MINDHUNTER Good Brain Game

Article first published as TV Review: MINDHUNTER on Seat42F.

Netflix’s newest drama, MINDHUNTER, is a period place. Set in the late 1970s, it follows FBI Special Agent Holden Ford, who is a hostage negotiator. Assigned to teach at Quantico, and meeting and falling for a sociology major who challenges his beliefs, Holden begins to wonder if the agency’s ignorance of psychology is holding them back. Setting out on the road with senior agent Bill Tench to educate and learn from local police departments, Holden looks for a better way to do things.

Holden is brilliantly played by Broadway heavyweight Jonathan Groff (Looking, Glee). No, the agent doesn’t sing, but Groff is talented beyond the realms of musicals and comedy. He captures the nuance of a man who is both masculine and sensitive, bucking the stereotype of what an FBI agent might think he should be, just as Holden seeks to change the way of thinking of law enforcement about criminals. There is a lot of nuance Holden, struggling with his own preconceptions, wanting to be open, seeking to improve himself, and above all, dedicated to his mission. Groff gets all of this, and there’s as much acted beyond the dialogue as there is spoken words. He is a key part of why MINDHUNTER is great.

The supporting cast is also excellent. There seem to be three of note in the pilot: Holt McCallany (Lights Out) plays Tench, who will clearly be the one, aside from Groff, with the most screen time, as he’s sort of Holden’s partner. Cotter Smith (The Americans) is Shepard, Holden’s boss at the onset, who has faith in Holden, but doesn’t always understand his motivations or ideas. Hannah Gross (I Used to Be Darker) is Debbie, the love interest and intellectual equal (or possibly superior) of Holden, who sparks more than an academic interest from him. Each have terrific chemistry with Holden, and seem to be the stars in their own stories, not just existing to serve our lead. Granted, we may not see their stories, but they don’t act like their world revolves around Holden, a trap too many television characters fall into.

The production is, overall, excellent. The writing is smart and meaningful. The look and direction is terrific. An early hostage scene in which the camera is far away from the perp really sells to the audience the frustrations of the situation and the gap between Holden and his query. The pacing is perfect, taking its time, but not too slow. Period-wise, it looks appropriate for the time without leaning so heavily into it that it feels dated. With episodes ranging from 36 to 60 minutes, it is clearly content to go at its own speed, not beholden to confining structure. I thoroughly enjoyed every minute of it, and find no cause to complain.

The subject matter is important and timely, today’s mass shootings replacing yesterday’s serial killers in the forefront of our cultural consciousness. As Holden points out late in the pilot, philosophers and writers have been struggling to understand why anyone would do anything since the dawn of man, and we still don’t get it. But we’ve made progress, and those who need to know these things should be aware. MINDHUNTER may cause viewers to rethink their own views, considering the perspectives of others, and challenging the existence of broad generalities. It’s a thinker, in a good way.

MINDHUNTER has been getting rave reviews, and I fully agree. I’ve seen it compared to Mad Men, a complex glimpse of one slice of society at a transformative time, and it is that. But it’s also entirely its own thing, an original work that explores something worthwhile. It has already been renewed for a second season, a deserved vote of confidence from Netflix. I cannot recommend it enough, and can’t wait to jump into the other nine episodes.

MINDHUNTER’s complete first season is available now exclusively on Netflix.

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 Almost Done Being "Built"

Article originally published as TV Review: 'Glee' - "We Built This Glee Club" on Blogcritics.

FOX’s Glee takes the team to Sectionals in the penultimate episode of the series, “We Built This Glee Club.” Like in the previous week, it mainly ignores the alumni who have been featured prominently for six years and keeps the cast small. The exception to this is Rachel (Lea Michele), who gets a visit from an old friend and finally decides whether to return to school or Broadway.

If Sectionals were a culmination of Rachel’s journey, or Rachel, Kurt (Chris Colfer), and Blaine’s (Darren Criss) journey, or even Will’s (Matthew Morrison) triumphant return, “We Built This Glee Club” would be a great episode. Instead, it’s only a pretty good episode. That’s because this close to the end of the entire series, there are few stakes and little payoff, no matter how enjoyable the hour may be. Yes, technically the glee club might be disbanded if they don’t win, but that’s not a threat brought to the forefront here. It would be so easy to build this installment into something, given where the season starts, and yet Glee stops short of doing so.

