GLEE Stumbles In "New Directions"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GLEE Hits "100" Episodes

Article first published as TV Review: 'Glee' - '100' on Blogcritics.

Although Glee already has an end date set for spring 2015, we still have about 25% of the show’s entire run to get through before then, so as much as things are winding down, they aren’t over. This week’s installment, “100,” is the first of two parts in which glee clubbers old and new come together to celebrate the New Directions in its final week of existence, before the series moves almost exclusively to New York, where it has been splitting its time for the past season and a half. It’s a bittersweet party as old feelings are dredged up and a couple of people try desperately to save the sinking ship.

If, and it’s a big if, the New Directions manage to escape Sue’s (Jane Lynch) draconian cuts, this will stand as the triumphant moment when everyone came together to save a beloved institution. If she succeeds, it’s one last happy time together, ending the group in the best of possible ways, everyone coming back and being together. As much as it’s dumb that the glee club is being disbanded, if it is, this really puts a bookend on the high school story for the majority of the cast, and will feel like satisfying closure. If it’s saved, though, it’ll be some last minute deus ex machina bit that will surely be disappointing, even though it’s the right thing to do.

This means Glee has painted itself into a corner. One path makes for a fitting story but comes across as phony, while the other choice doesn’t make sense for the story, but at least feels right. It seems Glee, unlike the unrealistic uber-genius Brittany S. Pierce (Heather Morris), can never quite make the math add up, continuously falling short of what it could and should be. I’ll miss Glee when it’s gone because television deserves a musical, but it will also be a relief to not have to write weekly columns for a series I’ve come to have such mixed feelings about, frequently frustrated at things so blatantly screwed up in a show I used to love.

As “100″ starts, all of the graduated seniors (who are still alive) have dropped whatever was going on in their lives and come back to McKinley to spend the last week of the New Directions’ existence with the choir. Yep, apparently these kids have no lives.

They are joined first by April Rhodes (Kristin Chenoweth), then by Holly Holliday (Gwyneth Paltrow), who arrives with a bouncy, yet underwhelming, “Happy.” Their return is great for viewers, but it’s pretty far-fetched, women who encounter the group a couple of times putting their lives on hold for this club, even if they are flighty free-spirits. What’s more, if the glee club is saved, it will come from these two recurring players, not our main heroes. April thinks she has a solution in “100,” until Sue thwarts it. But the episode ends with April and Holly vowing to finish their wine, then work on a plan. How come they care more about the New Directions than those who are part of the group?

To get into the spirit of celebration, April leads them all in a rendition of “Raise Your Glass.” It’s unfortunate, as the Warbler’s version is a classic that will never be matched. This trend of redoing old songs in an inferior manner continues throughout the hour with “Toxic,” “Defying Gravity,” “Valerie,” and “Keep Holding On.” They aren’t bad performances, and “Toxic” has cool staging, but if Glee wants to bring back past numbers, there really needs to be more effort to make it worth the fans’ time.

Rachel (Lea Michele) is the most surprising student attendee of this event, since she works full-time, goes to school full-time, and is starring in a Broadway show, which is pointed out with a wink that does not absolve the series of the glaring ridiculousness of her presence. Rachel is necessary, though, to Mercedes’s (Amber Riley) plot, which reignites their high school feud to be the best.

I disagree with Bowling for Soup about high school never ending, but it’s true for those who still hang around the place, and Mercedes has a valid emotional response when she is torn down by others in her industry, reopening old wounds. Thank goodness Rachel and Mercedes get a chance to work through their negativity, and while their calling off the vote for who sings “Gravity” better is a bit too syrupy sweet, it is touching, and allows them both to show growth and move on.

Random question: why does Kurt (Chris Colfer) have any part in “Gravity” at all? He’s not competing in the contest, and sings far fewer notes than the other two.

Now if only Rachel would make things right with Santana (Naya Rivera). Their ongoing battle is mentioned in “100,” but not featured. Perhaps Santana and Rachel are not friends before and any peace they find in the adult world is temporary, but I don’t think so. There is a real bond between them while living together, and Rachel should take the lesson she learns with Mercedes back home and apply it to her current situation.

Santana has more important things to worry about than Rachel right now. The former Cheerio quickly sees how unhappy her ex-girlfriend, Brittany, is, and tries to correct that, forcing the blonde into a “Valerie” dance number. That and a return of the infamous Fondue For Two web series brightens Brittany’s spirits. But when a grateful Brittany attempts a romantic reconciliation, Santana turns her down.

