Ready for DIVORCE

Article first published as DIVORCE Review on Seat42F.

DIVORCE is coming to HBO. This dark ‘comedy’ created by Sharon Horgan (Catastrophe) is about a long-married couple with a pair of kids who realize that their relationship just isn’t working any more. As they try to disentangle themselves, they find no shortage of complications and complicated feelings, the idea of dissolution a lot prettier than the reality of it. But, presumably, they’ll have plenty of time to figure it out, assuming the show runs for a few seasons.

At the center of DIVORCE is our couple, Frances (Sarah Jessica Parker, Sex and the City) and Robert (Thomas Haden Church, Wings). They aren’t as screwed up as their friends, the violent Diane (Molly Shannon, Saturday Night Live), her cruel spouse Nick (Tracy Letts, Homeland), or the sad single Dallas (Talia Balsam, Mad Men). But they are dissatisfied enough to engage in infidelity and lack of communication, which culminates in the pilot in a decision to go their separate ways. If only it were that easy or quick, the choice one they will have to make repeatedly before they can fully get out.

One may be forgiven for thinking that Sarah Jessica Parker’s return to HBO is simply a portrayal of the next evolution of her Sex and the City character. After all, Carrie Bradshaw was neurotic and annoying, never sure what she wanted, and self-sabotaging. That SJP made the character likeable anyway is a testament to the fully fleshed out being that she created, because on paper it’s hard to sympathize with Carrie, and it’s very possible Carrie and her end-game beau, John, a.k.a. Mr. Big, headed down a similar path as Frances and Robert sometime in their future.

Yet, DIVORCE isn’t a treated as a continuation. Part of that is the much more melancholy friends surrounding Frances, and part of it is the utter lack of cheeriness that pervades the series. At Carrie’s lowest, one knew she would pick herself back up. Frances doesn’t have the same guaranteed rebound, definitely in a tailspin that will take awhile to work itself out, if it ever does. There’s no happy ending or even happy middle on the horizon in this show.

To some, that might be a turn off, and I’d understand that. But HBO viewers are probably, on the whole, a little more discerning, in search of the higher quality programming that makes them think and feel and surprises them, not just a joyous formula. So I think it has a shot at finding its audience.

DIVORCE is good. Not surprisingly so, just as good as expected. It gives a realistic portrayal of something society usually shies away from delving too deeply into. It does so by painting a portrait of a couple that is at once both authentic and dramatic. Neither of the duo are one thing, building years of unseen backstory and emotional history into every conversation, every word chosen. There is a bond here that is formed in a thousand ways over the years, and each of them show in every line of dialogue.

I think Frances sees herself as both a very average, normal person who anyone could understand, and as a victim of a situation she isn’t completely sure what she wants to do with. It’s egotistical, but not any more so than most people, and the contradictions are of the most natural variety. SJP isn’t one of my favorite actresses, but she can do amazing things with the right parts, and this is one of them for her.

At the same time, THC perfectly balances her and brings so much more to the table with Robert than a blank slate for Frances to play off of. He is just as important, even if he’s not as in focus, and the combination is a winning one.

DIVORCE premieres October 9^th at 10/9c on HBO.

THE CARRIES DIARIES "Win Some, Lose Some"

Article first published as THE CARRIES DIARIES "Win Some, Lose Some" on TheTVKing.

The CW's The Carrie Diaries, a prequel to Sex and the City sort of based on the book of the same name, returns for a second season tonight with "Win Some, Lose Some." It's summer, and Carrie (AnnaSophia Robb) is ensconced in a fabulous New York City apartment. Too bad her ex-boyfriend, Sebastian (Austin Butler), shows up and ruins her good times. Luckily, a true, life-long friend is just around the corner for Carrie.

In the first season, the connections drawn between this new show and SATC are few and far between, which could have made it harder to gain viewers. Though most SATC fans aren't watching the CW, anyway, with the network's main demographic having been born too late to enjoy the SATC craze. Either way, season two immediately sets about to make the parallels a little more obvious, tying the two together.

For one thing, Carrie's hair is now looking more familiar. And I'm burying the lead, because Samantha Jones (Lindsey Gort, 2 Guns) is on the scene! It takes awhile in "Win Some, Lose Some" for Samantha to show up, but once she does, she clocks plenty of screen time, with the promise of more in the near future. The official website does not currently list Samantha as a main character, but Wikipedia does, so I'm not sure how much she'll be included in The Carrie Diaries from now, but probably quite a bit.

It's very hard to make a prequel series (whether or not they call it that, it is considered such) because the performances of certain characters will inevitably be compared to those that came before them. Robb is not a lot like Sarah Jessica Parker, even though her locks now match somewhat, but I think Gort hews a little closer to Kim Cattrall. The mannerisms and the voice are a little off, but with her mouth closed, Gort looks a lot like her predecessor. Now, whether matching the look is a good thing, further inviting comparisons, when the personality is off, is debatable. I'm just reporting the facts.

