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

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

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

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

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

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

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

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

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

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

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

Glee: The Complete Fourth Season is available now.

CLEAR HISTORY Appeal Is Murky

Article first published as CLEAR HISTORY Review on Seat42F.

For those missing Curb Your Enthusiasm, HBO recently premiered CLEAR HISTORY. Written by, and starring, Larry David, the tone and humor is pretty much the same, with David inhabiting a similar character. This should tide fans over until David decides to make another season of his well-received comedy series.

The basic premise is of a man named Nathan (David) who gets into a silly argument with his boss, Will (Jon Hamm, Mad Men), leading to Nathan losing his job just before a massive launch of a new car that would have made him a billion dollars. Ten years later, Nathan is living as a drastically different looking guy named Rolly in Martha’s Vineyard, seemingly having escaped his past. That is, until Will shows up on the island, and Rolly begins plotting his revenge.

CLEAR HISTORY is inferior to Curb Your Enthusiasm, so don’t go in expecting an hour-and-a-half episode of the show. David still goes after silly, everyday gripes, but instead of harping on them for thirty minutes, with earlier events coming back full circle, most are dealt with in thirty seconds and then dropped. This is a shame, as there is certainly ripe material here that could fill many installments of Curb, wasted as throwaway gags.

What I don’t buy is that Rolly is considered the nicest guy around. At first, he seems to have turned over a new leaf, not harping on the little things that Nathan used to. But throughout the movie, Rolly makes more enemies than friends, and loses a few chums along the way. Has he turned just because of Will’s presence? It seems doubtful, especially as no character makes that observation.

The ending is contrived, and while a few threads seem to tie together, they don’t play into the final scenes, ruining the setup. Also, the story just can’t decide what it wants to be. For large stretches of the running time, it is a cohesive tale, but then it sometimes falls apart into a series of bits, and the ending is far from satisfying or complete. That is probably the biggest weakness of the project.

Which is not to say CLEAR HISTORY isn’t enjoyable. There are some brilliant turns by wonderful comedic performers, and those alone are worth tuning in for.

The most stand out performance is that of Liev Schreiber (Ray Donovan) as Tibor, the Czechoslovakian man who sells Rolly an ignition switch, and then gets in a car wreck with him. Tibor’s look and accent are humorous, but it’s more the absolute confusion that he has towards Rolly, not understanding what’s going on when Rolly is involved, and not getting why Rolly isn’t afraid of him, that plays so darn well. Sadly, it is an uncredited role, as Schreiber stars in a series for a rival pay channel.

Among the rest of the cast are familiar faces like Michael Keaton (Batman, Toy Story), J.B. Smoove (Curb Your Enthusiasm), Amy Ryan (The Office), Bill Hader (Saturday Night Live), Danny McBride (Eastbound & Down), Eva Mendes (Hitch), Amy Landecker (Dan in Real Life), Patty Ross (The Heat), Paul Scheer (The League), Chicago (the 25 or 6 to 4 band), and many more. Each, without fail, not only fits well into this contrived world, but does an outstanding job of selling the scenes they are involved in. They are not the weakness of the piece, and each is not only funny, but also seems to be really glad to have this job, a definite plus.

A particular element I really enjoy is that of Will’s wife, Rhonda (Kate Hudson, Glee, Almost Famous). At first, she seems a pushover whom Rolly can worm his way in with. But the direction the script goes with her as things play out not only fits with her character nicely, even after a few turns, but also rises above the predictable and expected.

Overall, while not as impressed with CLEAR HISTORY as I have been with other David works, it is a nice little snack as we await his next great project.

Glee Not So "Wonder-ful"

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

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

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

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


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

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

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


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

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

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


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

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

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

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

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

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


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

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

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

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

"Swan Song" replaces ugly duckling on Glee

"Swan Song," the latest episode of FOX's Glee, is a mixed bag. Part of the episode is very good, and part of the episode stinks. Scenes and plot make a move for greatness, and then either embrace it, or chicken out. Interestingly, the setting of said scenes tend to be a good indicator as to which end of the spectrum they fall on.

