Check In For THE FLIGHT ATTENDANT

 Article first published as TV Review: THE FLIGHT ATTENDANT at Seat42F.

HBO Max began a new miniseries this week entitled THE FLIGHT ATTENDANT. It’s about a – you guessed it! – flight attendant, who works on international flights. On layover in Bangkok (pun intended), the titular airline employee hooks up with an attractive passenger. The next morning, she wakes up to find him clearly murdered in the bed beside her. She panics, cleans up the room, flees, and soon finds herself in a spiraling bad situation as the FBI, among others, closes in on her, even as she can’t remember all the events of the fateful night.

Kaley Cuoco (The Big Bang Theory) produces and stars as Cassie Bowden, the attendant in question. I wasn’t sure what to expect from an actress I’ve only seen in sitcoms. And while I’m not sure she’s doing more than she did in her previous work, this role is very well suited to her, and she plays it beautifully. Cuoco has the right amount of charm and magnetism to pull off making a character who, on paper, isn’t completely likeable and making you root for her. She is a natural and fitting lead here.

I like very much that THE FLIGHT ATTENDANT isn’t just about a person in the wrong circumstance. That’s part of the equation, sure, but Cassie’s continued poor judgment and destructive coping mechanisms (with a backstory slowly teasing out why she is this way) continue to make the situation worse as the episodes play out. Unlike in some similar works, the agents following her are far from incompetent, and suspect her pretty much right away, her bad behavior not going unnoticed. It’s the specifics of the situation that draw out the plot and keep things murky, not people who don’t know how to do their jobs, or a protagonist that is preternaturally smart.

The plot moves very quickly, with twists coming fast, but not too fast. THE FLIGHT ATTENDANT takes plenty of time to dwell on Cassie’s misfortune. A lot of moving parts and layers to the story keep the pacing moving, though, in a good way.

There are quite a few subplots and supporting players in THE FLIGHT ATTENDANT. Cassie’s best friend, lawyer Annie (Zosia Mamet, Girls), has a non-boyfriend who appears conveniently in the third hour. Her brother, Davey (T.R. Knight, Grey’s Anatomy), provides a bit of a ticking clock with an impending visit and his concern about her alcoholism around his children. Needy co-worker Megan (Rosie Perez, Rise) is involved in illegal activities of her own, which will surely come into play at some point. Federal agents Van (Nolan Gerard Funk, Glee) and Kim (Merle Dandridge, Greenleaf) have an interesting chemistry that seems effective. The dead passenger, Alex (Michiel Huisman, The Haunting of Hill House), haunts Cassie from beyond the grave, while his business partner, Miranda (Michelle Gomez, Doctor Who), closes in on her in reality.

All of this should be more than enough to sustain the eight-episode miniseries, even as it rushes along, and I’m intrigued by each piece of the puzzle. Solid direction, great acting, an eye-catching, globe-hopping setting, and more keep THE FLIGHT ATTENDANT entertaining and mysterious.

My only complaint about the show is its misuse of music, the dark, heavy themes distracting from the action itself, hurting rather than helping the story along. I also would have preferred to be able to binge the whole thing at once; as soon as I began the first of three initially-released installments, I couldn't stop.

Those gripes are relatively minor, though, and I look forward to finishing the series over the next three weeks. This one is a lot of fun, so make sure you catch it, too. THE FLIGHT ATTENDANT episodes one through three are available now on HBO Max.

ARROW Reveals "The Secret Origin of Felicity Smoak"

Article first published as ARROW Review Season 3 Episode 5 The Secret Origin of Felicity Smoak on Seat42F.

This week’s installment of the CW’s ARROW, “The Secret Origin of Felicity Smoak,” finally reveals a bit of Felicity’s (Emily Bett Rickards) backstory as a mistake from her past threatens the city. We also meet her mom, Donna (Charlotte Ross, NYPD Blue), who is visiting town in the present day, shedding light on why Felicity is the way she is. It’s an enjoyable look at a character finally getting her due.

