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.

"What the Worlds Needs Now" is GLEE Like This

Article first published as TV Review: 'Glee' - "What the Worlds Needs Now" on Blogcritics.


The final season of FOX’s Glee gets back on track this week with “What the World Needs Now.” In a Burt Bacharach-fueled episode, which contains more songs than recent hours, Mercedes (Amber Riley) pushes Rachel (Lea Michele) to revive her Broadway dreams while Brittany (Heather Morris) attempts to repair things between Santana (Naya Rivera) and her abuela, Alma (Ivonne Coll). Neither are entirely successful, at least not yet, but both end happily enough.

First, the music. In the last couple of weeks, the music in Glee has been sparse and mediocre. Bacharach is very successful for a reason, and his songs fit very well in the show’s style. From the opening Rachel / Sam (Chord Overstreet) duet “I’ll Never Fall in Love Again” to Brittany’s dreamy “Wishin’ and Hopin'” to Rachel’s triumphant city-spanning “Promises, Promises” audition to the big ensemble closer “What the World Needs Now,” each number lands strong. It doesn’t always make sense as to who is singing them or in keeping with what the situation is (I’m looking at Santana’s soulful “Alfie” for her abuela), but they numbers enjoyable enough and beautifully staged to see past that. Other numbers in this episode include “Baby It’s You,” “Arthur’s Theme (Best That You Can Do)”, and “(They Long to Be) Close to You.”

Second, the story. Brittany trying to make Alma accept Santana for who she is is a sweet, timely narrative. Santana wants her family around her, and hates the estrangement of the past three years. But Alma has old-world values and, even after seeing the loving couple together, cannot bring herself to shift her stance. I think of my own grandmother, sweet and kind as anyone, but unwaveringly against gay marriage to the point that it makes her angry, an emotion I’ve rarely seen from her, and it’s sad. And I’m not even a homosexual.

Society’s attitude overall has shifted, but not nearly as much for the elder population.  There’s a certain age gap, a generation that cannot make the switch into the modern world. Homophobia is this era’s racism, and it’s hard to see otherwise accepting people turn cold against an idea completely alien to them.

That “What the World Needs Now” does not sway Alma is realistic. Most television shows would go with the easy shift, and Glee has changed hearts and minds on many occasions. Who knows, with seven episodes to go in the series, perhaps Alma will be brought back in a softer manner. I hope not, though. It’s a more powerful and believable story to highlight what the schism does to families without resolving it, and if it hits home for a few, it will be well worth it.

I very much like that Mercedes has come back to raise Rachel’s game. The two don’t always get along, but they are stronger together. When they both achieve success in season five, it’s heart-warming. I have no idea how Glee justifies Mercedes having so much time off to come back and encourage Rachel, but I’m glad she does. Rachel has a destiny greater than McKinley, and while reviving the glee club at the high school is a great way for her to spend her recovery time, it’s not her end game.

It won’t be easy for Rachel to break back into show biz, though. Despite that awesome audition, I would be very disappointed if Rachel wins another plumb role so easily. The casting director has to have serious doubts about her reliability given her past track record and the mistakes Rachel has made. If Rachel is given the chance to sell herself and express her regret, that would be OK, and she should be able to work her way back up. But a second bout of instant success cannot happen.

Also, should Rachel be offered a part, she cannot abandon the New Directions to take it right away. Part of showing she’s changed is honoring her commitments, and she recently promises a student she won’t go before their journey is done. She has to finish out the year before she can return to New York City. Otherwise, nothing has changed and she’s likely to make the same bad choices over.
Third, shippers. I’m not a Samchel fan; I am all about Samcedes. But we’ll see how that plays out. From “What the World Needs Now,” it looks like it could go either way.

Fourth, parents. Using Ken Jeong (Community) and Jennifer Coolidge (2 Broke Girls) as Brittany’s parents is hilarious. They’re goofy and slightly offense, sort of like Brittany herself. It works extremely well.

My only real complaint about this episode is that Emma (Jayma Mays) is absent from the engagement party in her own house. Since The Millers, the sitcom Mays is a main character in, has been canceled, though, hopefully she’s available to appear in later episodes of the season.

Seven episodes left. If Glee can deliver more stories as moving as “What the World Needs Now,” it will be in great shape. Glee airs Fridays at 9 p.m. ET on FOX.

"Jagged Little" GLEE

Article first published as TV Review: 'Glee' - 'Jagged Little Tapestry' on Blogcritics.

This week’s episode of FOX’s Glee, “Jagged Little Tapestry,” is about unexpected pairings. There’s Rachel (Lea Michelle) and Kurt (Chris Colfer), clashing in the way they’d like to run the new New Directions. There’s Becky’s (Lauren Potter) new boyfriend, whom everyone is suspicious of. And, of course, there’s the music, which mashes up Carole King and Alanis Morissette. None of these seem like a particularly good idea.

I very much enjoy Carole King songs, and I very much enjoy Alanis Morisette songs. However, the mashups in “Jagged Little Tapestry” are not very good. The kids sing “Hand in My Pocket” interspersed with “I Feel the Earth Move,” “Will You Love Me Tomorrow” intermingled with “Head Over Feet,” and “You Learn” intermixed with “You’ve Got a Friend.” All six of these tunes are excellent on their own, but the pairings are disjointed both melodically and in the messages of the songs. Every switch back and forth is jarring, and it just doesn’t work as it should.

The best of these three is the middle one I mentioned because it is performed as a very charged duet between newbies Jane (Samantha Ware) and Mason (Billy Lewis Jr.). Mason and his sister, Madison (Laura Dreyfuss), seem far too close, so I wonder if this is the beginning of something between Jane and Mason which will cause serious jealousy from Madison. The sparks are already flying in one manner here, and as creepy as the Mason / Madison thing is, the writers could have some fun with a love triangle involving siblings.

Plus, putting the Blaine / Kurt flashes into this song strike a very strong emotional chord. Well done.

Also in this episode are “It’s Too Late,” a sad lament between a separate Blaine (Darren Criss) and Kurt, and “So Far Away,” in which Tina (Jenna Ushkowitz) and Quinn (Dianna Agron) try to help Becky impress her boyfriend. The latter is cut short when Becky runs from the room. These King songs are emotional and well used, so no complaints there. I only wish the rest of King’s songs were better sandwiched into the episode.

The plot where Becky brings her new boyfriend, Darrell (Justin Prentice, Terri), home to her unseen parents, but everyone from Sue (Jane Lynch) to Santana (Naya Rivera) to Coach Roz (NeNe Leakes) reacts poorly, is an interesting one. You don’t often see someone with Down syndrome dating someone without it or a similar condition. Sue, in particular, wants to know if Darrell is messing with Becky because Sue is extremely protective of her former student. But Darrell does come across as genuine in “Jagged Little Tapestry,” and even if it feels wrong to many viewers (admittedly including myself), I like that Glee challenges our prejudices and makes us rethink them. Because Darrell is authentic, which I think we must assume for now, the issue is in the person who is uncomfortable, not the couple themselves.