So the New Directions lose Sectionals. Last week's episode ended with them leaving the stage after Marley (Melissa Benoist) faints. Many assumed the club would pick up their performance at the start of the week's installment, and while "Swan Song" does begin moments after the previous episode ended, this is not to be the case.

Sue (Jane Lynch) is the instigator who shuts down the New Directions' chances for good. She has done many mean things, but nitpicking rules to get them disqualified is especially sinister. It seems to just be in the name of fulfilling a personal vendetta against Finn (Cory Monteith) for a rude comment he made weeks ago, as even Sue begins to wonder if she is going too far. But the point is, Sue gets away with it, the glee club season is over, Finn fails as a director, and everyone blames Marley for blowing their shot.

It's a very disheartening episode. "Swan Song" sees the members of the group meandering, several of them feeling very down on themselves, and the seniors losing all hope for their final year. The various singers switch to new clubs far too fast, and are accepted way too readily to be believable into these new groups, especially Artie (Kevin McHale), somehow scoring a band leadership position at a time when marching band is also over for the year. The thing that hits home is that the glee club is kaput, and they are all sad.

The only person that is truly happy about their failure is Brad the Piano Player (Brad Ellis), who gets his first line of the series, despite having appeared throughout, when he thanks Sue for saving him from the rude kids. It's a tongue-in-cheek joke that answers some concerns about realism in the show as a whole, without taking itself too seriously.

As dire as this seems, though, there is never any doubt about the end result. Finn and Marley feel bad, they help each other get over it, and then everyone is swayed into returning for a feel good finale to the tune of "Don't Dream It's Over." Not only is this totally predictable, and lets characters off the hook much too easily, the moment is spoiled in FOX's promos for the episode, which is yet another reason to avoid commercials and previews of any kind.

The story of the loss itself is gripping, but the cop out finale somewhat ruins any pathos generated, making "Swan Song" fall flat. Yes, Glee is a tale of triumph. But flopping so big, so early in the season calls for more than a couple of e-mails and a few inspiring words. Presumably, Glee doesn't want to spoil its planned happy Christmas episode. However, the series would have done much, much better to focus on the pathos, rather than the recurring themes of togetherness, a move that has deepened the New York story considerably, which I'll get to in a moment.

And while the New Directions, being disqualified, should be considered third place at Sectionals (out of three), look for the Warblers to be disqualified, too, and the group to get a second chance. If they don't, and are truly done with competition for the year, it will be better for the series, I think, and it would definitely be a surprise.

For some reason, Sugar Motta (Vanessa Lengies) sits this entire fiasco out. She doesn't appear in a single scene, including when the group comes back together in the end. Sure, she's not a main character, but like Unique's (Alex Newell) recent week off, it's a glaring omission that spoils the story, knowing a vital member of the club has just disappeared at an important moment. She needs to be there, at least in the wide shots.

Yet, Kitty (Becca Tobin), whose inclusion in the New Directions still baffles, and who doesn't really seem to care about the club, does come for the cold, outdoor, end performance. Why? It doesn't make sense.

The other arc happening at McKinley this week is Brittany (Heather Morris) getting with Sam (Chord Overstreet). This has been telegraphed all fall, but it doesn't make the inevitable kiss any easier to swallow. Even a decent duet of "Somethin' Stupid" doesn't make their pairing feel right, and hopefully the relationship will be short-lived, like Brittany's previous dalliance with Artie.

The reason I don't like Sam and Brittany as a pair is not because she is previously part of a lesbian couple, despite what her character says on screen in acknowledgement to fan resistance; Brittany is established pretty firmly as being bi-sexual in earlier seasons. Instead, it's because they just don't feel right together. There is no spark, no warmth, no connection. I like both of the characters very much, and they deserve better than being thrust together just because they are blond and ditzy.

On to New York City, where "Swan Song" shines. Rachel (Lea Michelle) continues to butt heads with Cassandra (Kate Hudson), which leads to a terrific dance off while singing "All That Jazz." For a bit, Rachel keeps up, really allowing Michelle to show off just how deep her talent goes, and illustrating the growth of the character. In the end, though, the dancing vet, Cassandra, wins out with the physical moves.