My problem is not so much with the Sectionals themselves. The Falconers doing “Broken Wings” is ridiculously silly, as is the judging panel made up of Rod Remington (Bill A. Jones), Butch (stand up comedian Fortune Feimster) and her poodle, and a cranky comptroller (Patricia Forte), and the uneven number of songs that each group performers is stupid, if practical, but that’s par for Glee‘s Sectionals episodes, and it’s fun they bring back the comptroller from their very first competition. Given how over-the-top showy Vocal Adrenaline’s “We Built This City” / “Mickey” piece is, focusing on pizzazz over vocal quality, it’s no wonder that the New Directions win.

I am a little disappointed by the New Directions, not because of their song choices, but because of who is featured. Powerhouse Jane (Samantha Marie Ware) is the lone newbie that doesn’t get a solo, which seems a massive waste, and while I get that the Warblers provide the dance moves, some of them should have gotten to sing out front, too, no? But it’s hard to argue about the effectiveness of the “Take Me to Church” / “Chandelier” / “Come Sail Away” set, which is well executed and delightful. I don’t completely excuse the faults, but it’s a solid enough performance to make the trophy feel earned.

I have no problem with Glee showing a Sectionals win with no promise of following the group to Regionals and Nationals, either. Viewers aren’t emotionally invested enough in this cast yet, and so this basically just lets fans know that the tradition will continue, long after our television screens stop showing it. That’s a nice thought.

Afterwards, Sue (Jane Lynch) tells Will she ensures New Directions will win as payback for him defending her, and her exploits of poisoning the school and sending glitter bombs to the glee club are merely her having fun and motivating them. I sort of buy this. Sue has many times in the past exhibited a tough love strategy. However, it just doesn’t quite add up, given how she blows Will off last week, and her continued persistence in trying to kill the club this year. This is almost a pay-off for Sue, but like the Sectionals themselves, falls a little short of that.

The best plot in the hour finds Jesse St. James (Jonathan Groff) returning to McKinley to urge Rachel to say yes to the Broadway show. She would be starring opposite him. She chooses school, but doesn’t close the door on a romance with her ex, and their “Listen to Your Heart” duet is full of sparks. I never really bought into a Rachel / Sam (Chord Overstreet) pairing, and Jesse makes way more sense for her. The song makes up for not seeing them on stage together in New York, and if they can date despite their hectic schedules, they could make for a fitting Glee endgame.

“We Built This Glee Club” isn’t very focused on the conclusion, and that is definitely the reason it fails to meet expectations. As mentioned, it doesn’t concentrate on earned wins, nor does it satisfactorily tie up arcs, despite ample opportunity to do so. Kurt, Blaine, and Rachel’s impending return to the Big Apple without pay-off makes the entire final season feel like a bit of a waste, even if it teases tantalizingly for the spin-off that should have replaced the mother ship a couple of years ago, and that we’re not likely to get at this point. It also makes no use of the alumni contracted full-time this season, both those currently working in the school and those absent. Too bad, as a few tweaks would have made this a very worthy penultimate airing, especially in the touching throw-back involving the trophies and glimpses of deceased Cory Monteith as Finn.

Glee concludes its six-season run with a two-hour episode next Friday at 8 p.m. ET on FOX.

THE NORMAL HEART Beats Strong

Article first published as THE NORMAL HEART Review on Seat42F.

HBO’s THE NORMAL HEART is not only a great TV movie, one of the best the pay-cable network has made in years, and that’s a high bar, it’s also an important story that everyone should know about. This moving, frustrating, beautiful film tells the based-on-truth tale of gay rights activists in the 1980s fighting an epidemic that the government doesn’t want to acknowledge or investigate. It’s a dark chapter in our history, and only by remembering it can we try to prevent such a thing from happening again.

