Glee finds its "Wheels"

     This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.

     Episode nine of FOX's Glee is "Wheels." Themes of equality and fair treatment are prevalent throughout Glee, but "Wheels" is the first episode that centers on the issues. From Artie (Kevin McHale) needing more wheelchair access, to Kurt (Chris Colfer) and Burt (Mike O'Malley) dealing with homophobia, to Tina's (Jenna Ushkowitz) stutter, to Becky Jackson (Lauren Potter) joining the Cheerios, to a girl on the wrestling team, "Wheels" is bursting with such stories. It's also a great episode for story, acting, and music.

     Equality is a tricky issue to tackle. It is certainly not fair that the school won't pony up the money for the New Directions to take a bus accessible to Artie to Sectionals. But neither is it fair that schools must spend so much extra money on a few children. The problems are the same with special education and non-English speaking learners. In these cases, financial inequality is needed to give the same opportunities across the board. One would never argue that children should not get equal access for risk of sounding like a heartless monster, but there does need to be some sort of balance, or all of the school's funds could be tied up for things that do not benefit most of the student body. That would be a problem, too.

     Funding comes from a variety of sources, and as Will (Matthew Morrison) rants against the unfairness of the Cheerios flying all over the country, Figgins (Iqbal Theba) points out that Sue (Jane Lynch) has boosters that pay for all of that. Is the booster system fair? Obviously, individuals working hard to raise money for a certain cause should be allowed to use it for their intended purpose. But when such a disparity exists in a system, such as the one between the Cheerios and New Directions, isn't it only right that some of the funds by siphoned off to other groups? Your point of view on the subject surely reflects political and social views, as both sides are arguable to some degree.

     One does have to wonder, though, how McKinley can afford special lighting in the choir room, as well as costumes, props, and a unique ramp stage for a glee rehearsal, but can't pay for a bus that is surely already owned by the district. In "Wheels," Will even finds the money to buy eleven wheel chairs! They are used, but have to cost some amount of money. Why not share a few instead of each student getting their own? The point would still be made. Perhaps this is a bit nit picky, but as much as the New Directions complain about not having funding, they sure look like that's not the case. Of course they must look good to drive up the production value of the show, and keep people entertained. But this contradicting with realism is a problem I wish would be addressed. Perhaps the group receives special grants that must be spent on lights and costumes?

     Money aside, isn't it illegal for McKinley to discriminate against Artie? There are laws in place to make sure students get fair treatment, and certainly one of them requires the district to provide adequate transportation for all participating members of a school-sponsored activity. Only so much can fit into an hour of television, but there are elements of the situation not even addressed in "Wheels."

     Another form of discrimination in Glee that actually comes up quite a bit is the way homosexuals are treated in current social culture. Things are getting better, but it's a slow process. In "Wheels," Burt receives a malicious phone call because of his son, Kurt. How Burt deals with it, suggesting Kurt might tone his personality down a notch, is another thing that can be debated. Burt's feelings come from a place of paternal protection. He wants Kurt to be true to who he is, but also wants him to avoid pain and suffering. It's hard not to sympathize with Burt, and Kurt does, choosing to throw an audition rather than cause more trouble.

     Having to act a charade is not fair. Being treated like an outcast for the way one is is not fair. Glee understands that, and focuses on themes of acceptance. Life is not fair, but that doesn't mean people shouldn't try their hardest to make things a little better for those around them.

     Surprisingly, Sue understands this, and even donates money for new ramps for McKinley. "Wheels" finds Will and Sue conducting tryouts for Cheerios, and Sue chooses Becky, a girl with Down Syndrome. Will is convinced that Sue is up to something, but it is revealed that Sue has a sister named Jean (Robin Trocki), whom Sue loves dearly, who also has Down Syndrome. This might just give a tiny peek into the inner workings of Glee's resident villain. Perhaps Sue is the way she is because she wants to toughen kids up to handle what the world has in store for them, knowing fate can be cruel. Sue is shown to care about students, and thus, one must conclude Sue is acting in what she thinks are their best interests. This seems to be confirmed by Sue treating Becky just like any other cheerleader, which is much fairer than giving her special treatment.

     There are only three songs in "Wheels," but each one is quite good. First up, Artie's "Dancing With Myself" is incredibly moving, and showcases his rich, deep voice. Though, it is odd that the original version of the song partially plays just a few moments later in the episode. That is followed by the big diva off between Kurt and Rachel (Lea Michele) in "Defying Gravity," still a fan favorite from the series. Finally, "Proud Mary" gives solos to many of the more supporting members of the club, as well as makes viewers feel good with its interesting staging. Musically, "Wheels" is a strong, but small, entry for Glee.