It's nice to see Rachel find her niche, and learn something about herself. She may not be great at dancing, but the confrontation leads her to redouble her confidence about her singing ability. The dance classes will still be important, as she will have a better chance at parts on Broadway if she is well rounded. But with a rare voice like Rachel's, there is no denying the power she has, and that she can succeed without being the best mover on the floor.

Rachel has ample opportunity to flaunt her talent when Carmen Tibideaux (Whoopi Goldberg) selects her for a special Winter Showcase, the first freshman picked in years. Rachel's "Being Good Isn't Good Enough" brings down the house, so much so that she is allowed an encore of "O Holy Night." Both numbers soar, and it's not hard to believe at all when Rachel wins against more experienced upperclassmen. Her voice, and the way that she uses it, is rare, even in the company of other performers.

"Swan Song" takes a more unexpected turn, though, when Carmen allows Kurt (Chris Colfer) to sing in front of everyone at the showcase, too. It's a trial by fire, the second chance he asked for, but when he least expects it. It may be that Carmen wants to see how he will do under pressure, or thinks that he might be better if he doesn't over prepare. Whatever the reason, this comes on Caremn's terms, and Kurt gets to sing "Being Alive," which is enough to gain his entry into NYADA.

Kurt's triumph is a great moment for Glee. He's no Rachel, of course, but he does deserve to be there, and it's satisfying that he finally is able to show it. It doesn't feel hokey because of the gravitas that Goldberg brings to the situation, and the sincerity she lends to the twist.

My only regret is that this may spell the end for Isabelle (Sarah Jessica Parker), who has been an absolute joy this year, as Kurt will probably quit his job to attend classes. Please, oh please, give her a goodbye, and not just have her never appear again!

The stark contrast between the New York and McKinley stories, as well as the maturation Rachel and Kurt have gone through, make an argument to ditch the high school stuff completely after this season. It's not that there are no more stories to tell there, but it's that the writers seem hard pressed to come up with them. Or, at least, to put as much effort into the students' parts, as they do the best alumni. For this reason, it may be time to sacrifice some of Glee so that another piece can flourish.

Glee will next present it's Christmas episode, "Glee, Actually," this Thursday at 9 p.m. ET on FOX.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

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

Glease is the word

 "Glease" is the word this week on FOX's Glee. Which is funny because it isn't actually a word. Nor does it deserve to be. In an entire episode that serves as a mashup between Glee and Grease, the music from the musical remains as classic as ever, but some of the performances are an inferior echo of the original, not because of lack of talent, but because it's such a blatant copy. It's a good thing that there's some actual Glee character development plot included, too.

"Glease" works best when the cast isn't trying to recreate scenes from the movie. Sure, Finn (Cory Monteith) taking the guys to a mechanic shop to practice "Greased Lightin'" and Kitty's (Becca Tobin) girls' sleepover "Look At Me, I'm Sandra Dee" bit may enact scenes that look just like the John Travolta / Olivia Newton John film, but they stretch the plot a little too much towards the cheesy side. Similarly, the set design in McKinley's production is way too advanced for a high school budget, though it makes "Beauty School Dropout" and "You're the One That I Want," the former a favorite moment from this episode, look nearly identical to the inspiration.

This continues a trend in season four of things that seem like a good idea on the surface, but don't quite work right when they are played out. I am referring to the way that alumni keep returning to McKinley and acting like they are adults, while still socializing with their younger student pals. Most high schoolers can't wait to move on after graduation, and those that don't are not generally regarded so highly as the ones on Glee. Letting Finn serve as Will's (Matthew Morrison) temporary glee club replacement actually does all right by the character, but Mercedes (Amber Riley), Mike Chang (Harry Shum Jr.), and Santana (Naya Rivera) really need to find some new friends and activities to get involved in.


That's what Rachel (Lea Michele) and Kurt (Chris Colfer) are doing. They do come back to watch their friends do the musical, but they are also beginning to break ties and look towards their futures. Things have changed, their chums have moved on, and the duo feel it. It's hard to imagine them flying home again for the next minor event. And that's a good thing. Whether Glee opts to shift even more into a post-high school focus next season, or drop a large number of original cast members, this balancing act often feels forced, and cannot continue indefinitely.

