"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.

DVD Review: ‘The New Normal – The Complete First Season’

Article first published as DVD Review: ‘The New Normal – The Complete First Season’ on Blogcritics.

In the 2012-2013 television season, NBC presented a different kind of family sitcom called The New Normal. From the mind of Ryan Murphy (Glee, American Horror Story) and Allison Adler (Chuck, No Ordinary Family), it took what Modern Family does a step further, with an edgier, even less traditional clan, while still remaining thoroughly charming. Finally, the series, which ran only one year, comes to DVD, though the release is strangely subtitled The Complete First Season.

In 2014, we all know that not all families look the same, even less so than just a couple of decades ago, but while the television industry is getting better about portraying that, it still does not reflect the large diversity out there. The New Normal may be quite specific in the make-up of its clan, but the characters are earnest enough that most should find a way to relate, even if their circumstances don’t mirror exactly the mixture shown on screen.

The premise is simple enough: A young mother named Goldie (Georgia King, Little Dorrit), who gave birth to a daughter, Shania (Bebe Wood), as a teenager, is tired of putting her dreams on hold and relying on her bigoted grandmother Jane (Ellen Barkin, Fear and Loathing in Las Vegas, Drop Dead Gorgeous). Jane raised Goldie after Goldie’s own mother, who also gave birth young, split. After Goldie catches her boyfriend cheating on her, she gets the courage needed to make a change. This leads her, with Shania in tow, to the strange land of California.

At the same time, a gay couple named Bryan (Andrew Rannells, Girls, The Book of Mormon) and David (Justin Bartha, The Hangover) are ready to start a family of their own. Armed with eggs provided by Abby (Gwyneth Paltrow, Glee, Iron Man), their first attempt is a misstep. But then they meet Goldie and decide she is perfect. After she agrees to serve as their surrogate, they offer to help her with her goals, much to the dismay of Jane, who has by now tracked them down.

Oh, and Bryan has an assistant named Rocky (NeNe Leakes, The Real Housewives of Atlanta, Glee), whose love/hate relationship with Jane makes for some of the best material of the series.

Over the course of the year, there is actual growth among the characters, and lessons are learned. Yes, The New Normal can be slightly preachy at times, and the season finale, more so than any other episode, plays to conventional sitcom tropes. But maybe that’s a good thing, as the show needs to help people become more accepting, and by staging a half hour that feels like it could have been written for any other show, it feels ‘normal.’

Thankfully, the last episode ties up most of the major arcs pretty well, leaving us without a never-to-be-resolved cliffhanger.

The writers of this show clearly know what they’re talking about. Adler herself has gone through the surrogate process, and both creators are gay. The situations and characters they’ve created here feel only slightly exaggerated for television, avoiding stereotypes as much as possible, and are definitely well-defined enough to tug the heartstrings, with layers to various characters’ motivations. Bolstered by a terrific cast, The New Normal fully earned the People’s Choice Award it won for Favorite New TV Comedy, and more than a year after its cancellation, it is still missed.

This three-disc set contains all 22 episodes produced, but no special features at all. On the one hand, this is hugely disappointing because there is so much more I want to know about how the show came about and why it didn’t last. On the other hand, I guess fans should just be grateful we get the opportunity to relive the episodes at all, considering how quickly they came and went.

The New Normal – The Complete First Season is available now.

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 Not Quite Worth "Diamonds"

Article first published as TV Review: 'Glee' - 'Tina in the Sky With Diamonds' on Blogcritics.

I’ll be honest. I groaned when I saw that part two of Glee‘s Beatles tribute on FOX was called “Tina in the Sky With Diamonds.” If you follow my Gleekonomics column at all, I have periodically complained about Tina (Jenna Ushkowitz) as a character in the past, finding her grating and adding little to no value to the series. My mind was not changed about her by this episode, but she did feature less prominently than I had feared, not even getting to make it far into the opening number, “Revolution,” before being cut off, and as a consequence, the installment wasn’t bad, overall.

Tina’s mission in “Tina in the Sky with Diamonds” is to be prom queen of McKinley. Inexplicably, she is nominated. Bree (Erinn Westbrook) initially tries to ruin Tina’s chances at the crown, disappointed by a recent streak of Cheerio losses. But after failing to win Kitty’s (Becca Tobin) support for the goal, Bree decides to let Tina win (I assume by rigging the vote?), and then has Tina’s very-occasionally-seen sidekick, Dottie (Pamela Chan), dumb red slushie on Tina, a la Carrie.

Unlike Carrie, though, Tina has friends, who quickly clean her up and comfort her with a wonderful “Hey Jude,” changing her into Kitty’s gown and sending her back out, head held high. I can’t say the sequence is very touching, given that Tina is at the center of it, and her head has grown so huge before being knocked down that she deserves the penalty. However, the New Directions coming together for one of their own is in keeping with true Glee fashion.

I wonder how long Kitty can keep one foot in both worlds? Her arc from mean girl to sympathetic glee club member has happened more quickly than Quinn’s did in the first couple of seasons, and with the introduction of Bree, suddenly Kitty is challenged with an either-or choice. Kitty is still in the squad, as far as viewers know, but it seems likely Bree will bully her out of it sooner rather than later.

Which is fine. It’s always been a challenge for Glee when it tries to make its geeks popular, and it never quite works right, including Tina and Artie’s (Kevin McHale) nominations for king and queen in this episode. The sooner that band-aid is ripped off and Kitty is sorted into one group, rather than two, the better for the story, even if it’s not quite the right message to send to kids.

