SNOWPIERCER Rides Again

Article first published as TV Review: SNOWPIERCER on Seat42F.

This weekend, TNT premieres SNOWPIERCER, a series set on a train that continuously circles the Earth after an apocalyptic event has left the surface so cold that it’s uninhabitable. If the title sounds familiar, it’s because there is already a film and several graphic novels by the same name. However, this a brand-new story that, while taking elements from both page and screen, introduces all-new characters and an all-new train. The books establish there are multiple trains, so this could possibly be a separate one from the films and graphic novels, which were themselves separate, set in the same world. But it isn’t clear if that is so in this version helmed by Graeme Manson (Orphan Black).

I think it’s a good idea to not connect the series too closely to what’s come before it. Doing so would really pin the writers down within the established canon and limit what could be done with it. A television series will run longer and cover much more story than a film or a few books, so it needs freedom. Based on the design alone, which borrows elements from both predecessors, this is clearly a new train. And that gives the production department the ability to really re-think everything, keeping what works, and adding some pleasing new elements, like the Night Car and a seemingly completely fresh take on the engine.

Of course, any story needs strong characters, and SNOWPIERCER is no exception. Viewers are essentially given two individuals to follow. Though, there are plenty of strong supporting cast members, too, including Mike O’Malley (The Good Place), Alison Wright (The Americans), Steven Ogg (The Walking Dead), Sheila Vand (24: Legacy), Susan Park (Fargo), and Mickey Sumner (Frances Ha), among others.

At the tail of the train is Andre Layton (Daveed Diggs, Hamilton, Blindspotting). The only homicide detective onboard, he is pulled out of the back to investigate two murders, which happened several years apart. This throws a wrench in what some of his compatriots would like to do to fight back. But for Andre, this is gold because it gives him plenty of opportunity for reconnaissance, as he believes they need more intelligence in order to properly establish a rebellion. Unsurprisingly, Andre is a text-book hero with noble intentions and few serious faults.

Thankfully, SNOWPIERCER is not a murder mystery. That element is there, but it’s far from front-and-center. We’ve got enough other shows that do such a thing, and here it’s only being used as a tool to explore the different classes and examine how the system works. That’s a fine use of the device without letting it take over.

Speaking of the system, the face of Mr. Wilford this time around is the Head of Hospitality, Melanie Cavill (Jennifer Connelly, A Beautiful Mind). She keeps everything running smoothly, which is a very complicated job. While those that run the SNOWPIERCER in other adaptations have rarely been fully evil, Melanie is probably the furthest from that portrayed so far. She is genuinely concerned with keeping everyone from dying, and the pressure that puts on her are well-illustrated. The fact that this makes her blind to the plights of the tail humanizes her more than Andre, by giving her legitimate flaws that are understandable, though deeply regrettable, in the circumstances.

SNOWPIERCER is at its best, in any format, when it’s shining a light on our present-day circumstances. The television show does plenty of that, and in a way, it succeeds. Where it falters is the pacing is a little slow. But there’s still enough social commentary and sci-fi to please most would-be viewers, alongside the occasional impressive special effect.

SNOWPIERCER, already renewed for a second season, premieres this Sunday at 9PM ET, and airs weekly on TNT.

Glee Celebrates "A Wedding"

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

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

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

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

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

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

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

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

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

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

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

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

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

No SURVIVOR'S REMORSE From Watching This Show

Article first published as SURVIVOR'S REMORSE Review on Seat42F.

Starz’s latest series, taking over Outlander’s timeslot this week, is SURVIVOR’S REMORSE. It is the story of hugely successful basketball superstar Cam Calloway (Jesse T. Usher, Level Up) and his cousin, best friend, and manager Reggie Vaughn (RonReaco Lee, Let’s Stay Together). They are now living the big life, but cannot forget about where they came from, a rough neighborhood in which people are still struggling. How do you balance fame and fortune with helping out those who don’t have it? Can charity be misinterpreted?

It may not surprise you to learn that SURVIVOR’S REMORSE is inspired by (but not based on) the true story of LeBron James, who serves as a producer on the show. After all, Lebron’s rise to legend is memorable, and he’s still relevant on the court today. As an Ohioan, I’ve been hearing about him for quite a long time. It may, however, be unexpected to read that a major driving force and writer on the project is Mike O’Malley (Glee, Yes, Dear), a middle-aged white guy who is more known for his on-screen work than his writing talents. That could potentially change.

Whoever is making SURVIVOR’S REMORSE, though, isn’t nearly as important as how good the show is or isn’t. Happily, SURVIVOR’S REMORSE is terrific. An urban-influenced Entourage (which is not code for the skin color of the performers, which matters, but isn’t the main point), the characters are authentic and complex, and the story shows the influence of real people and events. We see how money can change a person and those around them, and we also see how different individuals choose to deal with that.

In the first episode, someone back in the old neighborhood happens upon some embarrassing material from Cam’s childhood and tries to extort the athlete. In the tapes and writings, Cam is shown being sexist and racist. This stuff shouldn’t matter because kids do dumb things and Cam never really felt the way it seems, but it does in modern society, where content can have a very long shelf life and spread rapidly. More importantly, how this guy relates to Cam and Reggie, whom remember him fondly and do want to help him out, is skewed by his pride and jealousy, so the situation is more volatile and interesting that it could be otherwise.

Cam and Reggie are best friends, but the money comes between them from time to time, too. Reggie is in charge of it and Cam wants to spend it. Whether Cam considers buying an Aston Martin with tricked out rims or paying for an aunt’s lap band surgery, there is frequently conflict between them about these things. But their strong love for each other overrides this, and at the end of the day, they are two very good guys who want to do the right thing and be smart.

They are surrounded by a colorful group that can be quite different from them, but each are interesting for their makeup. Sister M-Chuck (Erica Ash, MADtv) wants to lay women and spend money, irresponsible and along for the good time, and the guys include her willingly. Uncle Julius (Mike Epps, The Hangover) is also part of the clique, though sees less development in the pilot. Mouthy Cassie (Tichina Arnold, Everybody Hates Chris), Cam’s mom, is proud of her baby, and enjoys the lifestyle he buys her. Reggie’s wife, Missy (Teyonah Parris, Mad Men), isn’t happy being it Atlanta, no matter what their huge house looks like or how many luxuries Reggie throws at her. They are all ripe for further story.