The picture of the gay community in New York City at the time is an interesting one, certainly something I never learned about growing up, and sex means something different to them than to most people. They fought hard for the right to love whoever they want, even if they don’t have legal protections that straight people do, and they see giving up this right as taking a step backward. Even when it becomes likely the virus is spread through sexual contact, many wonder if that’s a lie spread to tear them down. These are people who won a war but still justifiably feel persecuted, and can’t bear the thought that they might be pushed back into the past.

Because of this, they work against their own interests. As Dr. Emma Brookner (Julia Roberts, August: Osage County) pleads with them to stop screwing, many use the meetings to raise awareness as hookup spots. It’s a very slow crawl to even convince those affected that they must do something, let alone the powers in charge. If the gays won’t help themselves, what chance do they have of anyone else helping them?

The main character is Ned Weeks (Mark Ruffalo, The Avengers), an asshole writer who can’t keep his big mouth shut. He has earned the ire of many of his fellow homosexuals by complaining about how their rampant sexual activity prevents them from finding love, the one thing he desperately wants. But he also has friends, and once they begin falling ill to the mysterious “gay cancer,” he is convinced something must be done and begins a crusade to do so.

Along the way, Ned meets and falls in love with a New York Times reporter named Felix Turner (Matt Bomer, White Collar). Felix is supportive, but not part of the campaign, giving Ned a much-needed life apart from his work. As Ned’s colleagues, including good-looking, amiable Bruce Niles (Taylor Kitsch, Friday Night Lights), abrasive and inquisitive Tommy Boatwright (Jim Parsons, The Big Bang Theory, reprising his role from the stage production), and government employee who doesn’t want to make waves Mickey Marcus (Joe Mantello, who played Ned on Broadway), grow exhausted with Ned’s public rants, Felix is the only chance Ned has to calm down.

Which is why it probably won’t surprise you when Felix catches the disease.

THE NORMAL HEART, based on the Tony-winning play by Larry Kramer and directed by American Horror Story’s Ryan Murphy, is a very personal telling of the crisis. Through Ned, we see loved ones hurt and dying, feel the fear that overtakes him, and the desperation that he has to stop the virus. We experience his pain when his brother, Ben (Alfred Molina, Spider-Man 2), tries to help, but just can’t accept Ned as his equal. We connect with the horror and compassion, loving Ned even through his abrasiveness. Anyone not emotionally affected lacks a soul.

The sprawling cast, which also includes Jonathan Groff (Looking), Denis O’Hare (True Blood), Corey Stoll (House of Cards), Stephen Spinella (Milk), BD Wong (Law & Order: SVU), Finn Wittrock (Masters of Sex), Adam B. Shapiro, Danielle Ferland, and more, shows us many different individuals, and how each copes in a different way with the events. Some have small roles, but Murphy deftly lets the actors shine through, each conveying a lot in a limited amount of time, showing us many varying individuals. Not everyone agrees, but the variety of opinions and personalities are why THE NORMAL HEART feels so authentic.

I do think the opening of THE NORMAL HEART may hurt the film’s impact, immediately turning off conservatives by the open displays of gay love and promiscuity. These are the people who most need to watch, to begin to see the humanity and suffering they’ve ignored or ignorantly been disgusted by. But it also succeeds in dropping us into a world and mood that is merely the starting point of the story, giving the script a foundation to start from before it turns dark. Stick with the movie for ten minutes, and you’ll start to have your eyes opened.

THE NORMAL HEART is a moving masterpiece, a triumph for HBO and all involved, and one that will not soon be forgotten by any who witness it. 

If you missed last night’s premiere, please make sure to catch a rerun, as the network should be playing it often for some time to come.

Stop LOOKING For Now

Article first published as Stop LOOKING For Now on TheTVKing.

HBO's Looking has semi-accurately been dubbed Girls with gay men. Both of the half hour dramedies feature authentic, unique voices, profiling personalities of a generation that haven't made in onto TV all that much yet. They're realistic-ish, or at least the characters are, and the episodes do draw the viewer in quite effectively, whether because we're seeing ourselves or someone we know in the parts.