Bree isn’t going anywhere because, rather than be punished for her stunt, which Coach Roz (NeNe Leakes) awkwardly praises while demanding consequences, Principal Sue (Jane Lynch) rewards the girl, making her Head Cheerio. Sue’s reason for doing so is that the glee club needs a villain to reach its potential, which might give a logical reason for her own evilness over the past few seasons, though it’s way too misguided to make Sue seems reasonable. I did love Sue’s own proclamation that Bree comes out of nowhere, true, since the character was only recently added to the series, despite most of the characters pretending she’s been around for awhile. It’s a nice meta reference.

The other thread happening at McKinley this week is much more sweet. Freed from the shackles of having to take Tina to prom, something he really doesn’t want to do, Sam (Chord Overstreet) falls for Nurse Penny (Phoebe Strole, Hamlet 2), a bumbling college student who Sue has hired to give out immunizations. She’s nerdy in a cute way that matches Sam’s odd charms, and they make a great pair. Perhaps it comes a bit too easily, but if Sam is nearing the end of his tenure on the show, a strong possibility with his impending graduation, she could be his happy ending.

I just wish he had sung “Penny Lane” to her. Yes, that would be cheesy, but Glee is nothing if not cheesy. Sam’s “Something” is a pleasant enough number, but it skips the over obvious song choice.

In New York, Santana (Naya Rivera) is also falling in love, when she’s not making hilarious vaginal yeast commercials. Her new girlfriend is fellow waitress Dani (Demi Lovato, Sonny with a Chance), a full-blown lesbian, which is new for Santana. Dani comes on a little strong at first, but by the time she duets “Here Comes the Sun” with Santana, they do seem like a natural fit.

I was a little concerned with Lovato’s inclusion on Glee. She’s part of that Disney pop-princess conglomerate, and the success of such stars post-Disney is mixed. Lovato is not the best actress Glee has brought on, but she’s not the worst, either, clearly having some acting chops. “Tina in the Sky With Diamonds” has not sold me on the relationship, but it hasn’t been the awful mess I was expecting, so we’ll wait and see.

Finally, Rachel (Lea Michelle) gets the part in Funny Girl. This wasn’t a forgone conclusion, but it’s not a big surprise either. She needs to move forward with her career, and this is good way for her to do so. Perhaps it is quite a big part for someone with so little experience, but Rachel is a formidable talent.

The only regret here is that surely Rachel will not have time to continue to work at the diner. Thankfully, Kurt (Chris Colfer) now has joined the staff, so the diner scenes can include him, as well as Santana and Dani. But this does remove Rachel from the equation. At least she still leaves with her fellow alum, so she shouldn’t be totally separate.

As for the more random musical numbers in “Tina in the Sky With Diamonds,” “Sgt. Pepper’s Lonely Hearts Club Band” is kind of weird for prom, but works OK, “Get Back” is a fun little piece with cool piano choreography, and “Let It Be” is a great way to end the two-part tribute, involving both the McKinley and New York contingents. I think the first half was stronger in songs and story, but this follow up hour isn’t bad. There are still many great Beatles songs I’d love to see the show do, but I guess that will have to be another time.

Next week, we get the Goodbye Finn tribute episode, which is sure to be a tear-jerker. Rumor is, Rachel will not appear until the end of the episode.

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

"Lights Out" Creatively On Glee

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

"Lights Out" plague Glee this week as a power outage thrusts the school into darkness. This ruins Will's (Matthew Morrison) plan to stage a huge, stadium-style number to impress the judges at Regionals, and forces the kids to go back to their musical roots with acoustic and a cappella performances.


The basic story of "Lights Out" makes absolutely no sense. A Mylar balloon gets stuck in an electric socket and knocks out the electricity for the entire building? The kids are not sent home? Somehow, the school has hundreds of flashlights on hand to combat the situation? This is lazy and unrealistic writing.

How about use a more realistic hook to get the students performing sans the tools they are used to, which, by the way, often include only non-electric instruments? Sam (Chord Overstreet) talks about having to entertain his brothers with just a guitar because his family is poor. Isn't this enough of an in without going off the grid?

"Lights Out" does provide some pleasing musical performances. Sam and Ryder (Blake Jenner) lead the New Directions in the classic "You've Lost That Lovin' Feeling," Ryder soulfully laments "Everybody Hurts," everyone does a Stomp-esque performance of "We Will Rock You," and the episode ends with "The Longest Time." These are, without exception, fantastic songs, and they are all executed very well.


Ryder's sadness stems from his on-going issues with his Catfish-gal, Katie. He still doesn't know who she is, but his continued obsession with her causes him to dismiss Kitty (Becca Tobin) when she tries to go out with him. It's believable for a high school boy to fall in love with someone online, but it's too bad Ryder passes on Kitty, a flesh and blood girl who is interested in him, for a fantasy that may or may not pan out.

I don't think a lot of guys would have made the same decision Ryder does. Kitty is hot and she's there and she's willing. Katie could be a dude, for all Ryder knows. However, there is something romantic about falling for someone you've poured your soul out to, even if you don't know what they look like, and Ryder is becoming more interesting because of this plot. I'm curious to see where it goes in the remaining hours of the season.