I often find ARROW spends too much time on its lead. Oliver (Stephen Amell) may be the title character, but the frequent glimpses of him during his missing five years have become stale and forced. It is an essential part of the series’ structure, but it doesn’t have to be. Giving others, such as Felicity, a turn with the focus makes for something fresh and welcome. I wish ARROW would do more episodes like this one, which, while not serving the greater mythology all that much, is one of the most enjoyable of the season so far.

The hour begins with three training montages of various combat techniques, then flips over to Felicity, doing a few sit-ups in her apartment. This is designed to display the contrast between the show’s many warriors and its ‘normal’ person, an effective way to highlight how different Felicity is. She’s part of the team, yes, but she’s not a part the same way as anyone else, giving her unique value that cannot be overlooked.

That commentary would be enough, but her morning quickly morphs into laugh-out-loud comedy as her boss, Ray Palmer (Brandon Routh), bursts in to find her in a rather embarrassing state of early-morning-mess. Then, Felicity’s mother shows up out of the blue, meeting Ray and generally adding to the chaos. It’s hilarious and a good way to use Felicity, who is much more than comic relief, but can clearly be that, too.

From there, “The Secret Origin of Felicity Smoak” takes a turn into a more dramatic arena. We see Felicity during her goth / hacktavist phase in college, hanging out with her boyfriend, Cooper (Nolan Gerard Funk, Glee), and his roommate, Myron (Matthew McLellan, Tied). This is a rather tragic tale, Cooper ending up in jail and presumably killing himself, which leads Felicity to clean up and go straight, becoming who she is. Which is a kickass, strong woman who can take care of herself when captured by the not-dead Cooper, who is using Felicity’s custom-made virus against the city.

It’s hard to imagine the Felicity of season one disarming Cooper and knocking him on the ground, indicating there has continued to be transformation past the college days, Felicity’s personality not fully decided in the flashbacks. She has benefitted from working for Team Arrow as much as Team Arrow has benefitted from her skills. She has really come into her own, and while I don’t see her going superhero anytime soon, she’s an independent lady who deserves attention and respect.

Bringing Donna into the episode further deepens our understanding of Felicity. Donna can’t see herself in her daughter, and it’s true, there are many differences. But Felicity loves her mother and does get something from her, a revelation Felicity relays to Donna in an emotional scene. All around, excellent episode for the character of Felicity.

While Felicity is the main meat of the episode, there are other subplots. Oliver moves in with Thea (Willa Holland), making steps towards repairing their sibling bond, though Malcolm Merlyn (John Barrowman) doesn’t seem happy about it, likely not wanting Thea to rely on anyone but him. Laurel (Katie Cassidy) struggles with her anger issues and finally talks to Ted (J.R. Ramirez) about what’s bugging her, so she may finally begin to heal as Ted helps her channel her anger into something productive. And Roy (Colton Haynes) is revealed to be Sara’s killer.

This last thing is not straight-forward. The action goes totally against the person Roy is. Was he being mind-controlled? Are these implanted, false memories, and he didn’t do it? There are a number of possibilities, but there is no way Roy knowingly murdered Sara, so that’s an enticing mystery begging to be solved.

“The Secret Original of Felicity Smoak” is far from perfect. While the main plot and subplots are solid, there are flaws in the episode, small ones, but numerous. Why does Felicity ask her mom where the baby is when she already sees her mom without the baby prior to that scene? Why is Diggle back in the field when he said he didn’t want to be? Why is he wearing a dumb ski mask? Isn’t Ray going to say anything about the number of days Felicity takes off? There are plenty more things besides these, some genuine flubs and some just strangeness, but unfortunately, combined they drag down the quality a little bit on a very entertaining series.

Still, overall, good job.

ARROW airs Wednesdays at 8 p.m. ET on the CW.

Ending Far From AWKWARD.