SURVIVOR’S REMORSE is billed as a comedy, but that’s probably mostly because of its half hour running time. It is a comedy the way other pay-cable half hours shows are, in the vein of Entourage and Californication. There are laughs, but the show doesn’t seem to set out to deliver gags and one-liners. It’s more circumstance that come across as amusing, though still realistic, in their structure. It will run only six episodes in the first season, but hopefully will soon be filming more.

SURVIVOR’S REMORSE premieres this Saturday at 9 p.m. ET on Starz.

GLEE "Bash"ing Not as Easy Any More

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

Glee takes a darker turn in this week’s episode, “Bash,” when Kurt (Chris Colfer) steps in to defend a gay man being beat up. The victim runs, abandoning his savior, and Kurt is kicked until he ends up in the hospital, exposing the seedy side of New York City, where hate crimes are on the rise. Kurt’s experiences affect all of his friends, and end up being a center piece for the entire hour, which is mostly a pretty good one.

It’s weird to think of New York as a place that isn’t tolerant, given the wide variety of people who live there, but I guess bigots are everywhere, and in a huge place where it’s easy for individuals to hide, some have begun to strike out. As Kurt says, they feel their way of life slipping away and it makes them angry, so they pummel the people they feel are responsible for it. It’s not rational, and it’s a truly ugly side of human behavior, but it is something we can understand. “Bash” does a good job in communicating this, and is emotionally moving.

The episode begins with Kurt, Blaine (Darren Criss), Rachel (Lea Michele), and Sam (Chord Overstreet) participating in a vigil for someone else who has been hurt. They sing a beautiful rendition of one of my favorite Sondheim pieces (this episode has a lot of Sondheim songs), “No One Is Alone” from Into the Woods. It’s a sad occasion, one sure to be repeated when Kurt gets involved in a similar incident, making the show take an even more unexpected turn as Blaine sits by Kurt’s bedside and sings the weakest number of the week, “Not While I’m Around,” which is appropriately melancholy, but lacks the power one might hope for.

It isn’t long before Kurt’s father, Burt (Mike O’Malley), flies into town, furious at Kurt for getting involved. “Bash” provides O’Malley yet another opportunity for a moving performance. We see the pain in his eyes, reflecting his child’s physical ailments, but the pride still shines through, knowing that Kurt is a good man, no longer a kid, who stands up for what he believes in. It’s a complex situation, Burt’s range of emotions all understandable and warring to surface, but love is the one that shines through the bets, making a for a terrific father-son scene.

And, because Glee must always let its heroes triumph, “Bash” concludes with Kurt’s mid-term performance of “I’m Still Here.” It’s a wonderful moment, Kurt recovered from his ordeal (mostly), surrounded by his loved ones. He will not let others bring him down, and he will continue to do what he does best. It’s an amazing song, performed fantastically, and surely earns Kurt top marks from his smiling professor, Carmen Tibideaux (Whoopi Goldberg).

Rachel is deeply affected by what happens to Kurt. She’s getting a little too big for her britches, choosing a duet with Blaine, “Broadway Baby,” for her own mid-term. It’s a great number, but Carmen is upset with Rachel for ignoring the guidelines of the assignment. Rachel, high on tech week for Funny Girl, pretty much tells Carmen where to stick it, resulting in Rachel quitting school. When Kurt steps in to confront Rachel, trying to reason with her that she needs an education, she tells him he doesn’t take risks. Needless to say, she feels responsible for Kurt interfering in the bad situation later in the installment, and while she doesn’t apologize to Carmen, she does resolve to stick with her friends, telling Kurt that she’s sorry.

In a way, Rachel taking responsibility for Kurt’s actions only shows even more how self-involved Rachel has become. Why does she think a few words she says will cause Kurt to change his behavior? Kurt isn’t easily manipulated, and as his best friend, Rachel should know that. Kurt’s decision has nothing at all to do with the diva, and so it makes Rachel seem pathetic when she infers that it does, even as the scene in which the two make up is sweet.

Rachel’s story is the weakest in “Bash,” and not just because she’s being a jerk. She tells her boss, Sidney (Michael Lerner), that she simply has to have time off of tech week for her school work, and he objects. She insists it’s just this one time, ignoring the fact that she just took a full week off to go back to Ohio, not to mention how her waitressing job must be distracting her even if, as Carmen says, Rachel has let her studies slip. Sidney agrees to let Rachel have one break, then she promptly spends much of the rest of the episode off set, rushing to Kurt’s bedside and hanging out with her friends, without a hint of complaint from the production. I don’t know how the writers expect us to buy the lack of continuity in any of this because it just doesn’t make any sense at all.

Oh, and if anyone is wondering, Blaine does make up his project for Carmen during “Not While I’m Around,” so his spot at NYADA is safe.

The other subplot happening in “Bash” involves the reunion of Mercedes (Amber Riley) and Sam. They fall for one another over reruns of The Facts of Life, which Sam hopelessly misinterprets, and then Mercedes opens up with a nice “(You Make Me Feel Like) A Natural Woman.” However, one lousy dinner with her backup singers (Dana Davis, Franklin & Bash, and Saidah Arrika Ekulona, Righteous Kill), and Mercedes dumps Sam out of fear of what racist people will think, and how that might hurt her career. Thankfully, Kurt’s bravery makes Mercedes come to her senses in an Amber Riley-original, “Colorblind,” and the couple reconciles.

I’ve always been a fan of the off-again, on-again pair. Not all Glee viewers root for Sam and Mercedes, but they fit together unexpectedly well. They may be different people, but they also like one another a great deal, offering support and advice without judgment. Their plot in “Bash” is a little hokey, but overall, I’m still holding out hope Riley will be re-signed as a series regular and stay in New York.

“Bash” isn’t the best episode of Glee ever, but it does continue the trend of a higher quality since the Ohio setting was ditched, and aside from Blaine’s song, which did its job, the musical sequences are much more even. The Kurt stuff doesn’t quite fit in the series, but it’s well handled. I think getting away from the cheesiness inherent in the high school story lines has been good for the show, and overall, it’s doing better.

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

GLEE Lacks in the "City of Angels"

Article first published as TV Review: 'Glee' - 'City of Angels' on Blogcritics.

How can a show that so consistently hits the right notes emotionally and musically be so bad at a cohesive, believable story? This week’s installment of FOX’s Glee, “City of Angels,” delivers when it memorializes Finn (Cory Monteith) and shows how much the kids care, but falls flat on its face when the story takes wrong turn after wrong turn. Will next week’s big 100th episode be any better?