Less satisfying is learning that Coach Bieste (Dot-Marie Jones) is going to have a sex change. It’s not that I don’t think it’s a compelling story or that it doesn’t fit in the show; it absolutely is and does. The problem is that it is Bieste herself that the plot surrounds. We see Bieste searching for love and being comfortable with herself on numerous occasions in the past. Sure, some people can hide their true feelings, but she doesn’t strike me as one to do so, especially given some of the raw moments we witness of her. To have her, of all people, go through this feels inconsistent for the character. Which is a shame, because I am excited to see Jones as a full-time cast member, and I just wish she were given material more in line with who she’s been since her introduction.

The good Sue is back in her support of Bieste. Sue is usually shown to be cruel in order to inspire and push people to do their best. The exception is when she eliminates arts education from the school, but maybe this can be justified in some twisted way because she thinks such pursuits are holding students back. I don’t quite buy it, but I’m glad to see Sue hasn’t been turned into a cartoon villain in the final season.

Another weakness in “Jagged Little Tapestry” is how the Kurt / Rachel conflict is handled. Knowing the two of them, obviously they will be at odds, and obviously they will work through them. Perhaps because of everything else going on in the hour, though, this arc is zoomed through, skipping steps between break and heal. This either needs to be a bigger focus or spread out over multiple episodes. Maybe it will be, but they seem to come back together far too easily at the end.

Luckily, to balance out the flaws, the hour contains some of the best Santana / Brittany (Heather Morris) stuff ever. Unlike the rest of the rocky pairings, their union is solid, and it finally blooms into an engagement. (I do hope it is mentioned this season that Ohio, where the show takes place and where I live, is one of the handful of ridiculous states that still outlaw gay marriage.) We are given a really intimate post-coitus scene that is a little more adult than most of Glee has been, but earned for these two. More importantly, we see them express their feelings for one another in a very authentic way, for them. I’m so happy this couple is making it and set for a happy ending.

Kurt’s jealousy here is completely natural, and while he mishandles it, he does apologize to Brittany. I wish we’d see how Santana takes the sorry, especially given how she (deservedly) rips Kurt a new one, but I’ll settle for what’s in the episode, glad Kurt is chastised, even though his pain is understandable.

“Jagged Little Tapestry” is a middling episode. Great music not well used, and two pretty good plots alongside a couple lesser ones keep it from reaching its potential, but also keep it from being a disaster. Overall, I’m pretty happy with Glee‘s final season. Hopefully, that will hold.

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

"Homecoming" For GLEE

Article first published as TV Review: 'Glee' - 'Loser Like Me' and 'Homecoming' on Blogcritics.

FOX’s Glee began its final season with two episodes this past Friday. In the first, “Loser Like Me,” Rachel (Lea Michele) sees her Hollywood dreams crash and burn. Returning to Lima, Ohio, she realizes the program that inspired her is no more as well, so she petitions the superintendent to revive the arts at McKinley. He agrees – if she will run the show choir. The story continues in the second hour, “Homecoming,” in which many of Rachel’s fellow alumni return to help her recruit.

I’ve been pretty critical of Glee in recent seasons as the quality of the show, never consistent, noticeably declined. The bright spot was whenever the series moved to New York, with the Ohio plots being much lamer. Unfortunately, this sixth (and final) season pretty much eliminates New York altogether, as there is no one left in the Big Apple to follow.

That being said, something Glee usually nails is emotional heft, and season six is already showing greater willingness to use this hammer. The story may not be entirely believable (Sue’s antics so ridiculously misrepresent what would be allowed in education that I want to scream) nor make total sense (why did Chord Overstreet’s Sam decide to move home and become the assistant football coach?), but “Loser Like Me” succeeds in making me feel something for the characters again. Many of them, especially Rachel and Kurt (Chris Colfer), are at a crossroads in their lives. Things haven’t exactly turned out as they’d hoped, something many young adults face, and they may need to readjust career goals and priorities.

Adding to that is this desperate crusade in the final war against Sue Sylvester (Jane Lynch) to save arts education. The New Directions did something very special for all of the core characters, and Rachel, Kurt, et al. want to make sure that tradition continues. This is an idea many fans of the show can get behind, and it makes it all the more special when old friends, including Puck (Mark Salling), Mercedes (Amber Riley), Artie (Kevin McHale), Quinn (Dianna Agron), Brittany (Heather Morris), Santana (Naya Rivera), and Tina (Jenna Ushkowitz), come together to help one another.

A quick note on casting. I’m glad to see Riley back to full-time status, and the promotion of Dot-Marie Jones’ Coach Beiste makes sense, as well as being very satisfying. But why is McHale sticking around, given that he should be the only one left in NYC? And it’s with great regret to note that Rivera has been downgraded to guest star, though she’s expected to appear in several episodes.

The final season will not only see people come together in opposition to Sue, but it will also test the bounds of new relationships. Kurt and Rachel are heading up the New Directions, and two of their loves ones are now coaching their own glee clubs, Will (Matthew Morrison) having been hired for Vocal Adrenaline and Blaine (Darren Criss) returning to his Warblers. This will provide needed drama, which already begins in “Homecoming” when one of Blaine’s students switches to McKinley. But Kurt and Blaine are destined to repair their relationship and Will clearly isn’t happy with his less chummy group, so those are all just obstacles to overcome, rather than signaling an unhappy ending.

Speaking of Kurt and Blaine, their breakup, shown in flashback in “Loser Like Me,” is incredibly sad. I get why it happens, and I think it’s one of the better fleshed out developments in Glee recently, but it’s still incredibly hard to see this “perfect” couple fall apart. I enjoy Karofsky (Max Adler) getting into the triangle, but I have faith the series will bring Klaine back together in the end, which is how it should be.

The evolution of homosexuality in Glee‘s six short years on the air has been astounding. In the beginning, Kurt is bullied for being gay, and Karofsky certainly can’t bring himself to admit who he has feelings for. In “Loser Like Me,” we are introduced to Spencer Porter (Marshall Williams, How to Build a Better Boy), who is “post-gay,” meaning he doesn’t fit into any of the stereotypes gay boys usually fit into, and hardly anyone has a problem with his sexuality. I don’t think the world has changed quite that dramatically in six years, but it certainly has moved majorly in that direction, thanks in large part to shows like Glee and Modern Family, which gets a name drop this week. I hope those involved in Glee are proud of their societal contribution in this arena, and it’s awesome that the show is able to realistically include a character like Spencer before they go off the air.

Joining Spencer (who is not yet in glee club, but certainly will be) in the fresh batch of newbies are: chubby transfer student Roderick (Noah Guthrie, Dancing With the Stars); discrimination-busting Jane (Samantha Marie Ware); and Flowers in the Attic-esque siblings Mason (Billy Lewis Jr.) and Madison (Laura Dreyfuss). Virtually all these performers are unknown, not a rarity for Glee, but they seem like an interesting group, and even if the latter are only comic relief, they should make for some worthy, albeit brief, narratives in the final season. Plus, they can all sing quite well.