Article first published as Ending Far From AWKWARD. on TheTVKing.

MTV's Awkward. has easily been, hands down, the best series the network has ever produced. This week, the third season ends with "Who I Want to Be," which also marks the last episode helmed by creator Lauren Iungerich. The hour-long installment, double the length of the typical episode (as was last week's penultimate), fittingly brings central character Jenna (Ashley Rickards), and others, full circle. It could easily have served as a series finale - though Awkward. will continue on with a new showrunner next year.

Awkward. begins with a letter. Jenna's mother, Lacey (Nikki Deloach), anonymously sends her daughter a list of things to change about herself. The author is the mystery of season one, and Jenna is quite effected by the words. When it comes out that Lacey is responsible, it almost ruins Jenna's parents' marriage, and fractures the relationship between mother and daughter.

The story has moved past that, but it's appropriate to bring it up again now. Jenna has undergone quite a few changes this year, going through a phase where she cheated on her boyfriend and fell out with her besties. In "Who I Want to Be," she has mostly succeeded in rebuilding what she destroyed and is trying to figure out the type of person she should be going forward. This letter is part of her growth, a catalyst really, and she considers it along with her answer, as she should.

Lacey finds Jenna reading the letter and the two have a moving heart-to-heart. They've suffered tribulations together and come out the other side stronger than ever, both individually and as a pair. It's a reflective scene which really tells us who the women are, how far they've come and what they mean to one another. Both actresses do a terrific job with this emotional stuff, and many viewers will likely be moved to tears by the result. I dare say this may be my favorite moment of the year, if not the show as a whole.

Jenna's introspection comes because of an assignment from Mr. Hart (Anthony Michael Hall). Although the teacher seems grumpy and abrasive, if not downright cruel, at the start, there's something really cool about the way he and Jenna connect, and how he pushes Jenna to do her best work. She has talent in the field of writing, and he knows how to manipulate her to bring out the best. That, combined with the experiences Jenna has had, allow her to figure out both what to put and how to act. I hope this dynamic continues, as Jenna still could take things much further.

A lot of Awkward. has concerned Jenna and boys, which is expected for a story about a teenage girl. First she was with Matty (Beau Mirchoff), then Jake (Brett Davern), then back with Matty, then Collin (Nolan Funk), the latter being a physical attraction only. And part of "Who I Want to Be" does find Jenna pining over Matty, who she has not gotten over. She wants him to ask her to prom and he doesn't.

But that's not all Jenna is. Some girls may pin themselves to a guy, however, there is more to Jenna. She gets to tell Collin off in a triumphant moment. She tells Matty the door is still open for him, but she also knows she's survive, even thrive, if he never comes back to her. Then, even better, she dances by herself at the prom, happy and confident, not needing anyone else. This doesn't mean she's lonely; in fact, she's never been more solid with her loved ones. It just shows that she's a full individual who has accepted herself and is ready to move on to the next chapter of her life, whatever that may be.

Jenna isn't the only one who's blossomed. Ming (Jessica Lu) has found her confidence and her place. Tamara (Jillian Rose Reed) and Jake have bliss. Lacey regrets mistakes she's made because she's learned not to make them again. Matty is able to heal and enjoy himself with Bailey (McKaley Miller), a worthy date. Even Sadie (Molly Tarlov) has to smile, in love with a boy named Austin (Shane Harper), who gets her in a way no one else ever has.

"Who I Want to Be" is mostly about Jenna, though, as it should be. She's the heart of the show and the reason why we tune in. There's only been one brief period I didn't like her and had trouble relating (during this year's destructive phase), but the finale of this season makes that other stuff worth it. A person is not created already fully-formed, and over three glorious seasons, we've witnessed the evolution of Jenna. Beautiful.

Awkward. will return for a fourth season sometime in 2014 on MTV.

"What Happened" To Awkward.?

Article first published as "What Happened" To Awkward.? on TheTVKing.