The continued presence of the older crowd also steals focus from the newbies. Marley (Melissa Benoist) and Ryder (Blake Jenner) barely open "You're the One That I Want" before being replaced by Rachel and Finn, and soon Kurt and the others are imagined into the scene, too. Yes, it's nice to see some more resolution will all of the recently dissolved couples, but not at the expense of some characters that are just beginning to grow on us.

Unique (Alex Newell) gets the biggest shaft in "Glease." His parents (including Chuck's Mark Christopher Lawrence) pull him from the show because they are worried about bullying, since he has a female part, even though they do accept their son for who he is. This seems a step backwards from the Kurt days, with Unique having to re-fight some of the same battles. It also means that s/he only gets a few lines of "There Are Worse Things I Could Do," a crying shame, no matter how good Rivera can handle the number.

Also, I don't care how dumb Brittany (Heather Morris) is, we cannot honestly be expected to believe that she thinks Mercedes and Unique are the same person.

Quick side note, Jenner is just not doing it for me as Ryder. I felt let down at his take on Danny Zuko, and his acting just isn't up to par with his cast mates. He may grow into the role, as others have done, but it seems like he got a little too much focus, a little too quickly.

I also did not care for Marley's bulimia plot. She is a gorgeous, thin girl, and while Kitty's ability to trick her into puking makes sense, it also ventures a little too far into after-school-special territory. It will be awfully hard to make Kitty sympathetic after she goes to such depths, and Marley's "Look At Me, I'm Sandra Dee (Reprise)" ends up being heart wrenching at a time when she should be enjoying her chance to shine as the musical lead. It works for the story, but I wish that the writers chose to take her in a happier direction.

Speaking of terribly evil villains, in "Glease" Cassandra July (Kate Hudson) tricks Rachel into skipping town, then seizes the opportunity to seduce Brody (Dean Geyer). It would not be surprising to learn that things didn't quite go down as Ms. July describes them. But seeing her act all sleazy, then picking up Brody's phone when Rachel calls to rub it in her face is absolutely awful. Sue (Jane Lynch) can be a bit of a monster, but even she has more humanity than Rachel's new teacher.


Not that "Glease" is a bad episode, by any means. All six of the musical numbers are very well done, no matter what my complaints are, plot wise. Blaine (Darren Criss) and Sugar (Vanessa Lengies), in particular, are perfectly cast in Grease. Newell and Benoist, and, to a lesser extent, Tobin, are solidifying their roles as the new stars of Glee, and they definitely have the chops to do so. It's awesome to see Santana and Brittany together again. Almost every actor gives a fine performance, and most of the story choices make sense, even if a few are regrettable. As such, despite my nit picking, I liked the episode a lot overall. There just needs to be some tweaks to the larger arcs to make the season gel a little better.

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

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com!  Article first published as TV Review: Glee - "Glease" on Blogcritics.

Oops! Glee does Britney again

 
Glee dusts off the Britney Spears song book for a second time this week with "Britney 2.0." Is it a shameless plug for Britney herself, who doesn't cameo this time around, but is now a judge on the same-network singing competition series, The X Factor? Or does Glee do this because Britney really does have a lot of good songs, and it's easy to pick another batch to fill a second episode?

Well, as many good songs as she has, and several are used in "Britney 2.0," it is a weak week, musically speaking. Only two stand out, and both are big dance numbers. Instead, what is delivered is a bunch of remixes and alternate versions. Glee often does this kind of thing well. Not this time.

That doesn't make the episode bad. Glee has delivered some real stinkers in the past, but "Britney 2.0" isn't one of them. It falls somewhere in the middle, with room for a handful of complaints, but also some pretty decent story, and a couple of songs that really land well.

As the title suggests, Brittany (Heather Morris) is featured this week. After an upbeat opening of "Hold It Against Me," her life takes a serious slide. Depressed after being cut from the Cheerios for very bad grades (how is she still academically eligible all this time?), and missing Santana (Naya Rivera), who doesn't have time to scissor Skype, Brittany looks for something to pull her back up. Learning from her inspiration, Britney Spears, Brittany decides that the best thing to do is force a rock bottom so that she can rise triumphant.