I am a bit sad “Loser Like Me” and “Homecoming” introduce a brand new batch of kids without including any of the most recent students like Marley and Unique. I mean, had Sue not transferred them to other schools, they probably would have kept fighting her, and thus Rachel would not have a clean slate. But I like those guys a lot, despite the horrible stories they are often given, and I’m sad they don’t appear to be returning. Kitty (Becca Tobin) is still around, but it doesn’t look like she’s re-joining the choir. It’s not like they’re the first people Glee regrettably diss-ed though; I still miss Zizes.

While I mainly want to talk story this week, I would be remiss if I didn’t touch on the music in “Loser Like Me” and “Homecoming.” “Suddenly Seymour” is a favorite song of mine, and Glee presents it beautifully. I’m not as big a fan of “Let It Go,” but it’s hard to complain about Ms. Berry’s fantastic rendition of it, and I love the mother/daughter angle because the woman that made the tune famous, Idina Menzel, plays Rachel’s mother on the show. “Take On Me” is telegraphed well before it shows up, but that doesn’t negate it’s effect when it finally does. “Uninvited” is nice, “Viva Voce” is cool, and “Tightrope” is spectacular. “Home” works well for the ending of the two-hour episode.

I was less thrilled with “Mustang Sally,” “Problem,”Dance the Night Away,” and “Sing,” but that speaks as much to the song choices as the performances of them. Though Glee has turned me around on icky songs before by finding a new angle, so the fact that these fail to wow is too bad.

Overall, I am reasonably satisfied with Glee‘s return. These aren’t the best two hours of the series, but they are mostly enjoyable, and they appropriately add serious emotion in the beginning-of-the-end plots introduced. It seems like the show is setting up the ending these characters deserve, and since creator Ryan Murphy has a tendency to nail the dramatic stuff, I’m cautiously optimistic about where the show is going.

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

GLEE Not True to "Rachel Berry"

Article first published as TV Review: 'Glee' - 'The Untitled Rachel Berry Project' on Blogcritics.

FOX’s Glee ties up its fifth season and the New York-centric era with “The Untitled Rachel Berry Project.” It is an emotionally satisfying hour, though artificially so. The characters go their separate ways, but splitting away from the Big Apple isn’t what makes sense for several of their arcs, so it forces a false conclusion, allowing a reset for the sixth and final season. I guess the writers just wanted a clean break.

Obviously, Rachel (Lea Michele) is front and center, though one of only five characters featured this week. FOX sends writing genius Mary Halloran (Kristen Schaal, Bob’s Burgers, The Daily Show) to catch Rachel’s essence and write a pilot around it. The result is an absurdly weird show that feels nothing like Rachel. To correct this, Rachel sings “Glitter in the Air” to Mary, who is moved and writes exactly what Rachel wants. It’s time for Rachel to leave Broadway behind and move to LA!

Except, the whole time we’ve known Rachel, Broadway has been her dream. She gets a fantastic opportunity starring in a stellar role, and she is now burning all of her bridges and leaving it behind for a pilot that may or may not make it on the air. It seems a huge mistake, not only in abandoning her job, but in salting the earth so that she can never return to it. It would be one thing if Rachel’s ego got the better of her and led to this, but she doesn’t even seem to be approaching this from a place of supreme arrogance. What happened to Rachel?

Blaine (Darren Criss) is also faced with a choice between two things he loves: his fiance, Kurt (Chris Colfer), and performing. It’s time for Blaine’s showcase, but June (Shirley MacLaine) won’t even discuss allowing Kurt to participate, insisting she knows best. Kurt is hurt when Blaine breaks the news to him, and they have a big fight. So Blaine defies June and brings Kurt up for his finale, an “American Boy” so great that even June has to admit she is wrong.

I absolutely get Blaine’s emotional arc in “The Untitled Rachel Berry Project.” We see his pain as he laments through “All of Me.” Kurt’s anger is also understandable, as is his apology and their subsequent sweet reconciliation. This feels like something that has needed to happen between them for awhile, and once they get past it, Blaine moves back into the loft and they are happy together.

What I don’t get is June’s forgiveness. Sure, she shoots glaring daggers at Blaine, but once the number proves to be a success, she’s happy for the couple. Shouldn’t she be holding a grudge at Blaine’s defiance? Maybe she would take credit for the song and move forward because it works, but without any animosity? Her explanation, telling Blaine to stay true to himself, ignoring detractors, including herself, feels out of character for her.

Finally, Sam (Chord Overstreet) and Mercedes (Amber Riley) contemplate their future together. Their friends try to convince them to break up, since Mercedes will be on the road and everyone thinks Sam will cheat on her. Yet Sam proves his mettle in “The Untitled Rachel Berry Project” when confronted with a lecherous photographer (Beau Garrett, TRON: Legacy), crying when she kisses him and immediately confessing to Mercedes. Mercedes sees how hard things are for Sam and breaks it off with him, promising to revisit him in the future should it all work out.

Sam is a good guy and it’s a shame his friends keep underestimating him. He is loyal and true, and while he has made mistakes in the past, he’s only gotten more steadfast in their wake. Why is everyone so down on the model? I’d say Mercedes doesn’t deserve him if she can’t see that, but she’s the only one of the cast who does eventually understand Sam, believes in him, then lets him go anyway so they can pursue their own careers.

For Mercedes, this means touring with Santana (an unseen Naya Rivera) and back-up dancer Brittany (Heather Morris, who is great to see again, but seems out of place in this episode), which we see the start of in “Shakin’ My Head.” But for Sam, despite a successful shoot, a good performance of “Girls on Film,” and his naked body on a bus, he opts to go back to McKinley High. Why? Are his goals so short-sighted? What’s waiting for him in Ohio? It makes absolutely no sense at all.

But now all the plots are wrapped up and all the kids mentioned above, along with Artie (Kevin McHale), who’s also in the episode, but is at his most useless, declaring strong bonds of friendship without really contributing to the group, end with an excellent “Pompeii.” It’s the finale fans want, a big send off to the next stage of the characters’ journeys, and it is satisfying. Unfortunately, it’s a glittery cover for a stinky story, not earned.

Glee‘s sixth season, which will likely be cut down to a smaller number of episodes and won’t premiere until at least next January, should be interesting. It has the job of tying up the loose threads and sending each player to their final destination. I expect it will be heavy on feelings, and that’s a good thing. However, if they keep failing to make the story cohesive, it will be as disappointing as most of the run of the series has been, and that’s unfortunate.

Glee will return mid-season next year.

"New" GLEE Not Same as "Old"

Article first published as TV Review: 'Glee' - 'Old Dog, New Tricks' on Blogcritics.

FOX’s Glee feels different this week in “Old Dog, New Tricks.” It’s almost like a two-dimensional representation of what the series is, taking a snapshot of each character, but missing the deeper essence. It’s hard to pinpoint specific examples for this opinion, it’s more an overall feeling that comes about when watching it. This is likely due to series star Chris Colfer writing his first episode, not quite experienced and polished enough to really capture the show yet. But it’s hard to find fault in the series allowing one of its family to give this a shot, and in the brave way Colfer makes the effort.