After a first episode back that was positively painful, more because of events in the episode rather than lack of quality, MTV's Awkward. recovers completely with "And Then What Happened." Jenna (Ashley Rickards) is isolated in her room, not talking, and friends and family try to figure out if she and Matty (Beau Mirchoff) have broken up or not. Each person only has one piece of the picture.

I liked this episode because of the lack of lots of Jenna and Matty, not in spite of it. They are at a really terrible place in their relationship, Jenna having cheated on him with Collin (Nolan Funk). Who wants to be around a warring couple who had lots of ugly things to discuss? It's a dark time for them, and Awkward. is not really a drama, for the most part, so it's gratifying that the episode skips right over it.

Instead, the meat of the half hour involves all of the supporting and recurring players humorously piecing together the events immediately falling last week's climax and trying to figure out the pair's status. This includes not only Tamara (Jillian Rose Reed), Ming (Jessica Lu), and Jake (Brett Davern), as one might expect, but also Fred (Kelly Sry), Lissa (Greer Grammer), Clark (Joseph Haro), and even eventually Sadie (Molly Tarlov).

Many of these characters do not often get enough screen time. Clark isn't even shown in the previous episode, though he is worked well enough into the tale after the fact. Making them the center, and showing how they interact as a group without the series' main leads, is as enjoyable as it is interesting. There's a great dynamic among the cast as a whole, and I hope we get the opportunity to see them play together more often.

As this unfolds, we also have Lacey (Nikki Deloach) and Valerie (Desi Lydic) on the phone fishing for info, too. I enjoy the kids on the show a lot, but these adults are equally good, and it's sweet to see the friendship that has developed between Val and Lacey over the first few seasons. They're their own clique, both similar and dissimilar to the students, wanting to be involved, but also a little bit off on their own, too. The parallel between them and the teens is well formed.

"And Then What Happened" is a light-hearted romp, gleefully told out of order in little bits. I'm not saying Awkward. can't get too heavy, but when it does, as it did in the mid-season premiere, that should be followed up with something like this, an episode that doesn't take itself too seriously. This helps maintain the overall flip tone and sunny mood.

One of the elements I most appreciate about Awkward. is its realism, and, admittedly, "And Then What Happened" is a lot less realistic than most. The way Val and her bat lines up with Lissa, who is then trampled and put back in a neck brace is hokey. As is Ming's fascination with guacamole at the wrong time. Yet, because of the timing of the program, I find myself reluctant to complain, left thoroughly satisfied by the way this plays out.

The episode ends with the dissolution of the Jenna / Matty pairing. Matty thinks he can move past her mistake, given time, but Jenna decides just to call it quits. While this does not completely line up with the rest of the episode's presentation, being much more depressing, it does fit because, after all the musing, it's time for some answers. It would have been rougher had Awkward. made its fans wait another week for resolution, so even the final scene feels right.

"And Then What Happened" doesn't necessarily fix all the mistakes of the previous week, and I feel like this half-season will be quite rocky, perhaps less happy than what came before. But as long as there are islands like this scattered through the churning sea, a place to relax and regroup, I think it will be viewed favorably overall.

Awkward. airs Tuesdays at 10:30 p.m. ET on MTV.

An AWKWARD "Surprise!"

Article first published as An AWKWARD "Surprise!" on TheTVKing.

MTV's Awkward. resumed its third season this week with "Surprise!" Tamara (Jillian Rose Reed) catches Jenna (Ashley Rickards) and Collin (Nolan Funk) making out, angrily telling Jenna to knock it off. Jenna knows that her friend is right, she should not be cheating on Matty (Beau Mirchoff). Matty's attempts to make Jenna's birthday special only make her feel worse, and he's not the only one with plans for the day.

I love MTV's Awkward. and have always been a big supporter of the series, telling many friends about it and swaying lots of people I know to give it a try. That being said, I am really hating the Jenna-Collin storyline. It would be one thing if Jenna was torn between two guys; that's happened on the show before legitimately. But cheating, as she does, is just wrong.