“City of Angels” finds the New Directions heading to L.A. for the Show Choir National Championship. The group sings “I Love L.A.” as they transition from the choir room to the streets of the city the show films most of their scenes in, even though it takes place in Ohio. It’s as much a tribute to the town as the glee club did when they arrived in New York, so it seems appropriate, even as viewers understand the actors actually live in L.A. so their enthusiasm, as believable as it does come across as being, is faked.

The missteps begin right away, though. Since the New Directions are three members short to compete, and the show is exhausted with cheeky jokes to bring supporting characters back after long absences, three new faces are stuck into the ensemble just for “City of Angels.” They don’t have names or lines. Never acknowledged, they are complete filler. What a shame.

Other ridiculous stuff follows. Will taps Sam (Chord Overstreet), without warning, to be the group’s leader at the last minute. Upon arriving at the hotel, Will (Matthew Morrison) is told that Sue (Jane Lynch) has messed with their reservations, although this is a throw-away occurrence that never goes anywhere and is quickly forgotten. Mercedes (Amber Riley) shows up with one of the most unrealistic (second) success stories ever. The chaperones for the trip, Burt (Mike O’Malley) and Carole (Romy Rosemont), irresponsibly take off without even informing Will they’re going. And a deaf woman, Marlee Matlin (herself), judges the singing competition.

If you think all of that is terrible, and it absolutely is, things go from bad to worse when Will and the gang bring home a second place trophy. Sue, surprisingly sympathetically, disbands the club. She lists a bunch of organizations staying intact, but declares the New Directions’ status as number two in the entire country not good enough.

Are we expected to believe that the rest of the teams she mentions won at a national level? I mean, Roz (NeNe Leakes) manages to help the Cheerios get there, but they’ve won lots of times before. Surely the rest didn’t hit that mark. That’s simply ludicrous, and while what Glee is trying to do comes across well enough, the plot–which ends with the only New York scene of the night in which Kurt (Chris Colfer) tells Rachel (Lea Michele) and Santana (Naya Rivera) the news–just doesn’t make sense.

Yes, there are some amazing things in “City of Angels.” The tribute to Finn during the club’s performance, interspersed with clips of the character, is beyond touching. Carole’s struggle with keeping her son’s memory alive and facing Finn’s friends again is moving and raw. The four seniors singing solos, ending together, is great. Even the tiny subplot about Jake (Jacob Artist) and Ryder (Blake Jenner) repairing their friendship, then recruiting Mercedes to help restore Marley’s (Melissa Benoist) faith in herself, works. But balanced with all the crap, this week’s entry doesn’t live up to its potential.

Most of the music in “City of Angels” revolves around the competition. As usual, we get one song from a rival, this time an all-girls choir doing a weird yet good “Vacation,” and two from the main antagonists, Throat Explosion. The latter does an inspired “Mr. Roboto” followed by a very good “Counting Stars,” though as we’ve come to expect, the performance lies solely in the hands of a single individual, the guest character representing everyone else, Jean-Baptiste (Skylar Astin, Pitch Perfect, Ground Floor).

Jean-Baptiste is no better or worse than past foes. He isn’t cruel about Finn, cutting the group some slack and returning a stolen plaque. But he also is a bit of a jerk with the smack talk and is full of himself, though admittedly with the talent to back up such an attitude. I wish he or the group had been introduced before “City of Angels,” but since he fills such a familiar role at this point, I guess that isn’t necessary, as Glee fans will immediately understand what he represents and his purpose for being there.

The New Directions’ numbers themselves aren’t that spectacular, making one wonder why they even got second. We’re told that “More Than a Feeling, “America,” and “I Still Haven’t Found What I’m Looking For” are Finn’s favorite songs (though that has never been established before now), and so the emotion it invokes in the characters and viewers alike lands. But to the judges, it’s puzzling how they would possibly understand or get anything from it, even with Sam’s raised drumsticks at the end.

It’s also worth noting that Carole mentions Finn didn’t have the best rhythm, which makes no sense given that he played the drums. Drummers are notorious for having great rhythm; in fact, it’s impossible to play the instrument if you lack it. So I don’t know why this slips through.

Next week’s 100th episode is sure to elicit a lot of feeling. I just hope it does a better job with the writing than this one, or else it will be just as disappointing. This sloppiness is inexcusable for a show on this level, especially when it wouldn’t take all that much effort to fix it.

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

GLEE Doesn't Fumble With "The Quarterback"

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

Before I begin this review of the Glee’s ”The Quarterback,” I would like to say it was not a perfect episode. A few of the structural elements didn’t quite lineup, some things landed a little too squarely on the nose, cheesiness leaked out occasionally, and Will (Matthew Morrison) stealing the letter jacket and then sternly telling Puck (Mark Salling) to give it back, in a private moment no less, didn’t work.

That being said, those issues were minor, and overall “The Quartback” delivered the emotional punch it needed to do, causing tears throughout, and moving anyone with a soul. It’s hard to criticize too harshly the most emotional episode of the series thus far, and so I’m mentioning those little bits up front to keep the rest of the article free from complaints, which don’t really seem appropriate or entirely deserved in this tribute episode.

Cory Monteith, the actor who played Finn Hudson on Glee died this summer, apparently of a drug overdose. “The Quarterback,” the third episode of Glee‘s fifth season, deals with the aftermath of Finn’s death. Set weeks later, this installment doesn’t reveal why Finn is dead, but instead dwells on the pain of those who loved him, a raw look at actual, authentic feelings express by the co-stars who were so fond of the man, resulting in a melding of reality rarely possible on television.

Some will complain that Glee doesn’t say how Finn died, but really, what does it matter? The writers could use this hour to get preachy about drugs, Finn was clean, so it doesn’t seem believable to saddle him with the same problem as his portrayer. And to stage a car wreck or other event would feel false and gimmicky, and so I do think the decision to skip over that, and even have a character say it doesn’t matter how he died, is an interesting, brave, and smart one.

“The Quarterback” opens with a tear-inducing performance of “Seasons of Love” from the musical Rent. Evoking themes of death and grief, most of the student characters come together, starting with those less important to Finn, and slowly moving towards his closest friends. Rachel (Lea Michelle) is absent from the number, as is Quinn (Dianna Agron), but everyone else who should be there is there.
One hopes that Agron was invited back and just was not able to make it work, schedule-wise, though some reports have said she was not asked. Quinn was an important character in Finn’s life, vital enough to get mentioned in the hour. Her absence here is regrettable.