Perhaps it’s easier to rip apart the unseen writers than it is to criticize the work of someone who has graced our screens week after week, and whom I am a fan of, but in the spirit of writing a legitimate review, it’s necessary to pick “Old Dog, New Tricks” apart a little. The story is trite and simplistic, predictable from the start. The resolution is equally easy to see coming, and while the overall effort isn’t bad, it’s also not one of the strongest, a decently enjoyable story that is out of place in the bigger picture. It just doesn’t fit the current state of Glee.

One thread finds Kurt (Colfer) searching for some meaning, feeling like he’s been left behind by his friends when he is snubbed for a benefit concert Rachel (Lea Michele) is throwing. He finds this purpose in a retirement home where a number of the residents are putting on a production of Peter Pan, a choice made for its young spirit. When their Pan drops dead, Maggie (Academy Award nominee June Squibb, Nebraska), who is Wendy, asks Colfer to fill the role. Her co-stars (including Star Wars‘ Billy Dee Williams and The Carol Burnett Show‘s Tim Conway, both supremely wasted in this hour) make Kurt audition, but having hearing his terrific “Memory,” in which Maggie joins in, Kurt gets the part.

As if making a bunch of old people smile isn’t enough, halfway through the episode Kurt also decides to try to repair the relationship between Maggie and her estranged daughter, Clara (Melinda McGraw, Men of a Certain Age). Clara is loathe to listen to Kurt’s pleading until the lad trots out the dead mom card, and then she softens and shows up. It’s a sappy, emotionally manipulative development that happens way too fast to feel authentic, but it’s also the ending that viewers would be supremely disappointed if it didn’t occur.

Rushing things is actually a recurrent issue in “Old Dog, New Tricks.” Rachel is in full-diva mode, dismissive of Kurt, until she suddenly isn’t, with only a tiny catalyst and no screen time spent agonizing over her misbehavior. Sam. (Chord Overstreet) and Mercedes (Amber Riley) fight over a dog, and what will happen quickly shifts back and forth. While I don’t think the plot justifies a second half, Glee could use another fifteen minutes to really make this story work. Either that, or cut one of the subplots to make room for the others.

In the end, Kurt, Maggie, and the rest show us their huge opening number, “Lucky Star,” which relies too heavily on Kurt, since this is more their show than his. This transitions into the retirees going to Rachel’s benefit and doing a full-cast “Take Me Home Tonight.” Both songs are good enough, but not particularly memorable, which fits this episode. I will say the best part of the latter is there is a Jayma Mays look-alike front and center at the beginning, making me miss Emma a bit.

Moving over to Rachel’s intersecting story, the Broadway story wants to work on her tarnished image after missing a performance, especially now that the tabloids have dug up the truth. A drastically different looking Santana (Naya Rivera with plastic surgery?) proves to be a surprisingly adept PR agent, possibly setting the stage for a new career in the final season, and gets Rachel involved in a dog charity. This gives us “I Melt With You,” a fluffy, weirdly staged performance, though like those songs in the rest of the episode, it isn’t bad. Of course, this all only works if Rachel can start acting real, not just throwing up a facade, and this take awhile to sink in for Rachel, just in time to be there for her friend Kurt.

While fixing an image problem is understandable, how does Rachel find time to start a charity? I understand she has dropped out of school, but she is overloaded even before that. Glee needs to start being a little more realistic in budgeting its characters’ time. This goes ditto for Kurt, who still has his education, his internship, and his relationship to worry about. Are days in New York thirty hours long? At least Colfer matches the rest of the installments in this element.

Lastly, Sam wants to adopt a dog, which Mercedes doesn’t think he’s ready for. Sam and Artie (Kevin McHale) train the pooch anyway, to “Werewolves of London,” of all things, despite it being a small dog. Yet, while Mercedes is moved by Sam’s efforts, and does listen to Sam when he reminds us he once took care of his family, a fact forgotten, she still makes him give up the pet due to their busy schedules. I like the development this couple gets, but the canine seems superfluous to the larger story of Mercedes not taking Sam as a joke any longer, which she is guilty of.

The entire hour of Glee feels like it’s a story being told by Kurt. Colfer’s essence is present in every scene. On one hand, that’s kind of cool because it shows a distinctive voice of a talented individual. On the other, that means the story just isn’t true to the other characters, a problem more obvious in Rachel’s part more than Sam and Mercedes’. Colfer has one character down (his own), but struggles to uncover what makes Glee, Glee. I’d actually really like it if he tried again next season because he likely learned a lot from this experience, and given a chance to develop his skills, he would probably get it down the line. But for now, “Old Dog, New Tricks” just isn’t quite up to snuff.

Glee‘s season finale airs next Tuesday at 8 p.m. ET on FOX.

GLEE "Plan" Not Quite As Expected

Article first published as TV Review: 'Glee' - 'The Back-Up Plan' on Blogcritics.

FOX’s Glee presents a very frustrating installment this week in “The Back-Up Plan.” Rachel Berry (Lea Michele) is a Broadway star, earning rave reviews for her leading role in Funny Girl. A month into the run, though, she isn’t satisfied and begins to look elsewhere, despite her new agent (Richard Kind, Luck, Spin City) telling her she has a “face for radio” and can’t make it in TV or film. When Rachel catches the eye of a Fox executive (Community‘s Jim Rash), she risks her job to chase the next dream.

Throughout all of Glee, Rachel has wanted to do Broadway. Fewer than 50 shows, and she’s ready to give it up? It just doesn’t make sense. Had this episode taken place a year after opening, sure, I would buy it, and her stylistically cool “Wake Me Up” would work. True, Rachel’s heroes have crossed from stage to screen, so she’d eventually want to follow in their footsteps. But to finally achieve success and then risk it so carelessly, not appreciating what she’s accomplished? That doesn’t seem like Rachel.

I think Rachel’s producer Sidney (Michael Lerner), has it right when he says (I’m paraphrasing here) she’s a stupid, spoiled, bratty child. The only way to accept what Rachel is doing, lying to Sidney so she can fly to L.A. for a screen test and missing a performance, is to chalk it up to the brashness of youth. She doesn’t understand how badly she’s hurting herself, losing all respect and friendship from Sidney by the end of “The Back-Up Plan.”

It is to Rachel’s credit that she confesses what she does. That, combined with the reviews and ticket sales and a good friend are what save Rachel from being fired, barely. I really, really, hope she learns from this mistake and never tries something so boneheaded again.

Except, just when Rachel is at her lowest, the Fox exec calls again, telling Rachel she didn’t get the science fiction series she tested for (good, because sci-fi almost never thrives on Fox; see: Almost Human, Dollhouse, Firefly, etc.). Instead, he offers her a development deal. This means everything is still going right for Rachel, whipping her right back up another hill on the roller coaster. It’s a great moment for her, but I worry it will wash away any lesson she might take to heart in this situation.