Meanwhile, Blaine (Darren Criss) investigates why Sue (Jane Lynch) left the school, finding her seemingly happy to be a personal trainer, running group sessions. One gets the distinct impression that Sue is just putting on a brave face, especially during her fun / sad rendition of "Little Girls," and it's easy to be sympathetic to her plight.


That being said, Sue can't reveal the truth, nor can Blaine figure it out, because this story relies solely on Becky (Lauren Potter). Missing Sue and fed up with Roz (NeNe Leakes), Becky makes her way to Figgins (Iqbal Theba) in "Lights Out" to confess to the crime. We aren't sure what will happen with Sue or Becky as this point, but it does seem the plot will get some resolution.

Kudos should be given to Glee for the outstanding way Becky's character is handled, and equal praise goes to Potter, the actress bringing the role to life. Becky is not defined by her handicap, nor is that ever the focus of her tale. Instead, she is just as well developed as other important Glee characters, and going down such a dangerous, bold, yet realistic, road with her is brave and compelling.

In New York, Kurt (Chris Colfer) and Rachel (Lea Michele) try to get Santana (Naya Rivera) to follow her passion, but she's resistant, not knowing herself what she wants to do with her life. That is, until Isabelle (Sarah Jessica Parker) offers them the chance to work a ballet event, and Santana's past comes out.

I am glad to see Kurt is still working part-time for Isabelle. After his acceptance in NYADA, it looked like we might have seen the last of her. Parker fits wonderfully into the series, and provides a great recurring part. I hope she remains in this capacity for the next couple of years.

Santana is a tough nut to crack, and Glee isn't about to make it easy for her friends to help her. However, she also is very in-touch with her feelings, going back into her past, as well as that of the others, in "At the Ballet." This is a great way to explore that background, while staying true to the persona created, even if the song is a bit boring.


I also like that Santana doesn't know what she's going to do. Many young people don't after high school, and it's satisfying to see her struggle with this, frustrated at others' pushes for her to define herself. This will be an ongoing process, and hopefully Santana remains in the cast at least until she figures things out.

It's not hard to imagine there will be some casting shake-ups for season five (Glee was recently renewed for two more seasons). Santana, Kurt, and Rachel seem stable in New York, and hopefully Blaine, at least, will join them next year. But it's time for most of the other alumni to move on.

Finn (Cory Monteith) will probably still be a player going forward, and if he stays at college with Puck (Mark Salling), that provides room for both of them to continue. It is highly strange that Finn isn't participating with Will in "Lights Out" throughout the whole hour, preparing for Regionals, just after they get their partnership on track last week, but that could be due to outside influence, since Monteith recently entered rehab, missing filming the end of the season. One assumes that Finn will continue to work at McKinley, picking up this story next year.

However, this may be the end of the road for lesser-seen characters this year like Mercedes (Amber Riley) and Mike (Harry Shum Jr.). They can still guest star, like Quinn (Dianna Agron), but there doesn't seem to be reason to keep them contracted if they're not going to be used. The same could also be said for graduating seniors Sam, Brittany (Heather Morris), Artie (Kevin McHale), and Tina (Jenna Ushkowitz), unless new purposes can be found for them.


This would make room for new main characters, such as Ryder, Marley (Melissa Benoist), Jake (Jacob Artist), Kitty, and Unique (Alex Newell), who have been in just about every episode this year, but remain on the guest list. These five are the future of Glee's McKinley arcs, and deserve the promotion.

Which leaves side players like Joe (Samuel Larsen) and Sugar (Vanessa Lengies). They have been absent for the past few installments, including during times where they should be present or mentioned, but aren't. It's OK if Glee wants to cut them, since they aren't main characters, and there is precedent for such drops, most notably the unjust and regrettable way Zizes (Ashley Fink) departs. However, it would be nice, after logging more than twenty episodes apiece, if they get a good sendoff, rather than just disappear.

"Lights Out" is a filler episode, which provides some fun songs, but only a little development. As such, it sparks musings of larger issues, rather than speculation on its own merits. We need these every once in awhile, but they will never be favorite installments.

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

Sweet Dreams for Glee

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

FOX's Glee is all about sweet dreams this week, as Rachel (Lea Michele), Finn (Cory Monteith), and Marley (Melissa Benoist) each realize a long-held desire. Mixed with mostly great music, "Sweet Dreams" manages to be a decent installment, even if there are some pretty big plot holes in one of the threads.

First up, we'll go with the best story in "Sweet Dreams," and that belongs to Rachel. Rachel's Funny Girl audition is coming up, and she searches for the perfect song to sing. She considers doing Babs, of course, but her mother, Shelby (Idina Menzel), returns to give her some advice. Shelby thinks Rachel needs to do something different and stand out. Finn agrees, telling Rachel to perform a song that means some thing to her.

This is the best use of Shelby in quite some time. Shelby's stories have always been very uneven, but "Sweet Dreams" drops her in to play the loving mother and wise mentor. She isn't bossy, doesn't get in the way, and ends up being very supportive of Rachel. Plus, the gals get to duet a touching rendition of "Next to Me."

I hope Shelby starts to show up on a recurring basis in a similar capacity as to the one she provides this week. She could finally be a good addition to the series, unlike in her last arc, in which she slept with a student, and which got pretty ridiculous.

Rachel's audition song is "Don't Stop Believin,'" and for it she imagines Finn, Kurt (Chris Colfer), Mercedes (Amber Riley), Tina (Jenna Ushkowitz), and Artie (Kevin McHale)--the original glee club--providing backup. Obviously, Rachel has to sing all of the words herself, since the others are only in her head, and she changes the melody enough just to give it extra oomph. But it's awesome to see her go back to her roots, and the nostalgic-filled sequence, complete with the original costumes, hair styles, and camera shots, is a memorable moment for the series.