I was a huge fan of these girls when they were a couple, but Santana has developed quite a bit and is building a life for herself in New York. It’s easy to see why she doesn’t want aimless Brittany to be part of that, and Brittany needs to find her own path. I would still be thrilled at a reunion if Brittany can also be independent, not just Santana’s tag-along, and rejoin the cast full-time. But for now, it looks like they’ll be better apart than together, and Santana is wise to see that. Her distancing herself from Brittany will make Brittany stronger.

Love is more strongly in the air for Puck (Mark Salling) and Quinn (Dianna Agron), though it’s kind of one-sided as Quinn arrives with a new beau in tow. Puck doesn’t let that stop him, exposing what a phony the new guy is by helping Quinn come clean about her past, and then wooing her with an emotional “Keep Holding On.” It works, as Quinn ends the episode in the arms of her baby-daddy.

It does seem very odd that the Glee characters all keep ending up with their high school sweethearts. Yet, there’s something nice about these two finding one another once more, after all they’ve been through. Both face a number of challenges in their lives, and now they’ve worked through those and bettered themselves, finally ready to be in a relationship. It’s a great goodbye for them, should this prove to be their last appearance on the show.

I admit, I am disappointed that Quinn’s guy, Biff McIntosh (Chace Crawford), turns out to be such a stereotypical, stuck up jerk. Given that Biff seems, on the surface, so close to Crawford’s Gossip Girl role, I kept expected a more layered, nice person to emerge. What would have been even better is if Crawford was reprising Nate Archibold. But sadly, he’s just a forgettable, throw away guest star in this capacity.

Of course, besides all the personal drama, “100″ also takes time to stage a tribute to Finn (Cory Monteith) again, relocating his plaque to the auditorium before the choir room is converted into a computer lab. It’s completely understandable that the characters are still obsessed with their deceased quarterback, and it’s nice that they continue to pay homage to him, especially in an episode he definitely would have been featured in. I do wonder, though, how much the next season and a half will continue to play this up. Memorializing Finn in a few entries is fine, but the series shouldn’t overdo this.

“100″ has great character moments, amid lots of story flaws and inconsistencies, and an overall weak lineup of musical numbers. What should be a celebrated milestone for the show ends up as another disappointing, mediocre let down. This is only part one of a two-parter, but it seems unlikely the next hour will redeem this one. I really hope I’m not writing the same thing about the series finale fifteen months or so from now.

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

More than one 'Revelaiton' in 'GCB' season finale

ABC's GCB brings its first season to a close with "Revelation." In the episode, pretty much all of the main characters head to unincorporated Juarez. Carlene (Kristin Chenoweth) leads the trip as a groundbreaking for her Christian condo project, but each of the others have their own agendas for coming, other than just friendship. Tension sparks bickering, especially when the women are briefly kidnapped, but in the end, all's well that ends well, right?

Only on television would a large group of friends end up out of town in the same place at the same time for a bevy of different reasons. This alone tosses all believability out the window. But it doesn't detract from the enjoyment because, honestly, GCB does not thrive on realism. It's a series of exaggerations with larger than life characters whose every obstacle become cataclysmic. Keeping this in mind, the Mexico trip is a fun romp, rather than a distracting ploy.

The characters in GCB have come into their own. Like Desperate Housewives, most of them aren't exactly likeable on the surface. That makes GCB hard to get into, especially because, at first, it lacks the campy charm that makes Housewives so entertaining. But as each person has become better defined, including the men, who were originally nearly interchangeable nothings, their chemistry has gotten better, and thus, so has the show. While GCB remains on the bubble, it could definitely fill the void that will be left by Desperate Housewives next year, if ABC decides to renew it. It's juicy, salacious fun.

"Revelation" isn't exactly the most surprising episode. It's pretty clear right from the get-go that Ripp (David James Elliott) isn't cheating on Carlene, but rather, has a secret daughter. GCB goes for the comedy of errors on this one, but by using such a predictable story, it fails. But other twists, such as learning that Cricket (Miriam Shor) now, though no direct action of her own, owns Sharon's (Jennifer Aspen) business, have some serious implications for next season. Also, it's fun that the kidnapper is revealed to be a ridiculous woman (Sandra Bernhard, The L Word, Roseanne) who wants to protect her "ancestry."