The bad screen test could be another learning opportunity for Rachel. It’s hilarious how the execs squirm as Rachel delivers a fantastic rendition of “The Rose” because it’s so inappropriate for the role. This is what Hollywood is, where even greatness doesn’t mean anything in the wrong room, and Rachel should be humbled, even if her lack of preparedness isn’t really her fault here. Hopefully, she will understand she isn’t all that, but given the end result, it’s not likely.

Credit must be given to Jim Rash for a memorable turn. “The Back-Up Plan” is chock-full of big name guest stars, as next week will be, too, and yet, he stands out. It’s likely because his executive role could so easily have been a caricature, but he finds an authentic way to play it. He’s never a jerk, even when he could be, and is as supportive as he is rambling. There’s something likable and charming in the man that just shines through. Awesome.

Rachel isn’t the only character in Glee this week, of course. Kurt (Chris Colfer) invites Blaine (Darren Criss) to sing with him in front of a wealthy benefactor, June Dolloway (the amazing Shirley MacLaine). June only has eyes for Blaine during their fun “Story of My Life,” though, and sets her sights on making him a star, practically ignoring Kurt. This begins right away when she drags Blaine along to a fundraiser (the organizer of which is played by a completely wasted Eric Roberts, The Dark Knight), where they perform together. Then, she schedules him a showcase.
I love, love, love MacLaine, and I think June may be an interesting part for her. Unfortunately, her duet performance with Blaine, “Piece of My Heart,” is lackluster at best. Her voice does betray her age, even if she dances around like someone ten years younger. However, it’s the lack of energy in the song, inherent to this particular number, that does her in. Couldn’t someone have gotten a better musical choice for someone deserving of more? Plus, the way she looks equally at both Kurt and Blaine during their performance and talk after is teasingly cruel, not suited to her part, just done to build dramatics in the story.

Even worse, June means more strife for Kurt and Blaine. Blaine is determined to take Kurt with him on the train to stardom, and Kurt is more supportive than most would be in his situation. But June tells Blaine Kurt can’t be in the showcase, and Blaine lies to Kurt, unable to let down his fiance. Will Blaine choose Kurt or success? This could put a serious damper in their romance, either way.

Finally, Mercedes (Amber Riley) is faced with a similar choice when she wants to duet with Santana (Naya Rivera) on her album, but the producer (Gary Dourdan, CSI) wants a more famous singer, even after the two kill it with “Doo Wop (That Thing).” Santana tells Mercedes it’s fine, she should do what the label wants to give her record the best chance of success. Will Mercedes choose friendship or a chance at fame?

In the end, Mercedes doesn’t have to decide; she wins Santana a contract. This is just as much a cop out as Rachel being rescued at the last minute by the Fox exec. While Glee has only one more season to show us how these characters end up, and it’s always given their characters happy endings as much as possible, it still feels weak to have triumph come so easily now. Why can’t the characters spend the next year struggling, and only find what they seek at the end? It’s cool to see them doing well, but it just doesn’t feel realistic, sadly.

Disturbing are the rumors this week that Rivera has been fired from Glee. While unconfirmed, its been widely reported. The series would suffer a blow to lose her. She and Michele share a terrific scene in “The Back-Up Plan” as Santana saves Rachel’s bacon in the musical, then asks for nothing in return. After finally getting these ladies on good footing, it would be nice to see this friendship continue. I guess Rivera leaving means Santana and Brittany could finally have their happy ending, though if the actress is fired, we may not see the couple run off together, which would suck.

I’m also disappointed that Rachel’s leading man and director are still MIA even though the last two installments have featured major Funny Girl stories. Were the actors just not available? Why cast them earlier in the season if they couldn’t return when needed? It just makes the world seem less fleshed out and more fake.

Still, at least the story is moving and the actors remain as interesting as they ever have been. I love the more narrowed focus of a handful of players every week, giving them more room to breathe and develop than when ten story lines are being juggled. Three threads seems to be the perfect number for Glee, and overall, “The Back-Up Plan,” while frustrating, is a solid episode.

Glee has two weeks left in its fifth season; it airs Tuesdays at 8 p.m. ET on Fox.

Rachel's Big "Opening Night" of GLEE

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

This week’s installment of Glee, “Opening Night,” has a couple of nice stories mashed together in a very unnatural way. Add to that a big list of what is missing from the hour that should have been included, and it feels uneven. Had this been split into two separate episodes, allowing room to add in some of the glaring omissions, it might have been really good. Instead, it’s a fair installment with some terrific moments.

The ‘A’ plot revolves around Rachel’s (Lea Michele) Broadway opening night in Funny Girl. Her friends rally around her, including Tina (Jenna Ushkowitz), who has come to visit, but not Artie (Kevin McHale), who is out of town, so we trade one annoying character for another. Still, Rachel has severe nerves and has a hard time finding the will to get up on stage. It takes a former frenemy verbally slapping some sense into her before Rachel can perform. Once she does, as expected, she is amazing.

Rachel’s nervousness is understandable, and is well developed. It gives us the fun opening “Lovefool” with welcome appearances by former recurring players Karofsky (Max Adler), Jacob Ben Israel (John Sussman), and Becky Jackson (Lauren Potter). Those three are tormentors of Rachel’s previously, to varying degrees, so it makes sense to see them now. From here, we get to Rachel curled up in bed, unable to rise, doubting herself after reading online reviews of the preview shows. What nineteen- or twenty-year old wouldn’t be nearly paralyzed with fear in this situation?

It’s Santana (Naya Rivera) that manages to make Rachel see the light when her friends, including Kurt (Chris Colfer), Blaine (Darren Criss), Mercedes (Amber Riley), and Sam (Chord Overstreet) cannot. This works for the story, too. Not only does it solidify that Rachel and Santana are over their feud and really can be true pals, but Rachel needs a kick in the pants, not coddling, and only Santana can do that. Tina gives hard truths, too, but only unintentionally, not having the brass to back them up that Santana does, or wisdom to see what’s needed.

When Rachel takes the stage, she’s terrific. An audience kerfuffle tarnishes the first act a little bit, but Rachel’s chums remain supportive and the producer, Sidney (Michael Lerner), tells Rachel like it is, so Rachel rallies. Her opening, “I’m the Greatest Star,” is good, but her closing, “Who Are You Now?,” is even better. Rachel’s skipping of the cast party to hang out with her friends in a rowdy gay club, complete with a spirited “Pumpin’ Blood,” is a little rude, but she needs to let off steam her way. And the rave reviews in the papers the next morning are well-earned, the culmination of five years of story arcs for the female lead of the series.

The worst part of this storyline, though, is that Will (Matthew Morrison), who has come to New York specifically for the show, has to run home before it begins because Emma (Jayma Mays) is in labor. It’s not like Mays even appears in the episode, nor do Will or Rachel struggle with his absence, so what is the point of this? It seems gimmicky, like a bad sitcom, and the episode would have changed not at all had Will stayed, uninterrupted.