Heather Morris, who plays Brittany, sat out, too, but Brittany never had a strong connection with Finn, so it was understandable. Plus, Morris just had a baby. The rest of the cast, though, came back, with Puck, Mercedes (Amber Riley), and even Mike Chang (Harry Shum Jr.) as part of the “Seasons of Love” number.

Rachel appears two-thirds of the way through the episode, returning to McKinley to take part in the memorial. Her “Make You Feel My Love” is powerful. Michele was dating Monteith in real life, and this shows through in the bold performance, clearly channeling her own emotional state, and honoring him in a very real way. There is only pain and grief, no resentment, and it’s such a charged sequence that one can see why it was saved for late in the episode, and why Rachel isn’t used too heavily elsewhere.

Others also get to sing to Finn. Mercedes does “I’ll Stand By You,” a number Finn himself sang in the early days of the show. Artie (Kevin McHale) and Sam (Chord Overstreet) croon “Fire and Rain.” Santana sobs through “If I Die Young.” Puck delivers “No Surrender.” I like that the older characters were used for these pieces, and while music was not the whole focus of the episode, it made sense to continue the themes of Glee in this manner.

Bigger than the songs, though, other than “Make You Feel My Love” and “Seasons of Love,” were the character moments, in which we saw sadness overtake people fans have come to care deeply about. Several sequences played out this way, and gave us not only great, memorable performances, but also a way to remember Finn.

Kurt (Chris Colfer), Burt (Mike O’Malley), and Carole (Romy Rosemont) share a private scene in which they talk about their fallen son and brother, sorting through the things in Finn’s room. Rosemont is startlingly good, even better than she’s ever been before, in making the viewer feel the loss of a child. O’Malley gets some gems in. And while I wondered if Kurt might step forward to offer comfort in that Carole can still have him for a son, I’m glad that didn’t happen, as other relationships did not need to distract from Finn. This family will go on, but not easily.

Will also broke down, with Emma (Jayma Mays) finding him bawling over Finn’s letter-man jacket. Finn and Will went through a rough patch last year, and it’s a relief they had resolved things before Monteith left the series. They were friends as well as anything else, both on screen and off, and Will gives a realistic portrayal of a teacher losing a beloved student, staying strong for those who count on him, but wallowing privately, in a pain he feels he can’t show.

Puck was Finn’s best friend, and with his anger issues, he had to be handled differently. “The Quarterback” finds him stealing Finn’s memorial tree, and wanting to take the jacket. He can’t bring himself to hurt anyone else, though, having learned how to be a good person. It takes Beiste (Dot-Marie Jones) to remind Puck that Finn helped Puck grow, but that Puck can continue to do so on his own.

The most heart-wrenching bit, though, goes to Santana’s confrontation with Sue (Jane Lynch). Longtime viewers know that Sue cares a lot more than she pretends to. Even taking down Finn’s memorial after a week wasn’t done out of spite, though that is what sets Santana off enough to storm in and chew out (and assault) Sue in a way Santana would never have dared to do as a student. Sue isn’t trying to be cruel, and while some of what Santana says rings true, Sue doesn’t deserve to be blasted apart like this.

There is a bit of redemption, though, when after Sue allows the memorial to go back up and Santana returns to apologize, Sue admits Finn didn’t know she liked him. Sue is tough because she pushes kids to succeed. Her ways are often misguided and not the best, but she really is trying, something easy to overlook during her more tyrannical exploits. The fact is, though, in Finn’s death, Sue hurts, too. Losing Finn, which she calls a senseless waste, is tough on her, and Lynch does a brilliant job of conveying that without losing her character.

In all, “The Quarterback” is a masterstroke, an installment that Glee had every right to drop the ball on, but instead soared beyond anyone’s expectations. It’s a little voyeuristic to be watching the real sadness, but it’s also cathartic, coming together in tribute. Finn may not have been the best character in the show, but his absence will be felt, and if there was any doubt of that, this installment wipes that way.

Now, we get a little time off for everything to sink in before the story resumes. After all, as Finn said, now memorialized in a plaque in the choir room, “The show must go on… all over the place… or something,” a funny and appropriate quote.

Glee will return in a few weeks on FOX.

WELCOME TO THE FAMILY Sort of Welcome

Article first published as WELCOME TO THE FAMILY Review on Seat42F.

NBC tosses another family-centered sitcom into a very crowded field this fall with WELCOME TO THE FAMILY. Valedictorian Junior Hernandez (Joseph Haro, Awkward.) is surprised to learn that his barely-graduated girlfriend, Molly Yoder (Ella Rae Peck, Gossip Girl), is pregnant. But not as surprised as their families are when they finally meet one another.

There is nothing about WELCOME TO THE FAMILY that is original or fresh. It is the melding of two groups of people who dislike each other, rubbing one another the wrong way in a comic style that will soften as the series goes on. The culture-clash and the parent-child relationships are familiar and predictable. Plot “twists” are seen coming from a mile away. And even those that aren’t (such as the big one at the end of the first episode) don’t seem surprising in the context.

Yet, I did find myself enjoying the “Pilot,” despite these glaring flaws. The reason must be the cast, which has oodles of charm, and the writing, which remains amusing, even as it is uninspired. The show goes for the guaranteed laughs, but they’re laughs all the same.

WELCOME TO THE FAMILY’s “Pilot” pretty much belongs to the patriarchs. Mike O’Malley (Glee) plays Dan Yoder, the free-wheeling, non-controlling daddy, while Ricardo Chavira (Desperate Housewives) is Chuey Hernandez, the proud papa who fulfills the role of dad his father never did. Unfortunately, the two men get off on the wrong foot before they even realize their kids are dating during a first meeting that seems far too contrived.

Dan and Chuey are the main focus of this premiere. Yes, their kids have to deal with a pregnancy, but they have to deal with one another. The series understands that it has two great male leads who can carry the story on their own, and thus gives them more than their share of the first half hour, banking on their charm and humorous competition with one another to draw viewers. This gamble may just work out for them.

Though, Ricardo and Mike aren’t the show’s only weapons. Despite having much less to do in the “Pilot,” their wives are equally talented actresses. Caroline Yoder (Mary McCormack, In Plain Sight) and Lisette Hernandez (Justina Machado, Private Practice) pretty much get along right away, of course, because the calm, rational wives have to balance their crazy husbands in these types of series, so their subplot is small and uninteresting. However, McCormack and Machado are better than what they get to show in the premiere installment.