Will Rachel get the part? I don't know. She is very young, and it could interfere with her studies. On the other hand, there are other young people performing on Broadway, and it might make a nice summer filler for her. I could see this story going either way, though I think she'll get it. Hopefully, should I be wrong, getting the callback will be enough of a triumph for her.

It is nice to see Rachel and Finn getting along again. They will probably be back together eventually, but Glee is in no hurry to make that happen, nor should it be. Rachel and Finn are still immature; they haven't yet charted their own courses. Once they get their lives on track, then there will be time enough for a rekindling of romance.

Finn is dealing with his dream by enrolling in college. Mysteriously, Lima suddenly has quite a nice looking institution that accepts Finn mid-year. And Puck (Mark Salling) just happens to be Finn's roommate. Also, the college is a heavy party school, complete with multiple Harlem Shakes, and not only do the guys live it up, they sing a rockin' "(You Gotta) Fight For Your Right (To Party!)" that gets them instant membership in a fraternity.

I don't see Finn allowing himself to get distracted so easily, even with Puck around. I also don't like the television trope of a local university all of the sudden showing up, especially one that looks like a respectable school, not a low-rent community college. The frat stuff is just plain dumb.

Puck suddenly has a change of heart late in "Sweet Dreams." After encouraging Finn to have a good time, he tells his best friend to get on track and concentrate on his studies. This comes out of nowhere, and is the opposite attitude displayed earlier in the hour. It is cool to see Puck supporting Finn, and I like to see the two of them together, but since it is out of sync with earlier events, the moment doesn't work.

While Finn is adjusting to school, Will (Matthew Morrison) approaches him to make things right between them. Finn reacts with anger towards Will, which makes no sense. Finn is the one who did wrong, and should just be happy that Will is finally able to accept his apology and move on. What right does Finn have to be mad?

Eventually, Finn and Will make up, after a very unprofessional and out of character rant towards the New Directions from Will, and they return to coach the club together, as partners. Finn hasn't earned the right to be a partner yet, and I'm surprised the college is allowing a student who is blowing off tests to take on an outside project. But that's how the story goes, apparently. The resolution is somewhat good, but everything leading up to it stinks, lacking any sense of logic.

Also, since when did Regionals happen so late in the school year? In the past, it's been shortly after Valentine's Day. Story-wise, we're quite a bit past that point. This also makes no sense, and likely means that the New Directions won't reach Nationals this year, there being not enough time left to have one lead into the other.

My biggest question though is how they're going to deal with graduation. Are they going to skip a couple of months ahead, or just pretending Regionals happens right around commencement time?

The New Directions are in good shape for Regionals because Marley is finally ready to bring out the original songs she has been penning. I like this plot twist for her, and it feels a lot more natural than Glee's earlier attempt at original music, written by the group hours before taking the stage, and still sounding OK. This development just fits her part so well.

Marley is a soulful individual, and it doesn't really come as a surprise when she admits to being a budding song writer. Although some of her classmates' strange behavior post-shooting, such as Sam's (Chord Overstreet) invention of a "twin" brother Evan Evans, doesn't make sense, Marley's story does. Plus, it's a catalyst for the story to move forward.

Even better, the music is pretty decent. We hear two of her compositions in "Sweet Dreams, "You Have More Friends Than You Know" and "Outcast." Neither are super memorable on their own, but they sound totally in synch with contemporary music and the stuff the New Directions routinely performs. I don't think Glee albums will suddenly get much radio play, but at least it feels tonally in keeping with the rest of the series.

Lastly, new Cheerios coach Roz Washington (NeNe Leakes, returning now that she's done with The New Normal for the season) gets suspicious of Sue's (Jane Lynch) departure from the school. She thinks Blaine (Darren Criss) has something to do with it, which is way off base, but it does cause Becky (Lauren Potter) to slip enough for Blaine to get an uneasy feeling, too.

I don't think that Roz will be the one to solve the Sue mystery, but that's okay. Her presence and character are a fitting placeholder during Sue's absence. I didn't realize I missed her until she appears again in "Sweet Dreams," but it will be interesting to see if she's allowed to do anything in her new role, or just warm Sue's seat.

Blaine, on the other hand, will likely be the tool that fixes the Sue problem. As stated in last week's review, I hate to see Becky take the fall, but Sue's name needs to be cleared. Blaine acting as the detective is consistent with other plots he has had this season, and allows main characters to be the agents of change, rather than a guest star. I think this is definitely the right way to go for this arc.

So, despite some major missteps in the Finn/Will story, "Sweet Dreams" manages to be a solid installment of Glee. We have movement on several fronts, at least four of the five songs are enjoyable, and the characters are finally growing pretty defined this season after years of strange twists that didn't make sense. Four years in, with only the February sweeps episodes this year being terrible, Glee may be finding its footing and charting a great path for the next two seasons (at least), for which it has already been renewed.

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

The New Normal Slightly Too Normal in Season Finale

Article first published as The New Normal Slightly Too Normal in Season Finale on TheTVKing.

NBC's freshman sitcom The New Normal completed its freshman run with a pair of episodes this week, "Finding Name-O" and "The Big Day." While not exactly a two-part story, these installments do flow well together, as Bryan (Andrew Rannells) and David (Justin Bartha) talk about baby names and prepare for their wedding, and then see the birth of their son and say their vows.