Or maybe the worst part is that Rachel’s dads, introduced as two men that would be mega-fans of their daughter, don’t show up, as they never do, their characters having been consistently wasted all throughout Glee. Nor do many of Rachel’s friends come, despite that fact that this person they know and like is starring in a Broadway show! Maybe Glee didn’t want another big reunion episode so soon after the ending of the McKinley plot, but “Opening Night” pretty much screams for one, and fails to get it.

Of course, Glee sticks a couple of touching Finn references in, as it is beginning to do way too often. Rachel thinks of Finn while singing, and Will gives her child the middle name of Finn. These are sweet, to be sure, and definitely fit for the moment. But do we have to be reminded of Finn week after week? Many shows don’t mention a character enough after their passing; Glee is almost doing it too much.

Sandwiched into “Opening Night” is a ‘B’ story in which Sue (Jane Lynch), criticized for lambasting New York City in her news segment because she’s never been there, tags along with Will. Unable to sit through Funny Girl, Sue climbs over the New York Times critic early in the show, then meets up with a man named Mario (Chris Parnell, Suburgatory, Archer), who walks out in a similar manner. The two fall in love over dinner, then have sex all over Rachel’s apartment (because they didn’t know Will had left an empty hotel room?). In the end, though, Sue won’t stay in the city and Mario won’t move to Ohio, so their affair ends, but leaves Sue with an appreciation for the Big Apple.

Sue deserves a romance, and I like her how and Mario connect, Mario even sticking by her after Rachel (justifiably) loudly and harshly tells Sue off. So why bring this up if it’s not going to be an ongoing arc? And why stuff it into Rachel’s episode? Sue’s “N.Y.C.” number with Will is great, but the fact that Sue shares Rachel’s big closer, “Who Are You Now?,” is jarring and weird. It’s nice to see Sue get story, and good story at that,  but it’s just sandwiched so unevenly into “Opening Night” that it doesn’t land as it should.

I’m also a little torn over the Rachel / Sue showdown in this episode. Sue is known to be supportive of her students, using her cruelty as a motivator, not because she’s truly mean. So why can’t Sue be happy for Rachel when Rachel has succeeded? Is Sue resentful that it has come about so easily for the girl? If so, explore that, don’t leave us wondering. Rachel laying into Sue feels good because, in the moment, Sue seems to deserve it, and yet, because we see Sue emotionally bare this week, it also feels a little rougher than it should be, creating unnecessarily mixed feelings.

Once more, “Opening Night” is superior to the NYC/McKinley split episodes, but does not completely fulfill its potential. It will be interesting to see how Glee ties up the New York arc in the next three weeks, and if its final season, which will feature a new format and setting(s?), finally figures out what the show should be. Glee airs Tuesdays at 8 p.m. ET on FOX.

The "New" GLEE

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

It’s finally here! We’re done with Ohio, a state I dearly love, but which has been played out on FOX’s Glee, and the story has shifted entirely to New York City. I’ve mentioned for weeks in these columns my hope that things will improve when this happens. Now that the first episode solely in the big city has aired as of last night, has the show gotten better? In a word, yes.

“New New York,” the most recent installment, is not the best episode of Glee ever. Other than a great, big opening number, “Downtown,” which shows Blaine (Darren Criss), Sam (Chord Overstreet), and Artie (Kevin McHale) joining Rachel (Lea Michele) and Kurt (Chris Colfer) in New York, nothing huge happens. It settles into what will likely be the fairly conventional stories of these people for the near future. Yet, it lacks most of the stuff that didn’t make sense before, as well as the cheesiness, making for a higher-quality series.

Rachel’s plot in “New New York” is about losing who she is. Talk about white girl problems! Gifted a town car and driver by her production, she suddenly realizes that she’s locked in a gilded cage, not experiencing the city or its people. In Rachel fashion, realizing this does not mean she truly grasps reality, still wrapped up in her sheltered, privileged attitude, but at least she makes efforts to work on this, and ends the episode with a terrific “People” performance, beautifully staged on the street.

Rachel enlists the help of Artie to keep her reigned in. Artie is having his own problems. We don’t yet see where he lives (not a dorm, since he has to commute to school), but he does spend lots of time hanging around the other McKinley grads, the new clique in New York, and has to ride the subway. This goes south when he is mugged. Rachel decides riding with him will help him feel safe, and he is a straight talker, so he can call her on her crap.

I have to admit, it feels mighty strange to see Rachel and Artie together, since they’ve shared very little screen time in the past. They are not close friends. But I guess in a city of millions, you cling to the familiar, and so it makes sense they’d begin to hang out more now. Their “Don’t Sleep on the Subway” duet is surprisingly fun, and even though it’s pretty far-fetched that they find Artie’s mugger and get revenge (as well as his stuff back), that is a hallmark Glee plot twist, so it doesn’t feel tonally off.

The rest of the players aren’t getting along as swimmingly. Kurt and Blaine start off fairy tale-perfect with “You Make Me Feel So Young,” but things quickly deteriorate from there. Kurt feels smothered by Blaine, now together all the time, in class and at home. Blaine doesn’t feel like the loft is his home since Kurt won’t let him make it his own. It’s hurting their relationship, and unless they can change the status quo, they risk losing what they have, something neither of them want.

Both end up going to Elliott (Adam Lambert) for advice. Kurt, because Elliott is one of his best friends, and they jam out to “Rockstar” together. Blaine, thinking Elliott may be trying to steal Kurt, but quickly finding a new pal in his own right as they share a moment and a little guitar improv. Elliott is not only wise, but he cares about them both, and so he helps them find a solution, which just reinforces that he should be upgraded to main character immediately. In the end, Blaine decides he needs to move out, it being too soon for the couple to live together, especially with the pressures of school and Blaine having just moved to the city, and then they can continue to happily date.

The dissolution of Blaine and Kurt’s co-habitation is well-handled. It would be very easy for this to seem like a step back or the first stage of a break up, but that’s not how it comes across. These guys are pretty self aware, at least when they have a sounding board to help them see themselves, and they’re smart not to rush things. This is a very dynamic time in their lives, and it’s not a bad thing if they both want to work on themselves as individuals before spending the rest of their lives together. This not only makes sense, but is more than most guys of their age could ever figure out. They will survive this.

Sam is also a source of tension between the two, though Kurt likely uses Sam as an excuse more than actually being annoyed with him directly. True, Sam is crashing on their couch and playing video games all day, but Blaine fixes that when he takes him out to sing “Best Day of My Life,” an energetic performance that inspires Sam to cut his hair and go back out on the job hunt, soon landing his first modeling gig. Unfortunately, the agency-provided housing is full of drugs and bad peer pressure, so that doesn’t solve all of their problems.

The solution may be a bit too-neat, but it works in rounding out the new cast. Mercedes (Amber Riley) announces she’s moved to the city that never sleeps to join them, and conveniently has a spare room she’s willing to let Sam and Blaine share, thus solving the housing crisis. Perhaps there isn’t a real good reason to bring Mercedes back now,  but she’s been missed and I hope she sticks around. The tension between her and ex-boyfriend Sam is interesting, and she herself has always been a character I’ve liked, even when the show takes her arc in unrealistic directions, as her recording contracts have done.