For a series to have any legs, the episodes will have to diversify away from the central conflict, and the rest of the ensemble will be required to pull their weight, too. With these particular ladies in the major roles, I have no doubt that it will not be a problem.

I also have to give props to Peck and Haro. Peck stands out, even in such a familiar trope, and earns her own place in the cast, balancing being stupid with actually being aware of her mental limitations. And Haro is appropriately earnest as the boy who wants to do the right thing, even if it means giving up his dreams of college and career, which seem secondary to him right now, just wanting to be happy with his girl.

Both characters are pretty one-sided in the “Pilot,” but surely that will change in later episodes. That good news is, I like them already, and if they have even a little bit of depth in them, they should be OK. In time, they might even be as interesting as their TV parents.

Junior also has a younger brother named Demetrio (Fabrizio Zacharee Guido), but he is mainly set dressing in the “Pilot.”

Also, props to the hashtag #wttf as a way to reference the show. Not super novel, but edgier than I would have given ABC credit for.

In short, WELCOME TO THE FAMILY is nothing that critics will fawn over nor awards will flow to. But it’s a well-made situation comedy about two families coming together, populated with an experienced, highly talented cast. In this, it should do well enough.

WELCOME TO THE FAMILY premieres Thursday, October 3^rd, or watch the “Pilot” now on Hulu.

HBO Takes Us BEHIND THE CANDELABRA

Article first published as BEHIND THE CANDELABRA Review on Seat42F.

Grade: 95%

HBO generally does a great job with their original films, and the latest, BEHIND THE CANDELABRA, which premiered last night, is no different. The movie details the relationship between famous performer Liberace (Michael Douglas) and Scott Thorson (Matt Damon), from when they meet to Liberace’s death. Based on the book by Thorson, it may feel a little one-sided, but is well presented.

Douglas is excellent as Liberace. He lived before my time, so I don’t have personal memories of the performer, but from the little bit I know about him, Douglas seems to capture the spirit and the personality. He is a flamboyant showman, insecure and addicted to being loved. He seems to find peace for a time with Thorson, but is always hungry for more attention and affection.

Damon is equally captivating as Thorson. At first, Thorson seems stiff and wooden, but over time, as he adjusts to Liberace and his lifestyle, Damon makes the man come alive, embracing a home, something he desperately wants and lacks all his life, as well as a way of living and direction. Thorson may or may not be bisexual, as he claims at first, perhaps willing to be with whoever will accept him. He does seem to care about Liberace, but Thorson also cares about being taken care of.

BEHIND THE CANDELABRA is much more than a biopic. It is the very tragic tale of two souls who have never quite found what they are looking for, but discover a kindred spirit in one another. They are both broken and damaged, and while they try to be what the other wants, sensing the similarities, they aren’t able to live up to those lofty expectations. Both scramble for something to hold onto, but are nearly impossible to satisfy.

Their love story reflects this inability to just be happy in the moment. They both make efforts to do so, but without knowing how to love themselves, they aren’t capable of being fully supportive of one another. Liberace turns to cosmetic surgery and sexual trysts, while Thorson becomes addicted to drugs, but the pathways are more alike than diverging.

Did Thorson love Liberace, or did he just want what Liberace was offering? Did Liberace love Thorson, or was he just drawn to the youth and spirit Thorson represented? These questions aren’t explicitly answered in the two hours, but Damon and Douglas give complex performances that capture the chemistry, warring emotions, and desires within the two men.

The two leads are joined by an absolutely outstanding supporting cast which includes: Dan Aykroyd as Seymour Heller, Liberace’s protective manager; Scott Bakula as Bob Black, the mutual friend that introduces them; Debbie Reynolds as Frances, Liberace’s elderly mother; Cheyenne Jackson as Billy Leatherwood, Liberace’s dissatisfied protégé; and Paul Reiser, Boyd Holbrook, Mike O’Malley, and Tom Papa in small parts that still leave an impression. All of these others may be on the outskirts of the main tale, but deserve credit for making it seem like a whole, complete look at two lives.

Special mention goes to Rob Lowe as Dr. Jack Startz, Liberace’s plastic surgeon and the pusher of Thorson’s drugs. At this point, it should hardly be surprising that Lowe can bring to life yet another eccentric oddball that feels fresh, and yet, he pulls it off again. A lot can be attributed to the facial expressions he exudes, but Lowe definitely plays a memorable role in this film.

Costumes and production design are predictably flawless. At this point, if a studio can’t deliver a convincing period piece, they ought to be ashamed of themselves. What is extra impressive in BEHIND THE CANDELABRA, though, is not just what stands out, but the reality glimpsed behind the facade. Glitter in Liberace’s hair that seems shining on stage comes across as part of a silly costume in the real moments away from the audience. The elaborate home of Liberace tells as much about the character as Douglas’s acting does. Liberace’s hair piece becomes a very essential representation of the man himself. These touches make the piece.

Pacing wise, BEHIND THE CANDELABRA does drag a bit in the middle. I think it kind of needs to to demonstrate where the romance begins to wear thin and when the problems crop up. However, there is a point where I got a little tired and the plot seemed to become a little predictable before ramping up to the antagonizing end.

The characters and their story is as much about our society during a certain decade as it is the people that the movie is about. The gluttony of excess is a familiar tale, one featured on the big screen right now in The Great Gatsby, a quintessential American trait. And with the gay rights movement finally changing minds and laws all over, it’s interesting to look back at a time of ignorance and denial. Including Liberace’s Catholic faith and funeral also points to the discrepancies present in many institutions, then and now.

BEHIND THE CANDELABRA is worth watching for all of the reasons I’ve mentioned and more. It’s not a perfect film, with historical events told from a certain point of view, but it is one that conveys something important and meaningful, balancing the personal story with the larger themes. Check it out, as HBO is currently re-running it frequently.

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.

Justified Haunted by Ghosts

Article first published as TV Review: Justified - "Ghosts" on Blogcritics.

"Ghosts" is the fourth season finale of FX's Justified, which aired this week. Does the title refer to the ghost of Raylan's father, Arlo (Raymond J. Barry), recently deceased, whom Raylan (Timothy Olyphant) has always had a complicated relationship with? Or does it refer to the friendship between Raylan and Boyd (Walton Goggins), the men they once were, and the very different men they have become?