Of course, as much fun as these things are, the serious romantic entanglements are the real draw of a show like this. "Revelation" finds two of the main women facing major changes in this department. Mason Massey (Grant Bowler, True Blood, Ugly Betty) is more than a minor nuisance for Cricket, especially once he learns that her marriage to Blake (Mark Deklin) is a sham. Cricket and Blake have an arrangement that has worked for them for many years, but it's not like they're sexually attracted to each other. Someone is bound to come and disrupt the status quo, and by casting Bowler to do so, there are implications of a huge, permanent change on the horizon. But, considering Bowler will soon be starring in a SyFy series, he will probably just make a mess, then leave them to clean it up.

The second woman facing new love is Amanda (Leslie Bibb). Given her past, it doesn't matter how justifiable Luke's (Eric Winter) reasons for lying to her are; they are done. Considering these trust issues, though, is it any surprise that she falls into the arms of the man least likely to betray her, Pastor Tudor (Tyler Jacob Moore, Shameless)? Amanda doesn't seem pious enough to a minister's wife, but that doesn't mean she won't try out the idea, and shock the community along the way. There are all kinds of juicy ramifications that could come from this coupling, meaning, it's probably going to happen if the series is renewed.
GCB airs on ABC, and should learn of its fate soon.

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GCB is an appropriate name

ABC's newest drama, GCB, premiered this week. Originally titled Good Christian Bitches, but abbreviated due to decency standards, the story follows Amanda Vaughn (Leslie Bibb, Iron Man, Crossing Jordan), whose husband dies unexpectedly in a sexual encounter, not involving his wife, while driving. After his demise, it comes out that he ran a Ponzi scheme, and Amanda, who looses everything, is forced to move home to Texas, and in with her mother, Gigi (Annie Potts, Designing Women, Ghostbusters). Believe it or not, Amanda's life gets worse than that, as she has trouble finding a job, and is soon tormented by the girls she wasn't so nice to in high school.

See, Amanda is a former mean girl, and her past victims would like to turn the tables on her, especially when she is so vulnerable. This clique is led by Carlene Cockburn (Kristin Chenoweth, Pushing Daisies, The West Wing), who lives across the street from Gigi. When Carlene isn't making veiled criticisms of Amanda in church or spying with bionoculars through the window, Carlene calls upon her network, including business maven Cricket (Miriam Shor, Damages, Swingtown), beauty queen-gone-to-seed Sharon (Jennifer Aspen, Glee, Rodney), and real estate agent Heather (Marisol Nichols, The Gates, 24). Heather quickly softens towards Amanda, as they don't hate each other as strongly. But Carlene is in charge, and Heather isn't likely to stray too far out of line. 

GCB is good, not great. Which is why the title is apt. The problem seems to stem with Bibb. Surrounded by pros like Potts and the other main women, Bibb just doesn't have the chops to pull off being the center of the series. It's not that she's terrible; this just isn't the ideal role for her, and she doesn't feel all that authentic in it. Bibb's faults are glaringly magnified in the company of the others. She's still a pretty face, but she doesn't exhibit the depth the others do.

It's a story told before, and it isn't all that fresh just because of the Texas drawl several, but not all, of the characters exhibit. Viewers are supposed to feel sympathetic towards Amanda, no matter what her past indiscretions are, because she is in a sorry state, and has changed quite a bit while raising two teenage kids (Lauran Irion and Passions' Colton Shires) as a widow. However, as soon as she is back with her mother, Gigi seems to take over much of the parenting responsibility, and Amanda starts to slip back into her old ways. Perhaps this can be forgiven, as she is being pushed to it, but it's not a pretty quality for her.

There are men in this story. It may not be immediately obvious because they are basically eye candy, interchangeable amongst each other. Of course, this is just the "Pilot," so some of them may grow into something down the road. But despite a few distinguishing moments, such as Cricket's husband, Blake (Mark Deklin, Lone Star, Hawaii Five-0), flirting with a guy, and Sharon's Zach (Brad Beyer, Jericho, Third Watch) trying to sleep with Amanda, they aren't all that memorable. It's no wonder that their wives are unhappy, with spouses who act like this! With even the lone faithful man, Carlene's Ripp (David James Elliott, JAG, Close to Home), barely developed, these stereotypes are enough to drive any girl crazy.