Santana (Naya Rivera) and Brittany (Heather Morris) are absent from “New New York,” so the hour doesn’t give us a full picture of what Glee: New York Edition will be. However, the make up of the group they have now is fantastic, the songs are all wonderful, not a dud among them, and it feels right to get back to the basic chemistries that first compelled the show. Artie still drags things down a little, but since he’s the only lame character left, that can be overlooked, especially the way they use him to balance out Crazy Rachel. I am not ready to declare victory for the reborn show just yet, but early signs are positive.

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

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.

A "Trio" of Uneven GLEE Stories

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

FOX’s Glee‘s latest episode, “Trio,” is uneven, as is par for the course of Glee installments lately. The New York scenes are mostly excellent, depressing, but frustrating, with solid character definition and development. The McKinley stuff is silly fluff that doesn’t make sense. But with the end of the high school setting so close, all viewers can do is grit their teeth and wait it out.

Let’s hit the good parts first. Rachel (Lea Michelle), still furious at Santana (Naya Rivera) for being her understudy and at Kurt (Chis Colfer) for remaining neutral, meaning he didn’t side against Santana with her, latches onto Elliott (Adam Lambert) as her new gay bestie slash personal assistant. Santana strikes back, paying Elliott to run scenes with her. This battle continues until Elliott and Kurt throw up their hands and tell the ladies to go away until they can work out their issues, kicking Santana and Rachel out of the band.

This part of “Trio” is excellent because, as heartbreaking as it is to have Rachel and Santana at each other’s throats once more, acting like they are back in high school, Glee stays completely authentic to both characters. Rachel is overreacting, she’s always been a bit of a drama queen, and is too proud to back down. Santana doesn’t apologize because she doesn’t want to appear weak, and when threatened, resorts to her old lashing out coping mechanism. Santana didn’t mean to hurt Rachel, but now that she has, neither can back down.

There’s a scene in this episode where we see the girls softening towards one another, and they’re almost vulnerable, admitting they don’t have any other gal pals around. Had Kurt and Elliott not walked in, interrupting, they may have made up, rather than trying to save face as they did, driving them further apart. The question is, can that friendship be found again, or will circumstances keep eroding it until it’s too broken to heal?

I love Rachel and Santana as friends, but they also make great enemies. Fans desperately want them to work it out, so they probably will, eventually. But the presentation of two such powerful voices, conflicted by circumstance, is an enticing one, and I’m glad Glee chose to explore this path, even if, hopefully, it’s only temporary.

I think the main difference between now and high school is that neither Rachel or Santana have any enablers. Their friends, Kurt, Elliott, and even Santana’s girlfriend, Dani (Demi Lovato), recognize that this feud is between two good people, and all move to isolate the women until they can come to their senses and realize the importance they have to each other. Cut the oxygen off to the fire, and it will die out.

I have to admit, I’m expecting Santana to instigate the reconciliation. I do think Rachel needs a big slap in the face to knock her down a peg, so I don’t want to see Santana defeated or to have to bow down. I just think Santana is the one who has to be the bigger person here, having caused the rift in the first place, even if it wasn’t intentional, and is more likely to do so.

This part of the episode results in some pretty solid music, as well. I’m not a big fan of Elliott and Rachel’s “Barracuda” just because it doesn’t feel like a Rachel song, but it showcases Lambert well. “Gloria,” an all-out battle between Rachel and Santana with Elliott caught in the middle, is much more entertaining, allowing both girls to showcase their vocal talent. Kurt, Dani, and Elliott’s debut as One Three Hill, “The Happening,” is plain fun, light and amusing, as well as well sung. And then they all participate in the closing song, shared with the McKinley cast, which is awkward, as usual, but it’s a good number.

Back in Ohio, Tina (Jenna Ushkowitz), Sam (Chord Overstreet), and Blaine (Darren Criss) are celebrating and mourning their final weeks together as seniors. They decide they need to do something epic and memorable, and so after Sue shuts down their idea for a lock down, they sneak into the school at night, because apparently McKinley is the only high school left in the nation without a security alarm or cameras, and party down, only to be interrupted by Becky (Lauren Potter).

It makes sense to see the seniors played up as their time comes to an end, even if that means five cast members, just promoted to series regular status in the fall, have had virtually no screen time for awhile. And the antics in the halls are entertaining, very John Huges-esque, which makes sense for the characters’ sensibilities.

Then, Becky turns up, but is never given a good reason for being there. Glee could have explored Becky’s loneliness and desire to bond with her classmates, but it doesn’t. What’s more, the seniors cruelly leave Artie (Kevin McHale) out until the very end of the episode for no stated reason, just another misstep from Glee. And worst of all, Sam and Tina make out, even though they’ve never shown any interest in one another and don’t afterwards, either. “Trio” is a bundle of stupid contrivances that don’t make sense for them.

I have to admit, their music is good, though. I don’t know how any teenagers today are familiar with “Jumpin’, Jumpin’,” but it’s a welcome blast from the past. “Don’t You (Forget About Me)” reinforces the tone the episode is trying to sell nicely, even if the performance is weak. And the end ending “Hold On,” despite unfortunately including the New Yorkers, hammers in the message of this side of the story.

The third plot this week finds Will (Matthew Morrison) and Emma (Jayma Mays) trying to conceive. He puts too much pressure on her at first and, after some advice from Sue (Jane Lynch) and Beiste (Dot-Marie Jones), backs off and concentrates on the romance instead. This results in successful impregnation.

To be sure, the pregnancy story is a little rushed, starting and ending in a single hour. However, Will and Emma have been through enough crap, so they don’t need more heaped on top of them. Plus, Mays has limited availability due to her starring role on The Millers, which is why we’ve barely seen her this season, so it makes sense to get through the story all at once.

There are some wonderful moments present. “Danny’s Song” is sweet and soulful. I absolutely love when Will puts paint on Emma’s nose and she freaks out, a play off the familiar trope bent to stay true to the characters, beautifully played by Mays. The affection between the pair is evident, and it appears their union is strong. It’s nice to see them get a happy ending.

That being said, there are parts of this that are absolutely horrid. How dare Will and Emma have sex in a school, cycles be damned? That has to be illegal and immoral and should result in immediate firing. And on top of that, they don’t even lock the door, allowing Becky to walk in on them? I admit, Sue gets some great lines out of this, but the whole thing is ridiculous and disturbing.

So Glee delivers the good with the bad. Viewers have gotten used to this, but still long for the run of multiple great episodes in a row that occasionally pops up through the series, not currently being delivered. Any chance ditching the Ohio stuff and building towards next spring’s series finale will allow them to finally shed the weird unevenness dragging the show down and allow the show to finally, five years in, reach its potential? Maybe. But for now, we’re still saddled with hours that mix terrific moments with bits that clearly have not been thought through.