     "Wheels" marks the start of serious flirtation between Tina and Artie. They bond over shared disabilities, but when Tina admits that her stutter is faked, Artie breaks things off. It's sad, as Tina may not have a speech impediment, but she does suffer from crippling shyness that she is just beginning to get over. It's too bad Artie doesn't see that as something to relate to, because the seeds are there for them to continue to share common ground.

     The love triangle between Quinn (Dianna Agron), Finn (Cory Monteith), and Puck (Mark Salling) erupts in "Wheels." However, given Quinn's poor attitude and demand that Finn cover all medical bills, while not seeking employment herself, begs the question, why would either guy want Quinn? Sure, she is pretty, but she isn't nice. It's confounding that Finn and Puck fight over her, when they both could do so much better. It's a shame such a cold girl can get in the way of the warm friendship that the boys share. No wonder Finn is spending so much time with Rachel!

Random Bits:

     The aforementioned girl who joins the wrestling team is Lauren Zizes (the wonderful Ashley Fink) in her first appearance. She also tries out for the Cheerios. Though she is not mentioned by name or credited on imdb.com for "Wheels," Zizes will become a popular recurring character and member of the New Directions.

     "Wheels" also marks the first appearance of recurring characters Becky Jackson and Jean Sylvester.

     Quinn admonishes Puck that they are "not going to take money from a friend in a wheelchair," then immediately turns and takes money from Finn, who is sitting in a wheelchair at the time. Ha!

     When Artie breaks things off with Tina, he claims that being in a wheelchair is "not something I can fake." Ironically, McHale, who plays Artie, can walk just fine, and is faking it.

     Fans of the iconic web series The Guild should recognize Finn's new boss, though he is shown only briefly. Yep, that's Jeff Lewis, a.k.a. Vork, and he will never be seen on Glee again.

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

 

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

 

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

Glee attends a "Funeral"

     FOX's Glee goes for the emotional reaction in its second penultimate episode. Sue's (Jane Lynch) beloved sister Jean (Robin Trocki), who has Down syndrome, dies, leaving Sue more cranky and vindictive than usual. Finn (Cory Monteith), who is looking to retake a leadership role in the New Directions, offers to help Sue pack up Jean's things, as well as plan the funeral. The New Directions perform at the well-attended ceremony, singing one of Jean's favorite songs, "Pure Imagination," from the film Willy Wonka & the Chocolate Factory. Sue is moved to tears, and vows to use her efforts to run for office and make things better for people like Jean from now on, rather than continuing to try to destroy the glee club. Also, Finn finally dumps Quinn (Dianna Agron), but his play for Rachel (Lea Michele) comes too late, as he sees Jesse (Jonathan Groff) kiss Rachel.


     It has only been one week since this column complained about the toothless and useless one note that Sue has become on Glee. With "Funeral," all of that is changed, and the poor writing is forgiven. Lynch gets to take Sue to a deep, authentic place, something done few times before, but always with great success. Sue is allowed to show grief and compassion. She ruminates on Jean's best qualities, and laments on her own faults. She doesn't turn her back on the essential elements that make Sue, Sue, but she does show retrospection and self-judgment. It is a brilliant triumph, completely leaving behind the cartoon that Sue often is. Should the character of Sue be written this way every week, or at least every episode that features Sue, there would never be another complaint about her.

     It would be naive to believe that "Funeral" ushers in a permanently kinder, gentler Sue. That would be boring, anyway. While it would be a welcome depature to see Sue turn some of her boundless energy and fierce determination towards making a positive difference in the world, it would get completely away from the original concept for Sue to be a New Directions supporter. A nice balance can be achieved, with Sue still being mean, but not going out of her way to come up with outlandish plots of destruction. Or, at least, not have those plots always directed at the New Directions.

     Because of Sue's moment to shine, the episode also gives a little more screen time to Sue's lovable sidekick, Becky Jackson (Lauren Potter). Plenty of attention has been given to the strides Glee is taking towards equality for homosexuals, but not a fraction of that ink has been geared towards Glee's portrayals of people with other differences. Becky is a fully formed, three dimensional character with Down syndrome. She is treated as any other student, and her character is by no means defined by that one characteristic.