Thankfully, someone stops Brittany before she buzzes all of her hair off, but there's still plenty of room for disaster. Brittany tanks the school performance of "Gimme More," insisting on lip synching while eating cheese puffs, in a parody of Spears' Music Video Awards performance. She also stops trying to look good, drinks a giant unhealthy beverage, and seems to have given up.

If Santana were here, she would understand and be able to help Brittany. Other attempts, such as her friends singing "Boys" / "Boyfriend" and "3" to her, fail. It isn't until Sam (Chord Overstreet), who is slightly less ditzy than Brittany, figures out what is really happening that anyone is able to help her.

Is Glee setting up a Sam and Brittany pairing? I sincerely hope not. It's hard to balance a long distance relationship with one's near-distance lives, and as sad as it would make me, I would understand if Brittany and Santana had to break it off. But if someone is going to be Brittany's new beau, it's got to be someone at least as fitting to her as Santana is. Sam may be great in his own right, but he is just not a natural pairing for Brittany.

Speaking of pairings, it seems that no one can stop the Marley (Melissa Benoist) / Jake (Jacob Artist) train. Unique (Alex Newell) tries with "Womanizer," proving exactly why s/he has been added to the cast, as it is the episode's best number. But then Marley still runs off to duet "Crazy" / "(You Drive Me) Crazy" with Jake. I can't complain too much. The definitely seem drawn together magnetically.

But I also feel that this attraction is alienating them from the main group at a time when they need to be assimilating. Couldn't someone new have been introduced as a love interest for an existing character, instead of both newbies falling for each other? Instead of a continuation of the New Directions as the seniors move on, it's feeling like a younger, separate replacement group is forming, making this a transition year, rather than a reboot.

While still on Marley, I must confess that I found her songs boring this week. She has a fantastic, powerful voice nicely showcased in the season premiere. But "Crazy" / "(You Drive Me) Crazy" and "Everytime" did not do her justice, and she is mostly backup in "Womanizer." Marley still gets good story, just not any of the best music.

Another alum makes an appearance in "Britney 2.0" when Will (Matthew Morrison) brings Puck (Mark Salling) home to talk some sense into Jake. It is a touching scene, and definitely one that is expected and needed. But mentioning that Puck lives in Los Angeles now kind of kills it when viewers realize that he flew home for a two minute conversation. Couldn't Puck have stayed around town after graduation, opening him up for more story with Jake? It would be easy to buy that Puck gave up on his West Coast dream, or at least postponed it. Ah, well.

In New York, things come to a head between Rachel (Lea Michele) and Cassandra (Kate Hudson). After seeing her teacher's on-stage flame-out on YouTube, Rachel gets up the courage to talk back, which leads to the fantastic "Oops!... I Did It Again." This only hurts herself, as we learn that Cassandra has a method to her madness, and as most already suspected, the bullying comes from good intentions. Now that that's out of the way, thankfully coming sooner rather than later, can Rachel do something great in school? Impress her teacher for a change? Two episodes of her suffering is enough.

Luckily, Rachel has Kurt (Chris Colfer) and, more importantly, Brody (Dean Geyer), to pick her back up. Brody makes his attraction clear, and Rachel begins showing signs of giving up on Finn (Cory Monteith). After all, Brody is here, whereas she hasn't heard from Finn in two months. Which means that it's about time for Finn to show up and throw a wrench in things.

The only thing the rings hollow about this plot is Kurt's apparent immediate support for Rachel getting with Brody. Finn is his brother, and Kurt is the first to point out that Finn's silence is done for Rachel's benefit. Shouldn't he scold her just a little before coming around to the new dude?

Glee did a decent job with a solid episode for "Britney 2.0." It moved the stories along a bit, without doing anything too horrible (or memorable).

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

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Article first published as TV Review: Glee - "Britney 2.0" on Blogcritics

Glee introduces "The New Rachel"

 Rachel Berry is gone; long live Rachel Berry! Glee returns for a fourth season, and as the episode title makes clear, it's time for "The New Rachel." But does that mean that Rachel (Lea Michele) must find herself in the strange new world of New York City? Or does it refer to the New Directions' lack of a star, as several long-time members seek to fill the glaring whole in their lineup? Both, actually.