My issue with the episode, especially "The Big Day," is that The New Normal follows the traditional sitcom tropes. Right as Bryan and David are getting ready to say "I do," Goldie (Georgia King) goes into labor. Not only is this not the first show ever to have such an occurrence happen, it's not even the first series in the past month to use the scenario. As such, it feels completely stale and rote.

But maybe that's a good thing. The New Normal wants to show that an extended family, including two gay men raising a child, is just as typical as any other clan. By using such a familiar, played-to-death scenario for their year's final half hour, they seem even more like other programs on television.

However, I like to think they can do a little better, and they often do. There is plenty of sweetness and originality present throughout the first year of the series, including in these two chapters.

For instance, I love that Goldie decides not to go back to Clay (Jayson Blair) before the end, avoiding a predictable summer cliffhanger or a retread of a romance we've been shown is dead. Clay really is trying to change and be there for Goldie and Shania (Bebe Wood), but he has a lot to make up for. Someday, he may earn his place back at Goldie's side, but for now, it would be foolish of her to reconcile with a lazy, irresponsible ex, and she wisely chooses not to.

What's more, she is encouraged not to by those around her, who love and care about her. Sitcoms are the breeding ground for families made up of friends, which is sort of an artificial concept. The New Normal makes it feel authentic, though, and by reminding us how much Goldie has touched everyone's lives, and how much growth has happened for the characters this year, we see that this show will allow change and development much more so than many of its peers.

I also think it's important to have such a wonderful example of a steady gay couple on television. Bryan and David love each other, and even when the bicker, they both compromise to go out of their way and keep their relationship strong. This not only sets a great example for young gay viewers, but also may help the more closed-minded members of our society dispel some ugly and untrue myths about homosexuals, which linger mostly among the older generation.

The character that speaks to that the most is Jane (Ellen Barkin), of course. Jane arrives on the West Coast with some stubborn, Mid-Western opinions. (Disclaimer: I live in the Mid-West, and these are far from universally shared). After a little exposure to people outside of her small community, she sees that she is wrong, and she now understands a different point of view. She'll continue to be grump and coarse and have great one-liners, but she's a different person than in the first episode, and has become sort a role model.

The New Normal is hilarious, and there are plenty of funny moments in "Finding Name-O" and "The Big Day." Most of them involve the grooms' mothers (Jackie Hoffman and Mary Kay Place), who are both hilarious in their own right, and in totally different ways. We also get the return of Michael Hitchcock and John Benjamin Hickey.

The show is serious and touching, too. Among the best scenes in these episode are when Bryan and David agree on a name, Jane thanks Goldie for bringing her out to California, Jane and Rocky (NeNe Leakes) party together at the wedding, and when "Beautiful Boy" plays during the rush to the hospital for the baby's birth.

It does such a bit that Jane is not included in the beach wedding. I wonder why that was done.

I do wonder if there will be any objection from the Catholic community that a priest ends up performing the gay wedding ceremony. The Catholic Church is definitely an institution that is well behind the times on such issues (another disclaimer: I was raised to be Catholic), and it's fantastic to see someone playing a priest push for change in his own small way, but I could see some being upset about this. However, those are probably also the same people who wouldn't watch this show in the first place, so hopefully bad nothing comes of it.

The first year of The New Normal is relatively strong over all, with wonderful characters and heart-warming stories, and I look forward very much to a second batch of episodes next fall. If the show gets picked up, that is, which it deserves to be, but that is very much up in the air at this point. If you've enjoyed it, as I have, feel free to encourage NBC to renew The New Normal.

Is The New Normal normal?

Grade: 89%

Coming to NBC next week is a different kind of family sitcom. THE NEW NORMAL is from the minds of Ryan Murphy (Glee, American Horror Story) and Allison Adler (Chuck, No Ordinary Family), and takes what Modern Family does a step further, with an edgier, less traditional clan.

In 2012, we all know that not all families look the same, but our television shows still do not reflect the large diversity that is out there. THE NEW NORMAL may be quite specific, making their situation less relatable, but it’s the oddness and quirkiness that should prove entertaining. Also, seeing a group of people in such an untraditional situation may help many find this familiar, even if their circumstances don’t mirror exactly the mixture shown on screen.

The premise is this: A young mother named Goldie (Georgia King, Little Dorrit), who had daughter Shania (Bebe Wood) as a teenager, is tired of putting her dreams on hold and relying on her bigot grandmother, Jane (Ellen Barkin, Fear and Loathing in Las Vegas, Drop Dead Gorgeous). Jane raised Goldie after Goldie’s own mother, who also gave birth young, split. After Goldie catches her boyfriend cheating on her, she gets the courage needed to make a change. This leads her, with Shania in tow, to the strange land of California.

At the same time, a gay couple named Bryan (Andrew Rannells, Girls, The Book of Mormon) and David (Justin Bartha, The Hangover), are ready to start a family of their own. Armed with eggs provided by Abby (Gwyneth Paltrow, Glee, Iron Man), their first attempt is a misstep. But then they meet Goldie, and decide she is perfect. After she agrees to serve as their surrogate, they offer to help her with her goals, much to the dismay of Jane, who has by now tracked them down.