Justified works primarily because of the complex characters in the story. Raylan is a lawman, and only shoots the bad guys when he has a reason. His career is in stark contrast to his criminal father, and sometimes he struggles with the worry that he will turn into Arlo. This isn't helped when Boyd compares the two, something Boyd may be doing just to get under Raylan's skin, knowing him as well as he does.

But Raylan makes a huge decision in "Ghosts," and it threatens his good reputation. He sets up Nicky (Mike O'Malley) to be whacked by Sammy (Max Perlich), his rival in the Detroit mob. Raylan may not pull the trigger himself, but he is complicit in the act. It will weigh on his conscience, drawing him closer to the man Arlo was, and that's a huge sacrifice for Raylan to make.

Raylan does have a good reason for his actions. Nicky sends armed men into Winona's (Natalie Zea) home; Winona who is pregnant with Raylan's child, and whom Raylan still loves. Nicky vows to keep coming after them. Raylan does what he must to protect the mother of his child and his unborn daughter. However, in doing so, he gives away a piece of his soul.

This sort of no-win situation, the kind the tests a hero's mettle, is what makes defines a man. Raylan may be a flawed hero, but he is a hero. He rarely acts out of any selfish impulse. Even the foolish choices he makes are to protect others. He's stubborn and won't quit, even when suspended, but that just proves his dedication to justice and serving others. It's a complicated situation when a good guy disobeys the rules for the right reasons.

Obviously, murder is the greatest extension of that, and it's a good thing that no one knows about Raylan's actions. It may still come out eventually; Justified is the type of series to bring back something years later, when it's least expected. If this comes to light, it will ruin Raylan's career. It doesn't matter that Nicky deserves to die, or that if Nikky doesn't die, Winona very well could. It's the fact that Raylan took matters into his own hands and allowed the killing to take place that is unacceptable to the government.

This will jeopardize his chances for promotion, which Raylan is up for as Art (Nick Searcy) considers retirement, even while under suspension. This proves just how good Raylan's track record is. If the breach stays hidden long enough, Raylan may even get Art's job, at least for awhile. Though I hate to lose Art, it would be interesting to see Raylan in charge, even if Tim (Jacob Pitts) or Rachel (Erica Tazel) may have the better disposition for it.

One wonders how the Detroit men will hold this wrongdoing over Raylan's head. Wynn Duffy (Jere Burns) is their man in Kentucky now, hiring Boyd to distribute heroin for them. Wynn may or may not know what Raylan does, but if he finds out, he will definitely use it to curry favor with Raylan. Will Raylan have to kill others to protect his secret, or will that be a line he can't cross, willing only to do bad to protect others, not himself?

Either way, as Raylan sips a beer and looks at his own grave stone, next to his father's recently buried body and marker, there is a lot going on, both for Raylan the character, and for the viewer. Olyphant plays such a sympathetic, layered man, you can see the various emotions roiling behind his eyes. And having witnessed everything Raylan has done, there's a lot for the fans to think about in that moment, too.

On Boyd's side of the story, things go as far south as they can in "Ghosts." He is at the brink of happiness with Ava (Joelle Carter), making money, keeping his enemies in check, and then world is ripped out from under him. He is betrayed by those he thinks he can control, and while Boyd escapes harm, Ava is put in jail for murder.

Even though Boyd is a scoundrel, the opposite of Raylan, fans still root for him. He is charming, and he has his own code, even if the moral compass is skewed compared to most. Boyd is more than just a troublemaker, trying to better his situation, and he really does love Ava. These things make him relatable on some level.

Sadly, Boyd's decisions mean that he will never have a happy ending. Sure, one can make all the right choices and still not get what they want. However, Raylan is the main character of Justified, and he is sworn to prevent some of the things that Boyd engages in. Either Boyd will eventually have to change his ways, or Raylan will have to stop him.

That day will be a sad one. In "Ghosts," Raylan forces Boyd to take him to Nicky. It's a unwilling partnership, but the interaction between the two is always magical. They have a long history, and even when they disapprove of one another, there is still a connection there that cannot be broken. I think Raylan arresting or killing Boyd would be the hardest thing Raylan would ever have to do. Hopefully, Boyd will choose to team up with Raylan instead.

Boyd certainly doesn't take the right path in this finale. Despite Ava being locked away, and getting her out will definitely be Boyd's main focus next year, he agrees to work with Wynn, a new criminal enterprise for Boyd. He clearly doesn't learn his lesson, since doing wrong is what gets Ava in trouble in the first place.

Then again, with the people Boyd previously blackmailed now having something to hang over his head, getting the better of Boyd. It could serve him well to be backed up by a partnership with the Detroit mob, giving him the clout he needs to be back in the local game, after losing his self-earned cred in this installment.

The fourth year has been a typically stellar one for Justified. It may not have given us a new batch of guest stars to be impressed by, as previous seasons have done, but it made excellent use of its talented recurring cast, and added a few new, wonderful players to that lineup, such as Bob (Patton Oswalt). The mystery arc is a departure from previous outings, keeping the show changing and interesting, and the character development is, as usual, awesome.

Justified will return next year for a fifth season on FX.

Glee, Actually not that great an episode

Doing five separate vignettes that come together at the end, reminiscent of Love, Actually, is a solid idea for an hour-long television Christmas episode. Sadly, Glee's attempt, "Glee, Actually," falls short, not just because of the lack of a serious romance (other than for our favorite gays, on which we don't get any real movement anyway), but because things don't tie together in the end. Not that "Glee, Actually," is a bad episode; it just doesn't fulfill the mission statement given for the hour.

The first section goes to Artie (Kevin McHale). In what has pretty much become a Christmas tradition, Artie wishes he could walk. I don't know why this comes up mainly around the holidays, but once more, it does. So what we get is a dream sequence in which Artie has always had the use of his legs.

I could spend much time picking apart the plot in this part of episode, especially concerning the status of certain other characters, but there's no point, because the entire thing happens in Artie's head. This isn't what life would really been like had Artie not been in a wheelchair; it's what Artie imagines it might be like. Of course, he is more important in his fictional version of the world than he is in reality, and his friends stay close by, instead of moving on with their lives.