What isn't clear is if any of these characters will turn out to be good Christians. There are bitches aplenty, but characters that actually stick to their moral values, well, those are less sure.

Besides all of the cheating and the backstabbing, the actual good story here trying to get out revolves around the relationship between Gigi and Amanda. Gigi doesn't seem to have approved of Amanda's high school attitude, but still loves her daughter. She eagerly opens her home, and even anonymously showers Amanda with gifts. This is a mom trying to make up for perceived failure, which may not even be her fault. Which makes Potts the absolute best part of GCB.

Following Desperate Housewives, and with a somewhat related sensibility, one would expect something a little better. GCB is not that something. GCB airs Sundays at 10 p.m. ET on ABC.

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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.

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

Glee looks for "Home"

     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.

     The episode of FOX's Glee entitled "Home" is about various characters trying to find a place where they fit in. In other words, a home. Mercedes (Amber Riley) thinks she might find one on the Cheerios squad, but learns it's hard to meet Sue's (Jane Lynch) high demands. Will (Matthew Morrison) helps a relapsed April Rhodes (Kristin Chenoweth) find her self-worth, so she can move on to an appropriate home. With Kurt's (Chris Colfer) father, Burt (Mike O'Malley), dating Finn's (Cory Monteith) mom, Carole (Romy Rosemont), all four try to figure out what kind of home they want.

     Sue is shown to be crueler in "Home" than in just about any other episode of Glee. It has already been known that she pushes her Cheerios to perfection, but now she is also telling them they must lose weight in an unhealthy manner. Kurt is by no means fat, and Mercedes just has a different body type than the typical cheerleader. The emotional distress Sue puts these kids through is appalling, and it makes her more of a villain than ever. It only slightly helps that when Sue tells Becky (Lauren Potter) she now has the same stupid obsession with weight that every other teenage girl has, it feels like Sue is helping a student fit in. But only slightly, and only that once.

     Kurt wavers here in a way that is usual for him, but Mercedes finds the strength to stand up to Sue, and in a non-confrontational way that will not get her in trouble. It's a very compelling scene as Mercedes leads the study body in "Beautiful," and one that showcases Riley in a way she is usually not. Thank goodness Glee lets "Home" focus on her, as she surely can handle much more story than she gets. Though it is odd that Sue doesn't check with Mercedes beforehand about the performance, considering how closely she watches the scales, and Mercedes doesn't appear to have lost the weight.

     Also interesting is the friendship suddenly striking up between Mercedes and Quinn (Dianna Agron). They find a way to bond over their horrible treatment at the hands of Sue. With Quinn now worrying about her baby, she is no longer a slave to Sue's unrealistic diet expectations. Perhaps, not being on the squad anymore, it is easier for Quinn to rebel. But going out of her way to offer Mercedes emotional support shows Quinn's maturation as a character, and their friendship seems a natural growth, considering the plot elements leading to it.

     Chenoweth is always fantastic, and it's a joy for her to return to Glee in "Home." It's great that she sings with the New Directions once more in "Home," the song that shares the episode's title, and her two duets with Morrison, "Fire" and "One Less Bell to Answer / A House is Not a Home," are both incredibly well performed. Their two characters have such palpable chemistry! But only as friends. Will's denial of April's sexual overtures probably makes April respect him more, as she seems to take his no answer with acceptance, and is still willing to listen to his advice. An addict needs someone who genuinely cares about them, with no ulterior motive, and April has that in Will.

     It's not surprising that April, an alcoholic, is shown relapsing in "Home." Many addicts do go back to their old habits. Even though Will helps her find the straight and narrow in a previous episode, kudos to Glee for not giving her an easy happy ever after... yet.

      Kurt is less likable in "Home" than in any other episode that springs to memory. He's not exactly out of character, but his personality flaws are magnified. For example, he shows extreme selfishness in getting Burt and Carole together just so he can snuggle up to Finn. As soon as Burt shows Finn some attention, Kurt grows jealous of that, and wants to split up the couple. He also encourages Mercedes to diet so they can fit in, which actually does stray across a line Kurt would typically not cross. At least not for popularity's sake. As such, it's hard to root for him in this episode.