The writers of this show clearly know what they’re talking about. Adler, herself, has gone through the surrogate process, and both creators are gay. The situations and characters they’ve created here feel only slightly exaggerated for television, and are definitely well-defined enough to tug the heartstrings. Bolstered by a terrific cast, the first episode, at least, is a sweet story with a lot of potential.

THE NEW NORMAL does not play to stereotypes too much. While sometimes the characters act exactly as one might expect they would, this isn’t always the case, and there are layers and motivations behind the various decisions they make. For instance, Jane isn’t just a bigot because she’s old. Her husband cheated on her with another man. It’s no wonder, then, that she is uncomfortable around gay people, her personal experiences clouding her overall opinion.

As to why she also is racist, well, that isn’t clear yet. We do know that the guys have a gal named Bryan has an assistant named Rocky (NeNe Leakes), and Jane doesn’t like her, either. But that’s something to explore another day.

Those familiar with Murphy’s other recent work may be expecting a song-less Glee, but hopefully this will not be the case. Glee proved that even if a good pilot is delivered, the story can still be wildly uneven, airing terrible weeks right after great ones. It will be interesting to see if, with a smaller cast, and without the structure that songs necessarily build into the story, Murphy can maintain a high quality. He did it with American Horror Story last year, albeit in a different genre entirely.

All in all, THE NEW NORMAL looks to be a fun new series that feels fresh and different from the standard fare. This opinion could change as the season unfolds, but it has made a good first impression, and on television, as in life, that is extremely important, and not always easy to do.

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.

Glee doesn't "Choke" as season draws to a close

This week's Glee is called "Choke," a title that applies to different characters in different ways. Rachel (Lea Michele) and Kurt (Chris Colfer) finally get their NYADA audition, and one of them bombs it. The girls are ashamed to learn that their jokes about Bieste (Dot-Marie Jones) being domestically abused turn out to have hit on truth. And Puck (Mark Salling) contemplates dropping out of high school just before graduation, but if he decides not to, can he even pass?

Among the other weighty topics Glee takes on, spousal abuse is a strange one. Because much of the action of the series takes place at a high school, a look at home life is limited, and this is one crime that goes on mostly behind closed doors. However, as usual, Glee writes the pathos well, and Dot-Marie Jones nails the part of battered wife with amazing sincerity and heartbreak. The story may feel a little cheesy and forced into the larger arcs, but there should be no complaint about the level at which the scenes are performed.

Why, oh why, did "Choke" have to ruin Bieste's happy ending, though? She is introduced as a character who has a hard time finding a man. Then Cooter (Eric Bruskotter) comes along, and he seems perfect for the football coach. The two have a whirlwind romance, and are soon married. But now, it turns out that Cotter hits women. It's a heartbreaking and unexpected twist for the lovelorn Bieste, and certainly one that she doesn't deserve.

Of course, no one deserves domestic violence. And in Bieste's situation, having waited so long for a man, she is even less likely than most to leave her guy. By the end of "Choke," Bieste has returned home to give Cooter a second chance. While the odds are stacked against Bieste to find love again, given how long it takes her to do so the first time, no guy is better than a violent one. Plus, she is a very sweet woman, with a huge, caring heart. Surely someone else will see that eventually.

A nice part about Bieste's plot is that it also involves Sue (Jane Lynch) and Roz (NeNe Leakes). Roz is annoying until "Choke," when she suddenly becomes relevant. Also, by labeling the two as black Sue and original recipe Sue, there is a great dynamic between the pair. Sue and Roz stand up for Bieste, giving her friends; a support system. Bieste doesn't make use of their help, but hopefully, in time, she will. At least she has people she can turn to.

The rest of Bieste's subplot, which involves several of the high school girls singing to her, isn't as good as the dialogue-driven scenes. A truncated version of "Cell Block Tango" is fun, but that song should never be cut down. It loses some impact with only two verses. This is followed up with a more emotionally successful "Shake It Out," though it's too bad Glee doesn't go with the up-beat version of the tune. Yes, the characters are sad, but they could be inspiring without being boring. Luckily, the interspersed scenes with Bieste save this ballad.

At McKinley, the legendary Carmen Thibodeaux (the just-as-legendary Whoopi Goldberg) arrives in "Choke" to see if Kurt and Rachel have what it takes to join her first class at the famous NYADA school. The gravitas Goldberg brings just by appearing on screen in this part is impressive. Perfect casting!

Kurt ditches his rehearsed, safe "The Music of the Night" in favor of "Not the Boy Next Door." Having dancers on stand by and a fitting costume under rip off dress wear proves this is a decision Kurt considers before implementing it at the last moment, but that takes away nothing. This isn't the best song Kurt has ever done on Glee, but it's damn good, and should secure his spot under Ms. Thibodeaux's tutelage.

Dot-Marie Jones may win the MVP award for "Choke," but Lea Michele comes in a solid second. She crashes and burns while trying to perform "Don't Rain On My Parade," a Glee classic fans may remember from season one, and a tune Rachel has been practicing since childhood. Nerves are real and can strike anyone, even a born diva like Rachel. It's an earth shattering moment, as she watches her dreams crash and burn. That's probably why she gets worse as she gives it a second go, sensing her end is nigh, and devastated by the reality of the situation.

But Rachel's break down doesn't end there. Michele redeems her vocal talents with a tearful "Cry." If only the NYADA judge could see that, Rachel would ace her try out!

What will she do now? Certainly not give up. That's not like her at all. Surely she will formulate a come back scheme. Which should fail, because Rachel working as a struggling actress could be quite fun.