Stylistically, it works pretty well. A segment called "Feliz Navidad" is a fun, if not overly exciting, piece, and the black and white It's A Wonderful Life play looks good. Artie is still a somewhat annoying character, but the echoes of previous seasons, like Tina (Jenna Ushkowitz) stuttering again and Terri (Jessalyn Gilsig) popping in, make it worth it. I love, love, love that Rory (Damian McGinty) is Artie's guide, and wish that he would return to the series. Overall, I would rank the quality of this sequence right in the middle of the five presented.

Moving on, Burt (Mike O'Malley) pays a surprise visit to Kurt (Chris Colfer) in New York. At first, it just seems like a nice gift for his son, but Burt's real motives are soon revealed; he has cancer. He thinks it's been caught early, and he'll be fine, but given the sappiness of the plot, and Burt's past medical ailments, "Glee, Actually" kind of feels like a goodbye for the character. Not that he dies during the hour; that would ruin Christmas. But it would not be surprising if this plays out tragically in the near future.

Not only does Burt bring along his fun family traditions, but he also invites Blaine (Darren Criss) to join him. It seems that Burt, like most Glee fans, know that the two boys are meant to be together. He happily watches while they ice skate and sing "White Christmas," providing a sweet winter portrait, and hope for the kids' future after he's gone. One gets the impression that Burt's passing, and Blaine caring for him in the end, might actually be what pulls Kurt pack into Blaine's arms. Though this remains to be seen.

Next come the two weakest parts of the episode. Don't get me wrong; I am glad that Jake (Jacob Artist) and Noah (Mark Salling) have found real brothers in each other, even if the elder Puck looks every bit the actor's 30 years, spoiling the close-in-age factor. The Breaksticks scene with their mothers (Hung's Gina Hecht and Aisha Tyler from Archer, Friends, 24, etc.) is satisfying, and the siblings perform "Oh Chanukah" from my favorite band, the Barenaked Ladies.  Yet, the entire thing still leaves a little something to be desired, possibly because Salling's acting is only so-so, more glaringly obvious now that he is placed side by side with Artist.

Then we get Sam (Chord Overstreet) and Brittany (Heather Morris) getting married because they think the world is going to end, per the Mayan calendar. Not only are we supposed to believe that these bimbos are already this much in love, but that they both fully think life is about to cease as we know it. And Sam chooses to celebrate that end with "Jingle Bell Rock." Very cheesy.

Thankfully, Beiste (Dot-Marie Jones) intervenes and saves them from a legally binding union, thought not from days of teenage sex that they clearly have. This point actually isn't too bad, since Sam is a former stripper, and Brittany is named the school slut early in the show's run. But their arc stretches believability far too much, and should we suspend reality enough to buy them together, the two will still never be able to function in society, whether living in the TV universe or not. It just goes beyond the realm of what most people can accept. Things between the couple need to end right away, and Brittany can go back to being protected by a loving Santana (Naya Rivera). Until then, I'm glad that Beiste has her back.

Finally, there's Sue (Jane Lynch) playing Santa Claus once more, this time to Marley (Melissa Benoist) and her mother, Millie (Trisha Rae Stahl). The Roses are quickly becoming favorite characters, and deserving of any help that they are given. Marley's sweet rendition of "The First Noël" for her mother is emotionally moving, for viewers and for the cheerleading coach.
It may be expected for Sue's heart to melt in late December, as this is far from a first-time occurrence, but it's nice to see Marley and Millie be on the receiving end this year, benefiting from the thaw. Predictable story, yes, but done well enough to avoid feeling old and done to death.

The ending, with Marley getting some of her glee club friends to perform "Have Yourself a Merry Little Christmas" for Sue, is mixed with characters at Breadsticks and in New York, which is supposed to be the unifying piece of "Glee, Actually." Aside from the weirdness of Blaine singing at the dinner table while being ignored by Kurt and Burt, it comes across pretty well as a stand-alone number. It just doesn't necessarily feel like a culmination of the different stories, but instead, a fairly standard number that could have been placed anywhere within the hour. Or in any other episode, for that matter.

The good news is, if "Glee, Actually" is as low as season four of Glee is destined to fall, this could still be the best season of the show since the first one. The bad news is, the weaknesses of this episode are also parts of larger arcs, which are taking this year's stories in unwelcome directions.

Should you decide to buy the soundtrack for this episode, Glee: The Music, The Christmas Album Volume 3, you will get four additional tracks not included in the television program. I have no idea what they are for, if there is story behind them, or if they are just randomly recorded.

Glee will return in 2013, airing Thursdays 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 - "Glee, Actually" on Blogcritics.

Wave "Goodbye" to Glee!

Glee says "Goodbye" to its graduating seniors this week in an hour packed with tears and nostalgia. Right off the bat, Will (Matthew Morrison) approaches the choir room and hears the original members of the glee club singing the very first song they ever sang in the series, "Sit Down, You're Rockin' the Boat." Images of them doing it horribly three years ago are mixed with this new, much improved performance. With this, "Goodbye" spells out its mission statement.

For three years, things have remained relatively predictable at McKinley High. The kids grew the New Directions into a sizable, respected group. Each year they did better in competition, until finally winning Nationals just before eight of their number graduate. It's an uplifting, satisfying arc. Now it's over, and the future is uncertain. Consider this boat rocked!

Where will Glee go from here? Ryan Murphy has said that all of the original cast members will return for season four, though not all as series regulars. And while it has been leaked that Rachel (Lea Michele), Finn (Cory Monteith), and Kurt (Chris Colfer) are all heading for New York, and will likely remain main characters, the rest of the stories are a mystery! So it is with great anticipation that one looks forward to next season, and what it might bring.

The issue with the characters staying behind is that they just don't have the sheer power the graduating seniors do. All of the powerhouse vocalists, save Blaine (Darren Criss), graduated. Sam (Chord Overstreet) could be promoted to a series regular, and Artie (Kevin McHale) and Tina (Jenna Ushkowitz) might get more screen time, but none of them have the talent that, or are as interesting, as Rachel, Santana (Naya Rivera), or Mercedes (Amber Riley). With that in mind, if Nationals will even be on the line, it's time to bring in some more new students. Perhaps Unique (Alex Newell)?

If there's any doubt about the point I make in the previous paragraph, look at the music the two groups sing in "Goodbye" as evidence. The seniors' "You Get What Your Give" is far, far better than the underclassmen's "In My Life." Maybe the younger kids just need time to grow, but they are certainly not at the level of their peers yet. There will need to be a lot of maturation in season four, and members finally coming into their own, if the New Directions are going to go anywhere. Anyone else smell a rebuilding year?