     But the beautiful relationship between Carole and Burt is perfect. True, they grow awfully close after only a month of dating. But they are perfect for each other, and at their age, once they're ready to go for it, they must go all in. After all, they have families to think of, and must be sure of themselves. Both adults appear to be fully committed to each other, and it's a great example for their children, hard as it might be for the kids to adapt to change.

     Finn comes across as having the more typical reaction between him and Kurt about their parents. He is resentful, at first, because he doesn't want his father to be replaced. Burt assures him that will never happen, and when Burt shows both of Finn's parents the respect they deserve, Finn begins to warm to the idea. After all, he's always wanted a man around to bond with. Here is his chance.

Random Bits:

• It's odd that the skating rink is so full during Will and April's duet, considering that it's a skating rink. Also, April says it's losing tons of money. Really? With all of those people there? And looking at the clientele, where are the young kids?
   
• Watch for Brittany (Heather Morris) and Santana (Naya Rivera) sharing a special moment during Finn and Kurt's "A House is Not a Home." No doubt left about the two of them as a couple!
   
• If Will talks about needing to sublet so bad in this episode, how come it never comes up again after? Where does he find the money to keep his apartment?
   
• Two weird, unexplained Kurt moments: Kurt doesn't turn around with the rest of the Cheerios during "Beautiful," and he is also outside Finn's house spying near the end of the episode. Why? 
   
• Great line (funny): "How do you two not have a show on Bravo?" ~ Sue to Kurt and Mercedes
   
• Great line (emotional): "It's a chair, honey, it's not him." ~ Carole to Finn
   
• Michael Benjamin Washington, who plays the reporter in "Home," starred in the short-lived series 100 Questions, and has been in two episodes of 30 Rock. He also played the Tinman in The Wiz, the musical the song "Home" comes from.

     Check back for another season one Glee review soon!

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

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

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

Glee explores "The Rhodes Not Taken"

     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.


     "The Rhodes Not Taken" introduces recurring character April Rhodes (Kristin Chenoweth, The West Wing, Pushing Daisies). April was a senior when Will (Matthew Morrison) was a freshman in glee club, and he always admired her. After Rachel (Lea Michele) quits the New Directions, Will discovers April never officially graduated, and convinces her to take Rachel's place. April jumps at the chance, having been squatting in an empty house, imbibing heavily, and presumably sleeping with many men. April has a fantastic voice, but she's an irresponsible alcoholic, and that does not mesh well with the high school kids. Finn (Cory Monteith) sways Rachel into returning, and April heads off to try to fix her life.
     Chenoweth is amazing, of course, both musically, and with comedy chops. She is the perfect actress for Glee, so it's no wonder she's been asked back twice more since "The Rhodes Not Taken." I would never say a word against Chenoweth's personal contributions to the series, or the talent she wields with such grace and charisma. Chenoweth's presence will always be welcome, and something to look forward to, and I hope she returns to the halls of McKinley many, many more times. In fact, should Morrison ever decide to leave the series, she would make a perfect glee club director.

     That being said, the character of April is far from appropriate in a school setting. In a twisted variation on Never Been Kissed, April recaptures her high school glory by giving Kurt (Chris Colfer) alcohol and showering, and likely sleeping, with the football players, including Puck (Mark Salling). Emma (Jayma Mays) comments on the bad behavior to Will, disapprovingly telling him that April's backpack is always "clinking with empties." If Emma notices, surely other teachers do, too, and they do not share Emma's loyalty to Will. Glee sometimes goes down outlandish paths, but this is one of the most unrealistic. April would never get away with acting like this in high school, especially with the extra scrutiny that she surely faces, being an adult in a typical childish setting.

     But the inappropriateness does not end with April. I remember being shocked that a high school would allow Will to stage a production of The Rocky Horror Show in season two. Not only is Sandy (Stephen Tobolowsky) doing Cabaret, which has at least as much adult content as Rocky Horror, but he speaks of putting on Equus, including the full nudity aspect. Even if Principal Figgins (Iqbal Theba) gives his staff a very loose leash, none of this would ever happen. Figgins would likely lose his job, and so would all of the teachers that went along with the schemes. Suspending disbelief only goes so far.