Looking, which aired its first season finale, "Looking Glass," this week, has a little more self-awareness, playing a bit to sitcom tropes, but acknowledging it does so. When one of the guys on Looking identifies themselves as a woman from The Golden Girls or Sex and the City, we can see this. It is also clear that Patrick (Jonathan Groff) and Richie (Raul Castillo) view themselves as Ross and Rachel from Friends.

This latter parallel is mentioned in an earlier episode, then shows up again in the finale when Patrick and Richie are on a break and Patrick has a sexual tryst before they get back together. Frustrated fans will surely be screaming at the screen "They were on a break!" when the news comes out and Richie gets mad, which has to happen.

I don't think Looking completely rips off Friends, though. For one, Patrick's affair is with his boss, Kevin (Russell Tovey), someone more integral to his life than a random copy girl. And while the timing is a bit too coincidental, there's no way the dynamic will play out the same way moving forward, with Patrick and Richie alternately pining for one another while the other tries to move on for the next nine years.

This is because the guys in Looking are aware of their television predecessors and are influenced, but not defined, by them. Patrick may be more likely to end up in a Ross situation because he knows who Ross is and identifies with him. But real life isn't TV, and Looking strives for that real life aspect, so while the scenario may begin the same as on the beloved sitcom, it likely will quickly branch out into something else.

Let's hope the love triangle isn't resolved too quickly, though. Should Patrick be with Richie or Kevin? We've seen an entire installment of Patrick and Richie just being happy together, and that was fantastic. We've also seen emotional moments between Patrick and Kevin, and there is definitely a strong connection there. Plus, Patrick is able to bottom for Kevin, something he struggles with for Richie, though Kevin already has the boss relationship with Patrick, so that may have something to do with it. I'd really like to see how they get along as a couple before making a decision. I hope Looking keeps both men in Patrick's life around long enough to explore this fully, and since Patrick and Kevin will be series regulars in year two, that seems likely.

Dom's (Murray Bartlett) new beau, Lynn (Scott Bakula), should also stay, though Bakula hasn't been contracted to do so. Dom's pop-up restaurant succeeds because of Lynn, even as Dom drives Lynn away from the event. Yet, Dom is able to realize this by the end of the half hour, and when Lynn says he doesn't want to work together any more, Dom pursues the older man romantically. Mixing business and pleasure is messy and that may not work for them, but Lynn does seem to bring out the best of all sides of Dom, helping him find his potential, so Lynn would be welcome to stick around for awhile in some capacity.

One of the best moments in "Looking Glass" is when Doris (Lauren Weedman) fights for Dom to Lynn. Doris has been a relatively small supporting character up until now, but this scene will make any viewer instantly fall for her. She has also been upgraded to main player for the sophomore run, and after seeing this side of her, I am anxious for more from Dom's bestie.

The third couple in the show, I am completely done with. Frank (O.T. Fagbenle) kicks out Agustin (Frankie J. Alvarez) after only living together a short time. Agustin completely deserves it, acting like a total ass all season, going behind his boyfriend's back and whining about his art instead of making something. Perhaps the creative types are just this unstable and it's needed for great work, but it makes them nearly impossible to be around.

I'm surprised Patrick takes Agustin back in so easily. After all, Agustin has been a jerk towards Patrick, too, especially where Richie, whom Patrick still loves, is concerned. Yet, there's definitely a lot of history between the two prior to Looking's start, so that must play into Patrick's willingness to forgive without an apology being offered. If Agustin is sticking around, and he is one of the leads, unlike Frank, we need to start seeing the elements in him that Patrick and Dom like. They have been in short supply in year one.

The fact that eight short entries can suck fans in so fully to these characters shows quite a bit of skill in the acting and writing departments. Looking is a compelling, intelligent series that is both enjoyable and fresh. If you missed this initial run, check it out on HBOGo or when it inevitably reruns. You'll want to be caught up before the second round, which will presumably air early next year.

Done LOOKING

Article first published as LOOKING Review on Seat42F.

HBO’s LOOKING reminds me of Girls and, to a slightly lesser extent, How To Make It In America. It’s a series about three guys, age thirty or a little older, looking for love and professional success in San Francisco. The episodes follows their individual plotlines, as well as how they interact as a group, so the structure is similar to other HBO half hour dramedy successes. And the voice behind the writing is specific and fresh.

