinn get to be Cheerio captain as a freshman? That's almost unheard of in high school! Yet, she is clearly the captain in the 2008 yearbook, and she will not be graduating until the end of season three, the 2011-2012 school year. So this must be so.

• Which leads me to ask, why is there a yearbook being put out in the fall with the fall semester's year anyway? Isn't that unusual? Don't year books come out in the spring, with the calendar year that ends the school year on the cover?

• Isn't it unethical for a school to leave a club out of a yearbook? Is that even allowed? Any yearbook I've ever come into contact with includes ALL school clubs, no matter how minor. Charging a teacher to get their club into the yearbook defeats the whole purpose of a yearbook, and is probably illegal, or at least against state guidelines, since the other clubs aren't charged similarly.

• John Ross Bowie appears in "Mattress" as the photographer/commercial director. This very funny actor currently has recurring parts on both The Big Bang Theory and Childrens Hospital.

     Check back for another season one Glee review soon!

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

 

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

 

 

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