     "The Rhodes Not Taken," like a handful of other episodes of Glee, is particularly sex obsessed. Besides April sleeping with students, Jacob Ben Israel (Josh Sussman) tries to trade a good review in return for seeing Rachel without her shirt on, and Finn plays on Rachel's sexual attraction to him to get her to rejoin the New Directions. This is not a complaint. At times, Glee can actually seem a little chaste, since it follows the "good" kids at McKinley High, and has an innocent, crackerjack quality to many of its musical numbers. I applaud the inclusion of an adult topic, when kept between students, as sex truly does rule many high school minds and bodies.

     Well, that, and gossip. At this point, none of the non-jocks are friends with Quinn, or very close to Finn, so it's forgivable that they take such delight in the pregnancy scandal. Luckily Glee will soon correct that, and many students will face the realities of such an occurrence, not just scoff about it.

     Unfortunately, it's really unfair of Finn to play on Rachel's attraction. Finn is many things, but his devious side is not one that comes out all that often, and hurts his character when it does. He was not raised to act like this, and even though it's in service of the glee club, it's hard to forgive Finn for hurting Rachel in this way. Rachel is willing to set aside a lot of her own interests for Finn, and if he cares about her at all, he shouldn't ask her to, let alone trick her.

     Rachel angrily tells Finn, after being hurt, "My dreams are bigger than that... They're bigger than you." I'm not convinced this is strictly true. The same issue crops up at the end of season two. Rachel is torn between singing on a Broadway stage and her desire to be with Finn. Even though her words say that her professional goals come first, her actions often make Finn more important. It will be interesting to see how she eventually chooses. If she, and fans, are lucky, she will not have to pick. Finn should allow her to be a star, and stand by her as she is.

     Rachel isn't all selfish. She claims friendship is the reason she returns to the New Directions. This is debatable, but I'm willing to give her the benefit of the doubt. She is still new to having peers care about her, but as the series goes on, Rachel will form close bonds with several of the others.

     It doesn't seem like there is a ton of music in "The Rhodes Not Taken," yet the songs that are performed are above average, if not including a couple of the best numbers in all of Glee. Interestingly, this episode also contains some actual songs used as background music, sung by their original artists, not the cast. Other shows do this all of the time, of course, but Glee rarely does so.

     The beginning of the episode has yet another rendition of "Don't Stop Believin'," with Quinn (Dianna Agron) standing in for Rachel. It sounds good, though it is cut very short by Quinn's morning sickness. As such, it's hard to tell if Quinn is up to the task. Her fellow students certainly don't think so.

     The New Directions later perform "Last Name" with April, which is good, but not great. Country music is fine for Chenoweth, but it's not exactly in the wheelhouse of the cast. They do a serviceable job, but it's quickly forgotten. This is probably because the number that follows, "Somebody to Love," is downright amazing. The power and vocal talent showcased among several of the group shakes the rafters, and is a top notch example of what the kids can do.

 
     Will and April sing "Alone" in the bowling alley, and much like "Last Name," it's good, but not particularly memorable. The pair need a sweet moment to show how they have bonded this week, and Will finally gets to sing with his former idol, something that is expected in such an episode. There's not really anything specific to complain about, but not much justifiable praise to heap, either.
     Rachel also performs part of "Cabaret," which is hard to enjoy because of Sandy's incessant interruptions. Rachel and April do "Maybe This Time" from separate rooms, and that, along with "Somebody to Love," is the highlight of the episode. Both women have very strong belting voices, and kill a song meant for a diva, which they arguably are. Chenoweth has plenty of experience on the Broadway stage, but Michele holds her own, and proves that she has a future in this field. Wonderful job!

My Weekly Random Bits:

     Jacob Ben Israel is slightly stalking Rachel throughout season one. It's too bad he's reduced to a very occasional cameo in season two. Sussman is very funny.

     I understand Puck and Matt (Dijon Talton), whom we never find very much out about, sleeping with April, but Mike Chang (Harry Shum Jr.), too? Even though Mike is on the football team, he always comes across as a very unusual type of athlete, and certainly not just a boy who would chase anything in a skirt, like his teammates. Chalk this one up to the creative team not yet knowing who Mike is, or his place in the show, yet.

     Emma tells Finn that there are far more music scholarships available than athletic ones. While much google searching has not given me exact numbers, this statement seems circumspect. Wwhen broken down to Divison I football scholarships versus number of kids competing for them, as compared to overall music scholarships at every college, the figure is definitely correct. However, many music scholarships only give a little bit of money, far from a full ride. And both represent very different levels of success for the future. Basically, what Emma says is incomplete, at best, and irresponsible, at worst.