Jenna is the main character. We want to like her and root for her. When she goes this far off course, though, doing things most viewers will agree is wrong, it hurts her character. It's OK to have a crisis of faith and struggle to do the right thing. It's not OK to have Jenna knowingly carry on a wrong affair.

What "Surprise!" shows us is that Jenna and Collin's relationship is all about hormones. They can't keep their hands off one another long enough to have a talk. This isn't the basis of a healthy relationship, anyway, only the start of a hot tryst that will cool off as quickly as it is fired up. Knowing Collin isn't Jenna's true love, at least not without a lot of growth and change, makes Jenna's actions even more inexcusable.

Awkward. is a very authentic story of a teenage girl, and that's why I've always loved it. Yes, it's natural to think anyone in such a situation, all of the sudden having become popular and beloved because she has come out of her shell, could let it all go to her head and screw up big. That's probably why "Surprise!" takes us down this path, in keeping with what has come before it.

Yet, we also want our television leads to be heroic, even if only in small, common ways. Jenna having the sense to keep her hands off Collin, or to break things off with Matty first, are what we're looking for her to do, and as much as this other version does have lots of drama, a must for a series to stay interesting, it's the wrong kind of drama. It will take a lot for Jenna to come back from this.

Thankfully, her friends feel the same way in the little bits we've seen of them reacting to it. At the end of "Surprise!", everyone important now knows about the affair, so we'll probably see even more of this in the weeks to come. By allowing Tamara and the others to condemn Jenna, Awkward. may just provide itself a path through this dark stuff and onto better things. If nothing else, at least Jenna's behavior isn't glamorized or celebrated, so it's not like the writers are trying to convince us to think something we're opposed to.

Awkward. is still authentic and enjoyable. It's just really hard to watch Jenna act this way, making "Surprise!" squirm-worthy, too. It reminds me of why I can't watch the film Mean Girls because sometimes teenage girls just become completely terrible people for awhile. It's a phase many go through; I'd just hoped Jenna might be an exception.

Meanwhile, Ming (Jessica Lu) is undergoing a similar transformation, the power of being head of the Asian Mafia threatening to derail her being with Fred Wu (Kelly Sry). She doesn't really cross any lines, though, which I am most grateful for. Having two characters screw up royally right off the bat would not be a good way to start a run.

I must say I am still really, really enjoying Mr. Hart (Anthony Michael Hall). His crabby, witty lines definitely add some good humor to the proceedings. He's a terrific recurring addition to the cast.

Awkward. airs Tuesdays at 10:30 p.m. ET on MTV.

"Redefining" Awkward.

Article first published as "Redefining" Awkward. on TheTVKing.

How does a series such as MTV's Awkward. stay fresh three seasons in? After all, we've seen the lead character, Jenna (Ashley Rickards), date both of her possible guys now, so she can't just keep breaking up with each and bouncing back and forth. It has to figure out a new path that still feels like it's in the same vein, and that Jenna isn't going too far off into left field, but still keeps the plot interesting.

The season three mid-season finale, "Redefining Jenna," solves the problem by refocusing the show on Jenna herself. While it's fun to see her figure things out with Jake (Brett Davern) or Matty (Beau Mirchoff), whom she hooks up with is secondary to who Jenna herself is. Early season one episodes give us a peek into Jenna's psyche, and while this has continued, she, and the viewers, have been distracted by guys as of late.

Now, she has a chance to really determine what she wants out of life. Strong hints are dropped that Matty may not be intellectual enough for her, despite their physical attraction and how kind he is. New guy Collin (Nolan Gerard Funk) offers Jenna a different choice, someone who is not nearly as wholesome, but appeals to a side of her that isn't being served. This causes Jenna to stray.