All three of the main guys do happen to be gay, which provides a point of view that would be different than if they were straight. The homosexual scene in the city is one of hookups, threesomes, and trysts in the woods. But that isn’t necessarily what our three protagonists are looking for. Only some of the gays go for those things. Others are looking for love.

Patrick (Jonathan Groff, Glee, Boss) is a sweet and awkward video game developer. He desperately wants a relationship, made more earnest by the engagement of an ex, but isn’t sure how to negotiate the dating scene. Guys that are too forward weird him out, and guys that are more subtle confuse him. He is the central role, if there is one, someone to care about and root for, and he seems like a pretty darn good person.

I’m not sure I buy Groff as being in the gamer world because (and yes, this is a stereotype) he seems too neatly dressed and well-groomed. But I do feel like he’s done a good job developing the personal side of the part, a fitting protagonist for this very specific series.

Patrick’s pals are Agustin (Frankie J. Alvarez, Smash), an artist’s assistant who is in a stable relationship, and Dom (Murray Bartlett, Guiding Light), who seems a bit older than the others, and who maybe hasn’t found what he expected to by now. All three are at very different points in their lives, and yet they definitely have bonded in a way that isn’t really explained in the “Pilot,” though we can see the affection between them.

While Patrick stumbles through dates, Agustin is moving in with his long-term partner and experimenting with more the one person in the bedroom at a time. Of course, Agustin is part of the arts scene, which is notoriously free-spirited, so it shouldn’t be surprising. But the situation has the makings of a disastrous combustion. And Dom has a different perspective, already gone through his 30s decade, and doesn’t view life the same way the younger man do. As such, we get several different experiences laid out, allowing for a fuller, richer tapestry.

It’s interesting that, although many very close friends tend to be pretty similar to one another in real life, those on television are quite a bit different. This isn’t a complaint, as these relationships do feel authentic, just an observation. It does make for more interesting storytelling, though I worry that it hurts the realism just a bit.

There are many other characters in LOOKING, but it’s hard to tell right now who will stick around and who will be one-shots. I assume Agustin’s boyfriend, Frank (O.T. Fagbenle, Breaking and Entering) will be involved, as will Dom’s roommate Dories (Lauren Weedman, Hung), but is the guy that Patrick flirted with on the subway a brief guest appearance, or someone destined to matter more? And will Agustin stay around his playmates, or will they split off? I feel like this is an ensemble that will develop over time, circling around the three leads, rather than one laid out explicitly, which lends a bit of uncertainty to the show that is pleasing. Though it does seem like they will have more friends hang around for a while than, say, Sex and the City did.

There will be inevitable comparisons of LOOKING to Queer as Folk, but not having seen that series, I can’t comment on those. I do think LOOKING is a compelling show on its own with good writing and wonderful acting, something that leaves me wanting to see more of the lives of the characters, the goal of any television show.

LOOKING airs Sundays at 10:30 p.m. EST on HBO.

Glee ditches the "Props" for "Nationals"

Glee went for the double dose last night, presenting two new episodes the week before its third season finale. Why make the penultimate week a two- hour special, and leave the finale a mere 60 minutes? Well, for one thing, the last episode will be paired with American Idol. And secondly, after an hour of high excitement Nationals competition, wouldn't the softer toned goodbyes seem to drag on? Glee made the right decision.

To the episodes! The first, "Props," opens with an understated Rachel (Lea Michele) performance of "I Won't Give Up." It's a fantastic song, not in your face, that allows Michele to emit the pain and determination of this struggling diva-wannabe. Rachel becomes sympathetic in a way that she rarely is as she vows not to quit on her dreams. With this number, her NYADA future is sealed, even if there is no clear path for her to get into the school yet.

It really changes the tone of Glee to begin with a song like this. It adds some weight and heft to the episode, letting viewers know the show means serious business this week. It actually works really well.

A handful of supporting characters get their dues in "Props." Most prominent is Tina (Jenna Ushkowitz), who delivers a startling rant about being shoved into the background for three years, and threatens to quit the New Directions. She has a point, in that she is a founding member of the group who never gets her due. Then again, Tina is a boring character, and does not need any more plot. This episode will suffice nicely for covering the base. She cannot possibly be the lead next year. Please, no!