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

"Frenemies" Make for Drama-Filled GLEE

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

FOX’s Glee returns from hiatus this week with “Frenemies.” The episode revolves around three pairs of characters with very different relationships. Each work through something within the installment, providing great character moments and furthering of the larger plot arcs, as well as a couple of major shakeups. And, as usual, the New York scenes are much, much better than the McKinley story, which is heartening, since the show will soon become New York-centric.

The first pair, and the best in my opinion, is Santana (Naya Rivera) and Rachel (Lea Michele). The hour begins with them never having been closer, Santana regretting being mean to Rachel in high school, so viewers will quickly note there’s nowhere to go but down for them. After Rachel invites Santana to take part in a photo shoot, resulting in a fun “Brave” performance, Santana sees Rachel as rubbing success in the face of the former cheerleader who is now stuck waitressing. So Santana steals Rachel’s signature number, “Don’t Rain On My Parade,” and nails a Funny Girl audition, being cast as Rachel’s understudy. Rachel is so angry she calls off any relationship they have, while performing duet of a terrific “Every Breath You Take,” and moves out of the apartment.

First, for this plot to work, we must completely ignore the fact that Funny Girl is holding auditions specifically for an understudy, not having chosen one from among the ensemble or girls who previously auditioned for the lead. We also must set aside the surprise Rachel seems to exhibit when learning she will get an understudy, a staple of Broadway that she would surely have known about., Then, we have to forget that we see an absolutely terrible singer audition at a Broadway level in front of a Broadway director (Peter Facinelli). This is a completely unrealistic and dumb scenario. Almost as dumb as expecting up to believe Rachel has time to work, go to school, be in a band, and lead the musical.

But, where the characters are concerned, the episode soars. Rachel is being a stuck up pain in the butt. Starring in one show that isn’t even close to getting off the ground yet has gone to her head, something we’ve seen from her before, harkening back to the early days of her personality. It makes sense that Rachel would lose it here, and Santana being a convenient dumping ground to let off steam about her own insecurities, Rachel targets the doubts she has about herself and slays Santana. Plus, there is likely still lingering pain for the things Santana did in high school, and Rachel begins to lose trust in the other girl, if she ever truly had any.

Santana is not without blame for this feud. Choosing to try out without telling Rachel first is an understandable move, and one that can easily be forgiven. Picking Rachel’s song to sing is less so, a very personal blow. But Santana is just pushing Rachel’s buttons, not really launching a war. If their friendship is real, Rachel should be able to look past these things and rejoice to spend more time with her buddy.

The end of the episode is extremely sad. Santana only shows a bit of regret when its too late, and the feeling is not strong enough to spark an apology, nor should it be. Rachel is completely without remorse, storming out and burning the bridges. If things are ever to repair themselves, and they must because, as great as the drama is between them, their friendship is inspiring and an important element of these later seasons, Rachel has to swallow her pride, willingly or being humbled against her will, and say she’s sorry. This probably won’t be quick in coming, but that’s OK, as long as it does in the end.

Poor Kurt (Chris Colfer) is caught in the middle of the fight, but he does the absolute right thing by refusing to take a side, remaining completely neutral, which, given his history with Rachel, Rachel sees as betrayal. But Kurt recognizes that the bond they all share has grown too vital to turn on it, and since they’ll all still be in his band, he must play nice. Something tells me the next practice sessions is going to get ugly, if Rachel doesn’t just quit between episodes.

Besides his roommates’ falling out, Kurt has his own story in “Frenemies.” Convinced Elliott, a.k.a. Starchild (Adam Lambert), is out to take over the band, Kurt tries to be his closest friend, putting stock in the old adage about keeping your enemies closer. Blaine sees right through this and takes Kurt guitar shopping with a rousing “I Believe in a Thing Called Love.” So Elliott does seem to be what he appears – a genuine, nice, supportive person who won’t stab Kurt in the back.

Sure, there’s a chance Elliott is putting on an act and will still turn out to be a villain, but I don’t think so. Glee has always been an optimistic, cheery show at heart, and I really, really dig the relationship between Kurt and Elliott. As upset as Blaine (Darren Criss) might be when he glimpses a too-chummy photo of the two, and as much as Elliott might provide to be an obstacle in that relationship going forward, he also seems like he’s good for Kurt, helping Kurt get past skepticism and find his potential. I hope he doesn’t just disappear one day without closure, a la Adam.

Back in Ohio, Tina (Jenna Ushkowitz) and Artie (Kevin McHale) celebrate their continued friendship, despite their romantic break up years ago, with a sweet “Whenever I Call You Friend.” That lasts only until Sue (Jane Lynch) forces them to compete for the title of valedictorian. This sends Tina into another ugly spiral, sparring with Artie in the sadly under-charged “My Lovin’ (You’re Never Gonna Get It).” Tina goes too far, shoving Artie from his wheelchair, but they soon make up and celebrate their renewed happiness with “Breakaway,” though neither gets the speech at graduation.

I’ve said it before, much to the dismay of some Glee viewers, and I’ll say it again: Artie and Tina are lame, boring, unlikeable characters. Tina is a selfish jerk, as shown on numerous occasions, and Artie is a whiny pushover, forgiving Tina far too quickly for her very cruel comments about Artie’s girlfriend, Kitty (Becca Tobin). One assumes they’ll make up soon, which they do, because neither has the backbone for a continued battle. But their relationship lacks depth because how can two people who treat each other like this really be friends? It’s true that those who know you the best can wound the deepest, but I just don’t see Tina display real, sympathetic remorse when apologizing.

Their storyline drags “Frenemies” down, and they will likely continue to have an increased presence until at least graduation. I’d like to believe we’ll ditch them then, but signs point to at least Artie will be joining the New York contingent. I’ve never understood Glee‘s insistence to make the two of them continued main characters when ditching better players, but I guess we’ll probably be stuck with them til the end.

Sue is ridiculous in this episode. I like her meta-references, which point out completely real flaws in the show, but her silliness just does not make up for bad writing and story structure. Plus, there’s no way she can make the third place student valedictorian, as much as I enjoyed Blaine’s cheeky quote about getting everything just handed to him. She is not being a fit or realistic principal, and its time to get her back out of that office.

I also don’t buy that the judging panel of Will (Matthew Morrison), Beiste (Dot-Marie Jones), Figgins (Iqbal Therba), and Sue is deadlocked on choosing the valedictorian. For one, both Tina and Artie’s speeches (which start touching, and then veer off into terrible and inane) are basically identical, and knowing Will and Beiste, they’d argue to let both of them share the honor. The only way this result occurs is if Sue just declares that’s not an option and makes a unilateral decision, which is likely what happened, but I wish we’d seen it play out.

In short, “Frenemies” has some heartbreaking, but really great, drama in New York, and a weak, stupid sequence at McKinley. This unevenness has always bugged me about the show. I hope when they finally commit to the Big Apple, which has proven to exhibit some much higher-level storytelling, the series improves again before it comes to an end.

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