     While often seen as mini-Sue, Becky is upset to be kicked off of the Cheerios this week. Becky just wants to fit in, like any teenager, and even seeks permission to join the New Directions, though it is far too close to competition to allow her in. After Sue comes to terms with Jean's death, she reinstates Becky, naming her Captain of the cheerleaders for next season. Not many series would have a cheerleading captain with such a disability, but Glee bravely does, and the series deserves credit for such a move. Even more credit for not making an issue out of it.

     "Funeral" feels like Terri's (Jessalyn Gilsig) swan song. Her character announces to ex-husband Will (Matthew Morrison) that she is moving to Florida for work, and will no longer be around. Even though Gilsig's name has remained in the opening credits for two full seasons, she very infrequently appears in the show. It's almost a waste that she disappears without a major arc to justify her long-term contract, but if Glee is not going to use her, it's time to set her free, so it's with that in mind that Terri's depature can be applauded.

     Will Will and Emma (Jayma Mays) finally be moving forward with their relationship? Over sweaters, the two grew as close as ever, Emma being the only one to know the secret that Will is Broadway-bound come the end of the New Directions's season. Will could easily leave this summer and be back in time for a fall season premiere, so the suspense of whether he will go through with his dream isn't high. But, more importantly, how will Emma figure into Will's plans? Is he willing to give up a significant dream for her? Or might he invite her to accompany him? Emma might grow a bit bored in New York City, but the latter option is still more pleasant, given that the two have been dancing around each other for years.

     Weeks of Finn / Quinn handwringing is finally over! They never really felt right together this time around. Finn does pick the worst possible time to end things - in the parking lot immediately following the funeral - but at least he is man enough to do it. Quinn is in the relationship to further her social standing, not because she cares about Finn. That may have previously been enough for Finn, but he's grown. So has she, and it would be nice if Quinn would embrace that. Hopefully Finn's push will spur Quinn to live up to her potential, rather than settling for being arm candy.

     Things between Finn and Rachel never really did cool down. Finn has every right to dump his fellow glee leader, as he did, but anyone can see that he wants her back. And she wants him. No matter what other directions the two are pulled in, they also appear to be meant for each other. That's because they each believe in the others' talent and abilities in a way that no one else does. They both benefit from the relationship, and both are pretty equal in the pairing. It can only be a matter of time before they end up back together.

     Once they get past the obstacle that is Jesse, of course. Whirling into town suddenly, Jesse will likely leave as quickly as he came. The question is, when? It's hard to tell if Jesse is sincere in his affections for Rachel, or if he's simply using her again, this time to get the gig as a consultant for the New Directions, which he has already been hired for. Even if Jesse is genuinely interested in Rachel, he holds her talent above her personality, and he values star power over helping others, an outlook Rachel does not share. They will always be on uneven footing, and there is no future for them. Will Jesse leave on his own, or will Rachel have to run him off?

     Jesse's return, no matter how things turn out with Rachel, has certainly had an impact on the other members of the New Directions. Pushing to build their National competition around just one member of the group, Jesse channels a surly Simon Cowell as various members audition to be that featured singer. Jesse is of the opinion Rachel has it in the bag, and in fact, she is the only one he gives a good review to. In fairness, Rachel's performance is the best of the four auditions. But if there is any doubt that Jesse is still an antagonist rather than a help, it is dispelled with his snide comments.

     Jesse's attitude might have put some serious cracks in group unity in season one, but the glee club members have come quite far since those early days. Any infighting is temporary, as every single singer is willing to put the good of the entire club as a higher priority than individual accomplishment. Jesse hit nerves because he spoke the truth, but there are things more important than blatant honesty. It's an outlook that will serve them well going forward, as working together will increase their chances of placing high at Nationals.

     No matter what Jesse says, the New Directions is brimming with talent. Sure, Rachel blew viewers away with her rendition of "My Man." But Mercedes's (Amber Riley) "Try a Little Tenderness" delivers, the latest in a long line of power ballads for which she's known. Santana (Naya Rivera) chooses "Back to Black," the perfect number to showcase a budding talent who gains more confidence in her ability to solo with each passing episode. And Kurt's (Chris Colfer) "Some People" is a wonderful showcase for his best characteristics, demonstrating emotion and great range. None of the four performances were particularly surprising, but all maintained the high level of quality expected from these characters.