Yes, many fans will be upset to see Jenna kiss Collin as it makes her a less likeable character. There really is no excuse for cheating, as her mother (Nikki Deloach) tells her, and it will be hard to look past Jenna's actions. But one can see why Jenna might decide to take this step, the thing with Collin not coming out of nowhere.

Unfortunately, Jenna doesn't live in a bubble, and Matty will be hurt when (not if) he finds out. This is the land of high school, were secrets cannot be kept, and once out, they spread rapidly. Someone will learn of Jenna and Collin's kiss, and at that point, it seems likely she will lose Matty, which doesn't seem to be something that Jenna wants.

It's is such a teenage indulgence to try to have it both ways. Jenna likes both Matty and Collin for different reasons, and high on her recent popularity and success in life, she likely feels powerful enough to try to keep both. Obviously, as those of us a little older, and hopefully wiser, can see, this isn't possible. She has to make a choice. No one is perfect, and she isn't likely to find everything she wants in a single man. But she has to figure out what is most important to her happiness and choose to devote herself to that.

Maybe neither Matty nor Collin (nor Jake) is the right person for Jenna. She's still in high school. Her world and the people in it are limited. She has little idea of what will happen when she leaves the safety of those walls. However, this is the time for Jenna to begin the journey towards determining who she is, and despite this kiss being a gigantic misstep, it's also a sign that she's making effort into figuring herself out.

Jake and Tamara (Jillian Rose Reed) are doing much better as a pair. They fight, sure, but they also really care about one another. In "Redefining Jenna," we see an example of an up and down in their relationship, and they come out the other side stronger. I don't know that I feel them as a permanent couple, but they are certainly doing fine at this point.

As far as Tamara realizing who she is, that has never really been a problem. Yes, she makes an error when she agrees to co-host the party with the Julies (Tru Collins and Meaghan Martin), but then she recovers from that misstep. To her credit, Tamara goes all out in throwing the shindig, and then quickly realizes what she is doing wrong and fixes it. She may fail, but not from lack of effort, and she is quick to correct mistakes.

Ming (Jessica Lu) finally gets to step up in a serious way these past few episodes, punching out Becca (Jessika Van) and being crowned the new queen of the Asian Mafia. It's great to see someone who previously mostly hangs out in the background take such a central position, and the implications of this subplot should not only push the series further into ensemble territory, usually a welcome development as a show ages, but continue to provide much comic relief.

Similarly, Lissa (Greer Grammer), usually just a sidekick to Sadie (Molly Tarlov), is briefly the focus when she admits that she thinks she killed Ricky Schwartz (Matthew Fahey). She very well could have, but is assured that she isn't responsible, and she's intellectually challenged enough to take such assurances to heart. Thankfully, though, we get to see her a bit more, and Grammer gets to play another side of the character.

This scene allows Sadie to show that she does care about someone else, no matter how poorly she usually treats Lissa. This season has been a major turning point for Sadie, her parents and money gone, and she finally realizing how few friends she has. Sadie feels alone, which will only make her nastier. At least, though, she has a chance to preserve one relationship, and maybe that can be her lifeline to turn things around, as much as Sadie ever will, anyway.

I am very curious as to where things might so with Sadie and Matty, since Matty has also not abandoned Sadie. Their friendship is an unexpected delight, and hopefully they won't spoil it by hooking up. Even if they do, though, it's great that such bonds are developing away from Jenna, and any chance Sadie has to get more complex is always welcome, since Tarlov is one of the best parts of Awkward.

It's gratifying to see Awkward. get more episodes this season than in years past, as it is a thoroughly enjoyable, well written and performed series. However, given this mid-season break, the initial third season run feels really short and I will definitely be missing it until it comes back again, which it most definitely will. You're welcome.

"Dynamic Duets" do battle on Glee

Just about the only series to air a brand new episode on Thanksgiving, Glee avoided the holiday completely in the uneven "Dynamic Duets." Instead, the "Thanksgiving" episode is scheduled for next week. Did presidential politics screw up the schedule? And, if so, why not just air two episodes on Thanksgiving, getting things back on track, and filling the holiday void, especially since there were no other new episodes of anything else airing to compete with? Weird move, guys.