Finally, "Choke" sees Puck loudly vow to drop out of high school with a rocking "School's Out." It's a great number, but doesn't entirely fit. It feels like this isn't quite the direction the writers want to go with Puck, but can't resist such an alluring song.

Puck soon rethinks his ways after seeing his deadbeat dad (Thomas Calabro, Melrose Place), and asks his friends to help him study. Which they do while singing an updated "The Rain in Spain." Yet, Puck fails the test, and thus the class, anyway.

Poor Puck. He wants to do well, but doesn't want to show that he cares. His efforts are too little, too late, but that doesn't mean that anyone wants to see him without a future. Puck will probably never go to college or be rich, but he could build himself a respectable life, if he chooses to. It's too bad his efforts are half-hearted. Although, this might mean he could stick around for season four


Glee continues its build up to graduation Tuesdays at 8 p.m. ET on FOX.

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 - "Choke" on Blogcritics.

Do you love Glee? "Yes/No"

      FOX's Glee returns from Christmas break with "Yes/No." After seeing Coach Beiste (Dot-Marie Jones) has eloped, Emma (Jayma Mays) grows anxious for a proposal from Will (Matthew Morrison), who asks the New Directions to help him craft one. But a conversation with Emma's parents (Don Most and Valerie Mahaffey) leaves him doubting whether or not Emma is ready for marriage and a family. Love is in the air for the kids, too, as Becky (Lauren Potter) sets her sights on Artie (Kevin McHale), Mercedes (Amber Riley) tries to pick a guy, and Finn (Cory Monteith) thinks about his future with Rachel (Lea Michele).

     Many did not expect Will to actually pop the question to Emma in "Yes/No." First of all, talking to her parents is a colossal mistake, which he should realize, considering their disastrous first meeting. The fact that he would listen to such mean, spiteful people, and take their words to heart, is completely unacceptable. After two and a half seasons of dancing around each other, fans would have been justifiably upset if Will or the writers had used this as an excuse to delay the union any longer. Thankfully, that doesn't happen. And Will's ability to quickly see the truth of the matter, and deliver his wonderfully elaborate proposal, should prove that they are meant to be together, and will last as a couple.

     The feelings between Will and Emma are always there, even when Will is trapped in a horrible marriage. Once freed from those bonds, Glee takes a detour. Which, since this is television, after all, that's not only acceptable, it's expected. What is unexpected, and more than acceptable, is allowing the pair to culminate that romance into something permanent so quickly! After all, Glee is only midway through season three, and many shows keep these things going on for years past that. So it's a joy that Glee goes another way.

     As for the attraction between Will and Emma, and Will's doubts, those are legitimate. Emma does have a debilitating condition that cannot be ignored. Perhaps she will be OK with mess once she has her own kids, but there's no guarantee of that; she might even grow worse. As such, they are definitely not ready to start a family, and it's great that Glee allows them to have a real conversation about it. But Will appears prepared to wait, and committed to helping Emma, who by her own right, is working on her problem. Progress will be slow, and any serious talk of kids before late season five is premature. However, "Yes/No" begins things on the right path.

     This little story leads to a wonderful musical number. Emma sings "Wedding Bell Blues," with Coach Beiste and Sue (Jane Lynch) backing her up. Emma only gets about one song per season, and this is her best yet. It's relevant, fun, and a good vocal showcase. Also, seeing Beiste and Sue in bridesmaid dresses, and making it appear that Emma has adult female friends, is wonderful. Perhaps Sue really wouldn't back Emma up in this way, but Sue does offer moral support, so that's cool.

     Other songs are done by the kids as they attempt to help Will stage his proposal. The "Moves Like Jagger/Jumping Jack Flash" mash up is OK, if a bit of fluff. It is more memorable for its choreography than melody. "The First Time I Ever Saw Your Face" is much sweeter, though admittedly sappy. However, it also gives some insight into other characters, including Santana's (Naya Rivera) deep love of Brittany (Heather Morris). And, of course, the one Will uses for the actual question, "We Found Love," is spectacular both aurally and visually, with a big synchronized swimming sequence. Excellent!

     It must be noted that while Coach Beiste may move a little fast in her relationship, already getting married to a character just introduced a handful of episodes ago, it is instant attraction between the two of them. Not to mention, Beiste has been waiting a long time for her man, and this one seems worthy. Viewers will surely only hope for the best between the pair, and have reason to be optimistic about the union.

     Will is not the only man to ask the big question in "Yes/No." Finn asks Rachel to marry him in a moment that seems pretty perfect. The girlfriend is shocked, and this episode does not reveal her answer. There are a number of things Rachel must consider. For one, she still has dreams of a Broadway career, and worries throughout Glee whether she can accomplish that while being with Finn. For another, they are still in school, and not even to college yet! Surely, that's too young! Her soulful "Without You" reveals that she has strong affection for him, but marriage is a huge step.

     It doesn't help that Finn is going through something that really doesn't have anything to do with Rachel. Finn tells Will that he is considering enlisting in the army, to follow in the footsteps of his war hero dad. But Will clues Emma, Burt (Mike O'Malley), and of course, Finn's mom Carole (Romy Rosemont), into the decision, and the adults confront Finn for a frank discussion. Carole admits that Finn's dad wasn't a hero, and struggled with addiction after a bad experience in the service, eventually dying from the condition. It's a shocker, but one a mother understandably keeps from her son while he's growing up. Finn is devastated.