The best part of Tina's story in "Props" is when she bumps her head. Suddenly, she is Rachel Berry. Better yet, Finn (Cory Monteith) has become Kurt and Puck (Mark Salling) is Blaine! In fact, all of the New Directions members, including its coaches, have switched bodies! This may be gimmicky, but it's incredibly enjoyable. Some of the actors really capture the spirit of another character, while some fall a little flat. But any way you slice it, this is a brilliant move.

Of course, the whole ordeal has a purpose. After performing an acceptable, but not Rachel-level, quality "Because You Loved Me," Tina comes to the conclusion that Rachel's life is hard, too. To make up for her meanness earlier, Tina drives Rachel to confront Carmen Tibideaux (Whoopi Goldberg), who gives Rachel the appropriate smack down. But at least Tina believes in her! To celebrate, they duet "Flashdance... What a Feeling."

But as central as Tina's story is to "Props," Bieste (Dot-Marie Jones) and Puck steal the show. Bieste struggles with her relationship, not finding the strength to leave Cooter (Eric Bruskotter), even though he continues to be abusive. Meanwhile, Puck is being bullied by hockey captain Rick 'The Stick' (Rock Anthony). Their plots come to a head as Bieste catches Puck pulling a (fake) knife on Rick.

This is a startling moment for Glee. Prop or not, there is no coming back from Puck with a knife. In this scene, it's clear that Puck has no future. He will end up dead or worse. He has nothing left to lose, and has grown desperate. It mirrors the way Bieste feels, as she considers stabbing Cooter while doing the dishes. These two are on the brink of no return.

And then realization, in the form of Bieste, smacks them. Seeing her emotions reflected back at her startles Bieste enough to act. She gets Puck a make up test so that he might graduate, and she leaves her hubby in a moment of sheer strength and bravery. It's a triumphant moment for her character and the series.

True, as a teacher, she should have reported Puck for the incident. And in reality, some student might have told, getting her in trouble, too. But for the purposes of this story, realism is unnecessary.

Jones and Salling deliver their best performances of the series in "Props." This entire arc really hits every right note, telling a perfect story for two talented actors. Jones proves herself practically every time she gets on screen, but this is the first episode in a long time where Salling delivers. Their duet of "Mean," as Glee must turn everything into song, is a wonderful capper. Give them a couple of awards, pronto!

Finally, Sue (Jane Lynch) wants to add props to the New Directions' Nationals performance to help them against their competition. At first, Will (Matthew Morrison) listens to her because, after all, she has won several national cheerleading titles, and his glee club didn't even break the Top Ten at Nationals last year. But, of course, in the end, Glee repeats its oft-heard message of being true to oneself, and avoiding the unnecessary gimmicks.

Then it's time for the second hour, which finds the New Directions, with Emma (Jayma Mays) and Bieste in tow, heading to Nationals in Chicago. Rather than flitting around the city this time, though, the New Directions erupt in a fight amongst themselves. Surprisingly, this is not them coming apart at the seams, but rather, demonstrates their passion for what they are about to do. As such, Santana (Naya Rivera) and Will are able to pull them back together.

And pull together they do! Their set list of "The Edge of Glory," "It's All Coming Back to Me Now," and "Paradise by the Dashboard Light" is spectacular! Most of the members of the group are featured, and the dancing and singing is fantastic! It's easily one of, if not the, best sets the group has ever put together. Finn, in particular, shows just how much he's grown in the last three years, and by extension, Monteith has improved as a performer. It's no wonder they win!


Should that have said, SPOILER ALERT, the New Directions win Nationals? Nah. This victory is a foregone conclusion from the "Pilot" of the series. There is never a single doubt that they will take the title before the original leads graduate, which may be why there is less build up before the actual "Nationals" episode. But that doesn't make their victory any less sweet, and after these numbers, well deserved.