At McKinley, the social balance has shifted, with the glee club seniors now allowed to sit at the same table with popular cheerleader Kitty (Becca Tobin) and a couple of jocks. Last spring's National Championship buys them this right, but turning mean will earn them the ability to keep it, which they do by picking on the very large new cafeteria lady (Trisha Rae Stahl) and making recent transfer, Wade (Alex Newell), hide his "Unique" personality.

But, of course, this is not in character for the singers. Their group is all about acceptance and being true to oneself. It doesn't take long at all for them to realize the error of their ways, with Kitty and company not only abandoning the lunch table, but also baptizing the new members in slushie. Balance has been restored at McKinley.

I like that Glee comes back and tackles one of the main themes right off the back in such a blatant way. In an episode that feels, most times, like an entirely different show, it provides a narrative through line, like Jacob Ben Israel's (Josh Sussman) opening, that promises some aspects of the series will not be lost. It's this continuity that makes the school stuff work.

However, in reality, the popular kids would not care that a glee club won a national title. While it is a huge, significant accomplishment, it is not a "cool" activity, and the cheerleaders and athletes would give it far less attention than Glee sees them do. The inclusion of the gleeks into a different clique, while brief, doesn't feel right for even a second. And why are there only three popular kids? They travel in much larger packs!

The humbling continues outside of the cafeteria. Four singers vie to replace Rachel as lead soloist; Blaine (Darren Criss), Wade / Unique, Brittany (Heather Morris), and Tina (Jenna Ushkowitz) each think they have what it takes to be the star of the group. They name Artie (Kevin McHale) judge because, apparently, now his whole identity is wrapped up in directing. But the message of Glee is teamwork, and despite a wonderful competition performance of "Call My Maybe," which immediately reaffirms the show's musical chops, it is quickly apparent that no one can really replace Rachel. They realize that they need to worry more about the group and less about themselves.

Tina's insistence that she is Rachel's chosen successor is just plain ridiculous. Rachel told her this to be nice. While Ms. Berry may have been sincere at the time, the tiara isn't really hers to pass off, so Tina's hold is tenuous, at best. Because she is just not that interesting a character, "The New Rachel" thankfully chooses to address this hanging plot from last season and dispense with it quickly, rather than stretch it out over the course of an entire season.

Blaine is finally named Rachel's replacement by his peers, but it won't last. He is the most capable of these four (with Unique a close second, though much newer to the cast), but Rachel is a very specific personality, and not one that can just be handed off to someone else. No one will be Rachel, and that's OK. It might be nice to have a larger ensemble focus for awhile.

A short while, most likely. As much as none of the current group has a chance to be Rachel-esque, newcomer Marley (Melissa Benoist) has "star" written all over her. She is obviously there to usher Glee into the next chapter, should the series continue past this season. She has a very strong, memorable voice, and in "The New Rachel" is already given a well developed parent and a love interest. Her personality is very different from Rachel's, as are her background and life goals. Which means that, while she is primed to be the new focus, she won't just be the same old thing over again. This screams that Marley (criminally not listed as a series regular yet) will soon take over leadership duties, even if they are limited until the seniors graduate in the spring. Glee is in good hands.

The way that Glee chooses to pass the baton is not groundbreaking, but it is fun. Rachel, who we'll get to in a minute, and Marley both sing "New York State of Mind" as a duet, even though they are hundreds of miles apart. Marley holds her own against the powerhouse diva, and that is saying something, which should immediately earn her some fans.

Rachel isn't the only one that has been replaced. Kitty is very definitely a Quinn (Dianna Agron) substitute, while Puck's (Mark Salling) younger half-brother, Jake (Jacob Artist), is a lot like Puck. Jake's impending romance with Marley may even satisfy the Rachel / Puck shippers, who never were satisfied.

While Quinn and Puck are the two absent characters I will miss least, their replacements looks to be more interesting versions of them. Kitty is much meaner than Quinn usually is, while Jake has an awesome voice, proven with "Never Say Never," and his anger issues define him more distinctly. Good choices, casting-wise! Hopefully Kitty will stay a villain and not soon be singing.