Sectionals is only a week away, so new interim director Finn (Cory Monteith) tries to figure out a theme for the New Directions. His Foreigner idea sucks. Bieste (Dot-Marie Jones) advises Finn to pay attention to the new superhero club that many of the students, and she, have gotten involved in. Finn does, asking the singers for "Dynamic Duets," and he finds acceptance as their leader.

Finn's plot is really well done this week. He is coming into his own, and Glee finally addresses the recent grads-acting-like-seasoned-adults problem. He also gets a really touching moment with Bieste, which, when combined with his sweater vest combo at the beginning of the episode, makes it feel a lot like Will (Matthew Morrison) has never gone. And yet, by the end of the episode, Finn realizes that he needs to be himself, in a subtle plot point. When he does, he begins to soar.

I guess that means that getting Finn to be the director that the New Directions is what it needed to prepare the group for Sectionals. They are days away, and they still haven't chosen their music. Yes, cohesiveness of the ensemble and having a defined dynamic are very important, but so are the songs themselves. In reality, groups spend months rehearsing the same pieces, not choosing their numbers at the last minute. This has been an ongoing issue with the series that continues to bug me here, even in the midst of a pretty good plot.

What gives me great hope for Sectionals is the final song of "Dynamic Duets," "Some Nights." It's an energetic, inspiring number that makes use of most of the members of the group. Rather than having a stand out star, like Rachel (Lea Michele) is for the first three seasons, the new New Directions rely on everyone to pull their weight. If "Some Nights" is any indication, they have really come together as a group, and have a great shot at the competition.

Except, where is Unique (Alex Newell) this week? I understand that recurring characters won't appear in every episode. And s/he didn't need to do the costume thing because his would have been a female, and that story would have felt like a retread of last week. But in an installment about embracing one's self, and the integration of everyone as one, having one of the most stand out members of the glee club MIA is an extremely glaring omission. Bad move, Glee.

What is really hokey about "Dynamic Duets" is the superhero theme. For viewers, it's great fun to see the characters in costumes, and the editing of the episode in the campy hero style, a la Adam West's version of Batman, is amusing. However, it would be extremely rare for a single high school student to have the guts to wear a cape and tights to school, let alone a whole group of them. It feels like a cheap gimmick, rather than a well developed arc. Not to mention, it will surely be shown only in this one installment, with no mention in episodes before or after it, making it completely ridiculous.

Luckily, "Dynamic Duets" is saved by the character development. First, there's Blaine (Darren Criss). The new captain of the Warblers, Hunter Clarington (Nolan Gerard Funk, Warehouse 13), tries to entice Blaine back into the fold with a blazer and a song, "Dark Side." Somehow, Blaine is tempted, even though it's one of the least memorable numbers the Warblers have ever performed, and his former arch-nemesis, Sebastian (Grant Gustin), is still a part of the group, albeit, less evil now.

Music aside, the real reason Blaine considers leaving is because he is down on himself. After cheating on Kurt (Chris Colfer), and never really allowing himself to feel accepted by the others, it makes sense for him to leave. It's part punishment, to help ease his guilt, and part melancholy. Thank goodness Sam (Chord Overstreet) is paying attention, though, because as soon as he steps in, Blaine not only begins to feel better, thanks in part to hokey good deeds that come out of nowhere, but it also leads to a terrific duet of "Heroes." Blaine is finally a full-fledged member of the ensemble in this episode, in a way he hasn't been all season, in the eyes of both viewers and the character himself.

It would be a crying shame to lose Blaine. He did a bad thing, but at the time, Kurt was driving him away. Plus, he has punished himself enough. At some point, Blaine has to begin to forgive. I think a large part of his alienation at McKinley this season stems from his negative view of himself because of the cheating, and it's nice to see him start to heal. Blaine is not a bad guy, and hopefully he will get a reunion with Kurt soon enough.