The only regret is that Kurt (Chris Colfer) is kind of shoved into the background for all three songs, while Carmen is in the audience. Hopefully, this won't affect his standing with her when he attends her school next year. He's already in, so it shouldn't. She's seen him shine by himself, and now she also seems him being a team player.

Of course, there must be competition. Jesse St. James (Jonathan Groff) returns to talk smack, before genuinely putting in a good word for Rachel with Carmen. Not that Jesse's recommendation probably means much, considering he failed his own audition with Carmen. But she remembers him, so that's something. This also provides a little bit of redemption for a character who is self-absorbed enough to not be so well liked.
Jesse's star singer is Unique (Alex Newell), who is used as a tool to win, but could not be further in personality from Jesse. Which makes one wonder how their rehearsals go.

Mercedes (Amber Riley) and Kurt have a friendship with Unique now, and visit him/her before his/her performance. It's a touching moment that sticks to Glee's spirit of inclusion and fellowship. No petty words are exchanged, and their encouragement even sparks the hope that Unique might transfer to McKinley next year. In a perfect world, this will happen. Might the Glee writers be dropping hints? After all, with Rachel gone, McKinley needs a new powerhouse, and, despite words spoken in the first hour, it won't be Tina.

Powerhouse is a great description of Unique! His/her "Starships" and "Pinball Wizard" are amazing! In fact, there is some serious doubt about victory from Rachel and the others after witnessing it. Thankfully, using the entire group beats one voice and some props, but Unique gets the MVP award, and so is recognized appropriately.

Every time Glee embarks on a competition, they bring in some celebrity judges for an amusing, though unimportant, decision scene. "Nationals" is no different, with Lindsay Lohan (herself), Perez Hilton (himself), and Rex Lee (Entourage, Suburgatory) as a glee club-obsessed politician. They are every bit as effective as any past panel, though don't add much to the episode. In fact, the conversation viewers see in the judges room doesn't make a lot of sense, as the trio are not leaning towards the New Directions at the time. Ah, well. In an episode this good, Glee can have its tropes.

With Nationals over, the New Directions head home. A quiet school is waiting, kids lining the hallways, hockey players approaching with the familiar slushie cups. One can be forgiven for assuming the Figgins (Iqbal Theba) has made them turn up, but that the kids' standing has not risen. Then the slushie cups are revealed to be full of confetti, and applause erupts. The New Directions are heroes! "Tongue Tied," sung by them, but on playback, not with mouths moving, takes them through this celebration.

It's hard to say how realistic this is. Students love to support their peers who bring glory to their school, but it's not likely that the New Directions will be regarded as much cooler tomorrow by most of their classmates. This is a temporary recognition, and not one that will last. However, it will change the opinions of a few, which should be enough to beef up the roster and replace the graduating seniors next year.

With the kids getting their dues, there is still time to turn the attention to Will. The graduating seniors thank him for everything, giving him credit for changing their lives. And it's true. The glee club is what it is because of Will. He fades into the background for much of these final episodes of this season, but he deserves recognition for getting the kids to the point where he can do that. They stand on their own because he helped them get to there.

As such, Will is honored with a Teacher of the Year award, with the New Directions singing "We Are the Champions" to him. Even Sue is impressed and believes that Will deserves it, an appropriate reaction, given that she actually demonstrates her affection for the students in "Nationals" and the episodes leading up to it. Emma takes her appreciation a step further, rewarding him in the bedroom. All of this is an acknowledgement of everything that Will has worked so hard for, and he takes it well. Very heart warming.

So what's left? Next week is "Graduation," time to say goodbye to many of the popular characters (except Rachel and Kurt, whose college life will share screen time with McKinley High next season). It's sure to be full of tears and bittersweet song. Tune in to FOX next week at a special time, 9 p.m., for what will surely be a wonderful episode of Glee.

A quick bit of casting news: Sarah Jessica Parker (Sex and the City) and Kate Hudson (Almost Famous) are joining Glee next year on a recurring basis! Neat-o!

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

Glee: The Complete Second Season arrives on Blu-ray

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

Glee finishes the "Journey to Regionals"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

 

 

Article first published as TV Review: Glee - "Journey to Regionals" on Blogcritics.

Glee 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.