     Only one episode left in this season of Glee! Next week, the New Directions travel to New York City, which is filmed on location, to compete in the Nationals of the show choir tournament circuit. Obviously, Finn and Rachel will have to decide if they they can be together, and Will will choose Broadway or Ohio? Patti LuPone guest stars as herself, and Rachel and Kurt visit the set of Wicked! It should be a memorable hour.


     The season finale of Glee airs next Tuesday night at 9pm, a special time! Don't miss it.

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

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

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

Glee - "Grilled Cheesus"

     Another week, another Glee. But this week's offering was far from ordinary. I dare say it might have been the most emotional, and philosophical, episode of the series to date. Titled "Grilled Cheesus" after the (appropriately) cheesiest plot in the episode, this week was about all thing's faith, whether or not you believe in a higher power. Each Glee kid looked to their own ideas, and although the episode was vague on what those might be, the most important plots were sound.

Kurt (Chris Colfer) was the star, as his father, Burt (Mike O'Malley), took ill and would not awaken. Kurt is an atheist, and didn't appreciate his classmates' prayers. Each of them wanted to support him, but frequently brought God into the discussion. Thankfully, Glee did not take the atheism bad route. Yes, Kurt accompanied Mercedes (Amber Riley) to her church, and appeared move at their outpouring of song. But even after that, sitting by his father's hospital bed, he proclaimed that what he believed in was his father, not God. It's refreshing to see television not be so pushy about Jesus, and to have an actual atheist, who won't be swayed into a conversion, represented. In our nation, it's actually pretty rare.

Accordingly, Kurt did finally get a great solo this week. He sang the most weepy version of the Beatles' "I Want to Hold Your Hand" that I've ever heard. The song was interspersed with scenes of Burt playing with a young Kurt (Adam Kolkin, a spitting image). Burt helped him learn to ride a bike, and even had a tea party. As a single parent, who is pretty much a picture of blue collar stereotypical masculinity, raising an out and proud gay son, Burt has struggled to show Kurt how much he cares. However, the characters has always been supportive, and again, it's nice to see such a character as Burt on the air.

Other cast members who hadn't had any big ballads yet this season also got to stretch their vocal chords. Mercedes belted out on not one, but two songs. Puck (Mark Salling) rocked Billy Joel's "Only the Good Die Young". Even Tina opened the awesome group number "What If God Was One Of Us" with some pretty fantastic vocals. Finn (Cory Monteith), whom I often am underwhelmed by, got to show off a bit more with "Losing My Religion". And Rachel (Lea Michele) introduced middle America to Yentl.

The title refers to Finn's subplot, where he makes a grilled cheese sandwich and thinks he sees Jesus on it. Being the bonehead he is, he cuts the half without the savior on it and eats it, then saves and prays to the Christ image. His prayers are shallow, wishing to win a football game or touch Rachel's boobs, but they come true, giving him faith. When his belief in the sandwich is shaken later in the episode, not because a prayer doesn't come true, but just because the guidance counselor tells him he's wrong, it's a bit weird. This was definitely the weakest part of the episode, and it illustrates perfectly why I find Finn one of the lesser characters.

Sue Sylvester (Jane Lynch) is one of the best, though. This week we got real Sue emotion, a rarity. Her older sister, Jean (Robin Trocki), who has Down Syndrome, was revisited, and Sue's lack of faith in God was explained eloquently. I was disappointed that her disbelief was shaken so easily, but I'm not sure she ever was a true atheist. Rather, she may just have been mad at a God that would allow her family the suffering they went through. Her taking up Kurt's case, protesting Will (Matthew Morrison) allowing religion into his classroom, seemed sincere, rather than with the malice she usually attacks her nemesis. Lynch is a fine actress, and her Emmy for the part this year was well deserved. It's always an honor to see her take Sue to a new level.

The only real surprise was a lack of Quinn (Dianna Agron) plot, as religion has been an important part of her story. With her teenage pregnancy and lac of supportive parents, we've seen Quinn turn to Jesus before. The episode was already full, but would it have been nice to allow her a chance to revisit that arc.
Taking the whole episode into account, even with the Finn distraction, this will surely be one of the better episodes of this season, if not in the series as a whole. It was the first truly weepy episode. And the actors involved, especially Lynch and Colfer, proved they can handle the challenge that comes with depth. Kudos.Glee

Glee airs Tuesday nights at 8pm on FOX.

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Article first published as TV Review: Glee "Grilled Cheesus" on Blogcritics.