Speaking of Kurt, "Dynamic Duets" stays away from the New York setting entirely. It's the second episode this season so far to do so, and I have to admit, this is really working for Glee. I love seeing Rachel and Kurt's adventures in the Big Apple, but these scenes feel tonally like a completely different show.

I understand the hesitance to commit to a spin-off, putting two hours of Glee on television every week. And yet, whether the episodes take turns going back and forth (maybe with a higher season order of, like, 30 installments), or whether FOX can give Kurt and Rachel their own half hour in addition to the McKinley hour, or whether they come up with some other solution, I'd really like to see even more distance between them. It just flows better.

Back to McKinley, with the influence of Finn, and a little advice from Puck (Mark Salling), Ryder (Blake Jenner) and Jake (Jacob Artist) manage to bury the hatchet. This not only makes Jake more likable, as he pretty much stops straddling the line between good and bad, but it also gives Ryder a chance for some decent focus, proving Jenner can do better than he did in the previous two episodes. After a weak introduction, he warms up to the role more this week, and his chemistry with Jake is really great. Their duet, "Superman," is quite nice.

Jake and Ryder could easily become the new bromance of the show, and I hope that their friendship is pursued and deepens to the point where Marley (Melissa Benoist) won't come between them, whether she dates one of them or not. They are like Finn and Puck, but without the history, and less to build from. They may be different people, with different interests, but their hearts provide enough in common to start something sweet (and platonic).

On the opposite end of the spectrum, Kitty (Becca Tobin) is an absolute nightmare. Poor Marley thinks that Kitty is befriending her, and inadvertently, Kitty does help Marley. But the bulimia plot, handled better this week than last, continues to show Kitty's true colors. Even a hot version of "Holding Out for a Hero" cannot save her. Watch out Marley, because Kitty may be the most villainous student yet!

Which is a shame. Kitty has given a few hints already that she is not a completely terrible person. Such malicious acts as urging Marley to throw up her food ruin that. While minor characters on Glee are frequently cartoonish and over the top, the main ones tend to be relatively well developed. Kitty has the potential to be a central figure moving forward. To do this, we need to see what is behind her pain and hate, and begin to deal with it.

Speaking of discord, Tina (Jenna Ushkowitz) is feeling shafted again in "Dynamic Duets," as evidenced by her biting comment about Santana (Naya Rivera). I've never much cared for Tina, but it's easy to see why she doesn't think that she's considered a valuable member of the group. She hasn't shown the talent to deserve the status that she wants to be held up to, and, at the same time, her hard work over the years means that she deserves better than what she's getting. I actually do hope this boils over into a great Tina story, the first time I've ever wanted to see more of her in the four seasons Glee has done.

One last complaint; I do not like how Kitty and Ryder are inducted instantly into the New Directions, with no auditions and no discussion between the current members. Ryder definitely has an in, and could easily have joined the club in a short scene that makes sense. Kitty, on the other hand, really should have been better explained. Yes, she participates in the musical, but she acts like a jerk for most of it. Where is her campaign to convince the others that she deserves to be a part of what they have, and the secret reasons she would even want to be included? Finn claims they are added to get enough students to compete, but couldn't they have just brought in a couple of the second glee club from last season that seems to have disappeared?

The takeaway from "Dynamic Duets" is that it is a highly enjoyable episode while watching it, but it doesn't take much to find lots to complain about when looking even a tiny bit below the surface. The characters are great, but the writing needs work, with more connections shown getting from point A to point B, rather than making unsubstantiated leaps. I still think this is a good season, but, as usual, a few tweaks could make it so much more than good, if only they'd take the time to make them.

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

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episode I don't fully review, please follow me on Twitter! Article first published as TV review: Glee - "Dynamic Duets" on Blogcritics.