     Glee has a love affair with Wicked. There is nothing wrong with that, as it is a fantastic show, and still relatively new, as compared to many other musicals. Both stars of the original Broadway version, Kristin Chenoweth and Idina Menzel, play recurring roles on Glee beginning in season one. Some of the most memorable Rachel and Kurt songs from the first two years are from Wicked. Rachel and Kurt even get on the Wicked stage during the New York-set season two finale. "The Rhodes Not Taken" begins that love affair, which shows no signs of abating. Is it too much to hope for a Joel Grey guest spot next year?

     Look for another season one review soon!

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

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

Article first published as TV Review: Glee - "The Rhodes Not Taken" on Blogcritics.

Glee spreads "Rumours"

     FOX's Glee episode last night, "Rumours," is heavy on Fleetwood Mac, using the drama among various members of the New Directions to connect to the troubled band's album by the same title (hence the odd spelling). It is a tightly packed hour, with lots of development among various relationships, including one long-time-coming breakup, major trust issues, and a very tough decision for Mr. Schuester (Matthew Morrison). It is also perhaps one of the more emotionally moving episodes to date, with several characters dealing with some very real, very difficult things, leaving the cheese, that often accompanies such plots on Glee, at home.

     Brittany (Heather Morris) gets things started when she debuts her new internet chat show, "Fondue For Two," in which she plans on discussing gossip and rumors floating around the school. There is some literal cheese in this scene, but used in a good way. While the elements with her cat, Lord Tubbington, are hilarious, and not at all out of character, Brittany inadvertently somewhat outing Santana (Naya Rivera) is weak. Her justification that referring to Santana playing for the other team meant switching from the Cheerios to the New Directions is dubious at best. Normally, Brittany's stupidity is convincing. This time, there is room for doubt. Perhaps she just uses it as a cover or excuse.

     The effects are far from devastating. While the school newspaper, The Muckraker, newly recommissioned by Sue (Jane Lynch), and with a mantra that involves not concerning themselves with facts, does pick up the story, it is not widely believed. Jacob Ben Israel (Josh Sussman), a reporter for the new FOX News-esque publication, and apparently, now semi-regular bad guy, does question Santana about her sexuality. When she assures him she is having wonderful heterosexual relations, the issue seems to drop. While this easily could have been a much more involved story, there likely just isn't room for it in the already very busy "Rumours."

     One person does believe it, though, and that's Brittany's boyfriend, Artie (Kevin McHale), who assumes that Brittany is fooling around on him. She does admit to her lady kisses time, using Santana's justification that since they are both girls, they are not cheating. Artie doesn't buy that reasoning, showing a wholly over reactive, but realistic for a teenager, jealous streak. He calls her "stupid," the worst insult Brittany can imagine from the man she cares for. Their relationship, which always feels a bit awkward, is over. And good riddance. Plus, this leads to what may have been the best musical performance of the night, "Never Going Back Again," with Artie leading a group of guitar strummers through the hallways of McKinley.

     Brittany goes to Santana for comfort. Obviously, they have made up off screen from the fights they have been having lately over being together. That's fine. Since there are so many characters, Glee can't possibly show every relationship development. Instead, we get the highlights, like Santana once again wooing Brittany with song. This time she sings "Songbird," a beautiful declaration of her love. Brittany agrees to go for it, as Artie has been all that has been holding her back. But when Brittany wants to go public, Santana balks, and reaffirms her "beard" arrangement with Dave Karofsky (Max Adler).

     Does this seem odd? For awhile now, Santana has been trying to get Brittany away, and once she has her, Santana refuses to go all in. Yet, they are in the harsh world of high school, where they will very likely not be accepted for who they are. And Santana is taking the prom queen race pretty personally, looking for some affirmation that she is good enough for respect in the eyes of her fellow students. An outing would kill her chances for the tiara. As such, it is reasonable, though regrettable, that Glee will put off the Sapphic pairing just a short while longer. Next season, though, should definitely be the Year of Brittana. Or Santtany. You choose.