     So is Finn's marriage proposal just his way of trying to give his future some meaning? Robbed of following daddy's path, might he just be clinging to something else? Or, perhaps not. Finn has to really look inside himself, searching for the thing that makes him special, and he feels that Rachel is that thing. Which is certainly endearing. Perhaps they are too young, but Finn's desire to be with Rachel comes from a genuine place, and is sincere. As to whether Rachel is ready to commit to him in that way, well, that remains to be seen. But since this is television, and there is at least one more season left for the pair, she'll probably say no.

     Glee doesn't seem to disparage military service in "Yes/No," but it does discourage it for the character of Finn. It's certainly not a decision to be taken lightly, and one that isn't right for most people. Hopefully no one will be offended by this scene of talking the young man out of enlisting. No offense seems intended, nor warranted.Instead, it calls attention to the harsh truth, less often spoken of, about our troops. Which is something worth exploring.

     Mercedes also struggles with her romantic notions in "Yes/No." Pursued by Sam (Chord Overstreet), Mercedes insists that what she has with him is just a summer fling, and she is over him, happy now with Shane (Lamarcus Tinker). But in "The First Time I Ever Saw Your Face," her thoughts go to Sam, not Shane. Does this mean that Sam is the one that she wants (hehe)? Probably, since Sam is a more central character, and unfortunately, despite Tinker's other respectable credits (Cougar Town and Friday Night Lights) before coming to Glee, he has been used practically not at all. Mercedes may choose Sam, but the real crime here is Tinker being wasted on Glee.

     If you didn't understand the "hehe" in the preceding paragraph, think of the lyrics in Grease. This is made a more obvious link by the rendition of "Summer Nights" Sam and Mercedes perform in "Yes/No." One wishes Glee took more liberties with the words to apply the number to the couple's actual doings. What is present, instead, is a version extremely true to the movie it comes from, with camera shots echoing the original. It's cool, and a well done homage, but it doesn't really give fans any insight into what actually happens between the two off screen, and that is something many long to see.

     A quick question, though. Since Sam has a letter jacket previously in Glee, why does he need to join the swim team to get another one? He is shown wearing it in season two, presumably because of his football stint. Even if he no longer owns the jacket, he could just buy another, right, without having to re-qualify for it? Sure, it gives a good excuse to bring in NeNe Leakes as Coach Roz Washington, an amusing, if unnecessary, bit part. But the logic behind this plot doesn't make sense. And surely Sam knows Mercedes well enough by now to realize that she doesn't care about something so trivial. Also, the Sam from season two would never be this superficial. It feels out of character. Though it does feel like Grease, which may be the point.

     During "Summer Nights," Kurt (Chris Colfer) is seen with the girls, while Blaine (Darren Criss) is singing with the boys. Yes, this seems logical. But Kurt complains to Blaine in a prior episode that Blaine considers him the girl in their relationship. Mightn't this be part of the reason? And really, what's so wrong with it?


     The final couple in "Yes/No" to get some meaty plot is Becky and Artie. Becky searches for the perfect man, aided by an awesome, overconfident inner narration spoken by none other than Oscar winner Helen Mirren! This is explained by Becky stating that she can sound like whatever she wants to in her head, a true statement, and done wonderfully by the great actress. There can be no complaint about Mirren's role, and one is happily surprised that she enthusiastically took the part.

     Back to the central issue, though, Becky wants a guy. She chooses Artie because he is handicapable, like her, and cute. Artie goes along with it at first, because he finds he likes spending time with Becky, and he doesn't want to be rude. But he does eventually tell her that he just isn't interested in anything more. With typical swagger, Becky walks away from him, leaving Artie feeling bad, and Glee viewers with a broken heart. Not that anyone expects or wants Artie to be with Becky. But the poor girl deserves to be happy!

     The thing that is cool about the character of Becky is how she is treated as such an average student by Glee. Name one other television series that lets someone with Downs act like anyone else, sharing the same hopes and dreams, and almost never makes the character's story about her condition? Becky not only soars as an individual, she's an inspiration and role model for millions of people who share her ailment. She doesn't let it define her life. Yes, it's ridiculous to heap accolades for this fact in 2012, as it should be done everywhere, and it's almost criminal that Glee is the only series to truly tackle the issue in a realistic way.This is one of the reasons that Glee deserves respect, even if one does not care for cheesy musical numbers. Not to mention, actress Potter is fantastic in the part.

     What's more, the character of Sue is probably at her best written in "Yes/No." Besides her involvement in the Emma situation, she also offers support to Becky. Sue confronts Artie, but in a caring way, not a bully way. She advises Becky. Sue is also there to comfort Becky in the end. Glee has opened Sue up before, especially around her deceased sister and Becky, as she has a soft spot for them. However, this is probably the most sincere and well developed Sue episode yet, and despite playing only a small role in "Yes/No," it's a wonderful bit of story. More Sue like this, please!

     Also, more Glee episodes like this, please! "Yes/No" mostly stays away from the familiar tropes, and the things that don't work. It allows for serious conversation, and stories that feel real and relatable. The characters have a level of authenticity that they don't always exhibit. The songs are pretty good, and accent the story, rather than distract from it. In all, "Yes/No" will stand as a shining example of what Glee can, and should, be.

     It does not appear that Glee will be releasing its third season in two seperate DVD sets this year, unlike the first two seasons. That's OK. It's really been unnecessary.

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


     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 - "Yes/No" on Blogcritics.