Or, Glee could just skip an entire year and catch up with everyone then, with even more of the characters graduated. It may cheat some of them out of the goodbye given to the eight this year, but those characters aren't as important, and it would make for an interesting series, pulled in many directions. This also would allow time for some plot twists from the finale to sort themselves out.

Before straying too far into the future, it would be nice to take a look back. Burt (Mike O'Malley) gives Kurt a startling graduation gift: a performance of "Single Ladies (Put a Ring On It)," with Tina and Brittany (Heather Morris) serving as back up dancers. This calls to mind one of the earliest episodes of the series, where Burt catches Kurt performing the number in their basement with the two ladies. This number is a testament to how far father and son have come, and how much they care about each other. Showing scenes from that season one episode interpersed is really moving, too.

At the moment, though, Kurt isn't slated to leave for New York. He, Finn, and Rachel gather in the choir room to open the letters from their chosen schools, and only Rachel is accepted. This is in contrast to what Glee has been touted to be next season, and one wonders how the characters will get from here to there. Still, even with the future all but assured, it's heartbreaking to see them get rejected.

Finn has another purpose to fulfill. In "Goodbye," he brings up his father again, and mentions wanting to do something to honor his memory. Combined with the college rejection, this path points to Finn joining the army. Is this really the right journey for him? While personally rewarding, perhaps, it's hard to see Finn as an army guy. Where is Glee going with this?

Finn says that part of the reason he chooses the army is so that Rachel can't follow him. As "Goodbye" comes to an end, Finn cancels the wedding and sends Rachel packing to New York. He refuses to not let her follow her dreams, and thinks he is only holding her back. She is in tears, upset at the choice being taken away from her, but goes, bolstered by all of her friends at the train station.

Is it right for Finn to make this decision without consulting Rachel? Yes, he has her best interests in mind, but he's acting like a parent, not a partner. It seems a little chauvinistic. Not to mention, does he really expect Rachel to be happy by his breaking it off with her? She's in love with him!

The scene is emotional, but falls flat when considered against the rest of the story, even keeping in mind that Rachel worrying about sacrificing her dream for Finn, something she doesn't want to do, is a plot point in the season two finale. Now, here she is willing to make that adjustment, and he refuses to let her. This is forced drama.

Luckily, instead of ending "Goodbye" with this, the episode follows Rachel to New York City as she sings "Roots Before Branches." At least this feels satisfying for her, as she finally makes it to the big city she always dreams of. Rachel is where she belongs, of that, there is no doubt!

The girl most at risk of losing her dreams is Santana. With girlfriend Brittany having flunked senior year, and jealous of her friends, such as Mike Chang (Harry Shum Jr.) and Mercedes, who are starting performing careers, Santana considers abandoning her college plans. Her mother (Gloria Estefan) tries to talk her out of it, but in the end, gives Santana a large sum of money and leaves the decision up to her.

Yes, Santana is an adult now, and her mom doesn't want to risk a chasm between them, as Santana is still hurting from her abuela's disapproval. But that doesn't mean that mom shouldn't give daughter some sound advice. This is a college scholarship she is passing up! Free money to get a degree! Degrees may not mean what they used to, but it's hard to argue against taking one when you don't have to shell out the ridiculous price they now cost. From almost any perspective, it would be a huge mistake for Santana to give this chance up, no matter what her dreams her. Her mother is right; New York will still be there in four years.

There is no question that Quinn (Dianna Agron) is heading off to college. She finally has her life back on track. Even as wildly unrealistic as her chosen school seems, given her suffering grades at certain points of her high school career, it's nice to see her achieve this accomplishment. Her goodbye scene with Sue (Jane Lynch) is a touching farewell, and easily one of the best things about "Goodbye."

It's a little surprising that Quinn buys a train pass for Rachel, so that they can visit each other. Even with their "friendship," developed late in the Glee run, the pair do not seem close. Is Rachel really someone Quinn will keep in regular contact with?

Even more weird is Quinn's rekindled relationship with Puck (Mark Salling). Perhaps she is just trying to boost his confidence so that he will pass his test and graduate, which he does. But it seems like she wants to get back together. Would he accompany her to the East Coast? What would he do there? How would a guy like Puck figure into Quinn's bright future? These questions could be ignored if a real, deep romance had blossomed between them, but there just isn't evidence of that, no matter what their past has been.

The music in "Goodbye" is just as uneven as the stories. Will's "Forever Young" is a good, not great, adieu to the seniors. Kurt's "I'll Remember" is also good, but not as terrific as other, much more memorable performances he has given over the past three seasons. But Puck and Finn leading the senior class in "Glory Days," no matter how hokey the scene itself is, comes across as pure awesome.

Some great moments balance out this mixed bag musical lineup. Will confesses to Finn about the pot in his locker from the "Pilot," to which Finn responds that Will is cooler than Finn gives him credit for being. James Lipton (himself) watches Finn audition. Sue hugs Will during the graduation. Bieste (Dot-Marie Jones) helps Puck study. Brittany says she intends to be a two-term senior class president. These things help where the melody lacks.

One final bit of plot sneaks into "Goodbye." Roz Washington (NeNe Leakes) enlists Sue's help in taking down Figgins (Iqbal Theba). While amusing, Figgins is superfluous, as I've said before, back when Sue is briefly principal in season two. It could save Glee some time and money to ditch him and put one of the better developed characters in his place. But who?

Roz would suck as principal, and Leakes has a new series next year, anyway, so the character might not even stick around. Sue fails miserably as principal her first go-round, but she's grown a lot this year. With the baby on the way, and actual affection for Will and the New Directions, she could end up being a great leader, if she doesn't let the power go to her head. Bieste might also be a candidate. Though she hasn't been at the school very long, it would be nice to beef up her part any way Glee can. Will is too busy to tackle the responsibility.

Emma (Jayma Mays) might just be the best bet. She is fair, but firm. She isn't always great at managing people, but like Sue, she has shown a lot of maturation. Plus, giving her the position would open up a story for Sue to accuse her of favoritism, and give Emma some good episodes battling wits with Sue, something we haven't seen. So my vote is for Emma!

Glee's "Goodbye" may not rank among the best episodes of the series, but it is pretty good. Even if the music and plot is, at times, weak, the emotional heartstrings are played by a virtuoso. I look forward very much to season four next fall, and the changes it will bring!

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