     The other love triangle, or rather, square, at work in "Rumours" is the one involving Rachel (Lea Michele), Finn (Cory Monteith), Quinn (Dianna Agron), and Sam (Chord Overstreet), the latter having replaced Puck (Mark Salling), who was previously involved in the mess. Glee completes the shape by having Rachel ask Sam to prom, from whom she gets an immediate no. One has to wonder, is he so dismissive because he just isn't into her, or because of his secret that won't allow him to afford a formal dance? It is probably a bit of both, though he could have been less blunt about it. Come to think of it, less blunt may not have gotten through to Rachel, so perhaps he couldn't have been.

     The Muckraker stirs the pot when it alludes to a possible affair between Sam and Quinn in a motel room. Finn can be forgiven for immediately believing it, because Quinn has cheated on every boyfriend she has ever had, including him. But that also exposes some serious trust issues between the pair. Their performance of "I Don't Want to Know" hits the perfect note for the duo, as well as assuring viewers that these two will not be together much longer. With two attempts under their belt, it is time to leave this pairing behind for good.

     Quinn is much more suited to Sam, though she has a lot of apologizing to do before they could ever make another go of it. Unlike Finn, however, Sam is capable of accepting the apology, forgiving her, and trusting her again.

     Finn, of course, turns to Rachel in his hour of doubt. Which just goes to show that the two should have never broken up in the first place. They had problems, but they will work through them. They don't need to be apart to do so. They've always been Glee's inevitable couple, and despite Rachel's beautiful rendition of "Go Your Own Way," their ways will be meeting again soon, as they never really completely parted anyway.

     The only baffling part about this whole ordeal is that when Finn and Rachel spy on Sam, they see not just Quinn, but also Kurt (Chris Colfer), leave the motel room, and assume that Sam is sleeping with both of them. Sam does wear Kurt's jacket to school, but Sam has never shown any signs of bi- or homosexuality, Kurt is way too into Blaine (Darren Criss) to cheat on him, and how is Sam juggling two secret relationships? It just defies any realism to think that the secret is sexual. This should have been the major tip off that the original conclusions are wrong. It is for the audience.

     Sam's plot about his father losing his job and moving the family into a one room motel room is as heartbreaking as it is timely. With unemployment high and jobs scarce, Glee brought in a healthy dose of the headlines in an affective story that highlights a character who usually doesn't get as much screen time as he deserves. Chord Overstreet has been a wonderful addition this season, and while a bit contrived, and the cute kids are not needed, "Don't Stop" is a fitting, uplifting ending for this episode.

     Sue and Terri (Jessalyn Gilsig) launch their newest evil plan to destroy the New Directions far more effectively than earlier schemes, though with unneeded, bizarre costumes. Showing that she really does know Will best, Terri calls Will's old buddy, April Rhodes (returning guest star, who needs another regular TV gig, stat, Kristin Chenoweth). April is writing a Broadway show about herself, and she asks Will for help. He gladly gives it. April's intentions are pure; she is not part of the League of Doom. Or Legion of Evil. Or whatever it is called. And while April may know some of Terri and Sue's motivations, she is only offering Will a chance to see a wish realized. But Terri is manipulating April extremely well.

     April and Will still have chemistry, though not in the kind that makes for a long-term romance. Friendship. Their "Dreams" duet, while not justified in the plot, is another musical high point in a very strong episode. Of course, anytime that Kristen begins singing is usually a high point in any project she does.

     Working together at McKinley, Will and April manage to put together what they think is a decent show. The untitled number they perform from it does not convince, but it is only a small snippet of a much larger effort, so it's hard to tell. As such, April asks Will to accompany her when she premieres the musical, playing on his life dream of singing on stage. It is a tempting offer, made more so by Emma's (Jayma Mays) encouragement of the idea, but Will passes, not wanting to leave the New Directions when they are almost to Nationals.

     It is clear to see that this decision does not weight easily on Will, though he passes it off like it's a non-choice to the group. This is something he has always wanted, and he is putting his desires aside to be a great teacher and coach to some kids who have worked very hard for and with him. This may be the first episode that truly shows the sacrifices great educators make for their students. While it is possible Will may spend the upcoming summer with April, which would be a great thing to stick into the season finale, he will stay with the kids through their competition season. It's very touching.


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

     Glee airs Tuesday nights at 8 p.m. ET on FOX. Glee has just three episodes left this year, though it has already been renewed for a third season.

     To buy Glee DVDs, MP3s, and more, please visit amazon.com

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