The worst mistake "The New Rachel" makes is in the audition process. Two pages of singers sign up to try out for the New Directions. Will (Matthew Morrison) chooses two: Marley and Jake, and Jake only gets to join after Will looks into his back story. It has been firmly established that the group needs 12 members to compete, and this only brings them up to ten. Couldn't Will pick two more to give the New Directions the number that they needed? Even if they weren't any great singers, most could not be as bad as Sugar Motta (Vanessa Lengies) and she's still in the club.

Besides, one would think the existing members would champion mediocrity in their ranks. Many already feel the competition for lead soloist is too crowded, which is why they aren't so pleased by Jake and Marley, not wanting even more kids taking away parts. No one met these very low standards?

Also, the New Directions have always preached inclusion, allowing anyone to join. It makes sense that, given the National title, they might have more interest, and decide they need to be a bit more selective. But there should have been an episode or two before that where they try to let everyone in, and it ends in disaster. Or at least had a discussion about the policy change. Or a punchline.

But with Marley's inclusion, the fall from popularity, and a lesson learned, it's time to end in true Glee fashion. "Chasing Pavements" is the chosen finale this week, and it delivers everything that Glee fans have come to expect from an episode ending, while also even more firmly establishing Marley as the new lead.

This covers the McKinley students' plots, but there are still large chunks of "The New Rachel" not yet touched upon. While all of the graduated New Directions members remain principal cast members (except Quinn), only two are seen in this season premiere, and they are both in very different places, literally and figuratively. I guess the rest will pop up in the coming weeks, though we're told that "main character" doesn't mean they will be in every episode, and fans will see them much less than they are used to.

Is this a smart move? The characters are a big draw of Glee, and removing so many of them from the spotlight is hard. It's also very ambitious to follow seniors post-graduation, and it makes the scope of the series much bigger. Done right, this could be a cool, bold experiment in television. Done wrong, which it very easily could be, hanging on to characters that should have been let go, will kill the show. Let's hope for the former.

One of the two alumni featured is Kurt (Chris Colfer). He hangs around the high school, visiting Sue's (Jane Lynch) new baby, Robin (named after the actress who played Sue's sister), and attending glee club auditions. As boyfriend Blaine tells him, it's time to move on. With Blaine's encouragement sung to "It's Time," and Kurt's father's (Mike O'Malley) wise advice, Kurt finally takes the plunge and moves to New York City.

Will Kurt thrive there? After all, he has not been accepted to school in the Big Apple (yet). No one is saying that he has an easy road ahead. Does Glee go to far by pushing Kurt out of the nest in "The New Rachel?" Or does it stick to its positive messages and themes.

For Kurt, it's the right decision to make. This is a risk that he needs to take, to follow his dreams while he still can. It may end in disaster, but he has to try. And because this take place in TV fantasy world, it will work out. Cheesy? No doubt. It feels good anyway.

Rachel has a much less inspiring plot this week. She is chosen as the object of her new teacher, Cassandra July's (Kate Hudson, Almost Famous), torment. Which means that, not only does she have to work her butt off to dance, but she also gets picked on in the process by her alcoholic instructor. Then Rachel goes home to a roommate who is very, very friendly with the guys.

It's a rude awakening for Rachel. Although I don't like to see her miserable, though, I do wish it had lasted a little longer. With Kurt arriving, a new cute guy named Brody (Dean Geyer, Terra Nova, Neighbours) who can sing (see: "Sister Christian") in her life, and the grudging approval of Carmen (Whoopi Goldberg), things should turn around pretty quickly for the displaced diva.

Can Rachel stay true to Finn? No engagement ring is present on her finger, and she refers to him as a boyfriend, not a fiance. Just wishful thinking on her part? After not having spoken to him in two months, how can she even know the status of their relationship? This makes her ripe pickings for the new man. Finchel probably won't exist much longer.

Lastly, Emma Pillsbury (Jayma Mays) has been reduced to recurring status. It makes sense, given how many episode she has always sat out anyway, and the crowded field of adults at McKinley. But it's still sad, as she is a wonderful part of Glee.

And where is Brad the piano player (Brad Ellis)? That newbie is not acceptable! In playing ability he does fine, but Brad is a fan favorite! Bring him back!

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

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Article first published as TV Review: Glee - "The New Rachel" on Blogcritics.