"Win Some, Lose Some" does not really establish the needed chemistry between Carrie and Samantha. Their bonding feels a little false, and it's puzzling why Sam, as she's presented, would tag along with the kid. Her dialogue indicates Carrie is annoying her. Samantha actually seems kind of bored and lonely, which is the only explanation that makes sense for Samantha to follow Carrie around. Not the best start to an extremely important relationship.

That aside, though, "Win Some, Lose Some" is not a bad episode. It splits off the characters in pleasing pairings, and moves the story along. Plus, it's set during the summer, which is rare for a TV show to do. I wonder if The Carrie Diaries will stay in the warmer months for awhile, given that the sequel to the book is set in the summer? Let's hope so, because it feels novel and interesting.

Maggie (Katie Findlay) and Mouse (Ellen Wong) are at odds over Maggie sleeping with Sebastian last season, and apart from Carrie, we see how these two girls work out the tension between them. With Carrie destined to move on without her high school gal pals, one hopes that they can rely on each other, long after Carrie exits the picture. The season premiere finds a lot of strife in their friendship, but perhaps they can come to some sort of understanding eventually.

Elsewhere, there's a nice little story between Dorrit (Stefania Owen) and her father (Matt Letscher). Again, Carrie clearly is not involved in their lives down the road, based on SATC, so viewers will want to know these two have each other, even when Carrie moves on in the Big Apple.

It's kind of hard to appreciate some aspects of The Carrie Diaries, knowing so many of the characters must either die or having a falling out with the main girl before the end of the show's run. Perhaps it will seek to chart a new path, one in which Carrie's friends and family from her hometown keep in touch, but if this show sticks to the established plot, Carrie will move on without them. Thus, I appreciate that Carrie is on her own in this episode, even as I hope for happy-ish tie-ups of the supporting players, sans Carrie, at the end. Or in the middle, judging by the pacing thus far.

Donna LaDonna (Chloe Bridges) is the one person I wish for most to somehow forge something lasting with Carrie. However, after she does something nice for Walt (Brendan Dooling), The Carrie Diaries can't resist souring our image of her once more.  I love this character as much as I hate her, and it will be interesting to see how Donna turns out as an adult... if we get that far.

The Carrie Diaries is somewhat stuck in honoring what came before it, but for the parts of the episode that a viewer can forget SATC and just take this show on its own, it's enjoyable. Maybe waiting a few more years before making this production would have helped with that somewhat, but since the CW did not, I do appreciate what's being done, even if it's not quite rising up to the shadow it's living in.

The Carrie Diaries premieres tonight at 8 p.m. ET on the CW.

Blu-ray Review: ‘Glee – The Complete Fourth Season’

Article first published as Blu-ray Review: ‘Glee – The Complete Fourth Season’ on Blogcritics.

Season four is when everything changes for Glee. Post-graduation for many of the students, the story became split between McKinley High School and New York City, with practically none of the alumni leaving the cast, and a bunch of newbies added in. It was a busy, full year, with many great installments, as well as some pretty weak ones, especially in the spring. Now, all twenty-two episodes are available in the four-disc Glee: The Complete Fourth Season.

The move to New York was a breath of fresh air for the show. Rachel (Lea Michelle) was always meant for bigger things than Ohio could offer her, and as she embarked upon a college career at NYADA, the series grew along with her. Following arguably the lead character of the ensemble show was great, and it provided the opportunity to bring in actresses like Sarah Jessica Parker and Kate Hudson, who added a terrific new element. The fact that Kurt (Chris Colfer), and later Santana (Naya Rivera), joined Rachel in the Big Apple was even better.

At McKinley, it was a little confounding at first that Artie (Kevin McHale), Tina (Jenna Ushkowitz), and Sam (Chord Overstreet) were only now getting to their senior year, since I swear they had been established as being older before, but combined with Brittany (Heather Morris) having to complete a fifth year of high school and Blaine (Darren Criss) sticking around, they provided cohesion, allowing some of the setting to stay the same. And, of course, Will (Matthew Morrison) and Sue (Jane Lynch) remained on staff.

They were soon joined by new cast members Marley (Melissa Benoist), Jake (Jacob Artist), Kitty (Becca Tobin), Ryder (Blake Jenner), and Unique (Alex Newell). Despite these fresh faces seeming a lot like the not-so-fresh faces, repeating stories and dynamics from earlier seasons, the quintet did resonate, eventually each earning promotions to series regulars for season five.

Pretty much all of the graduated seniors remained in the cast, even those who were not followed to New York. Finn (Cory Monteith) ended up working at McKinley, a twist that made no sense and wasn’t at all realistic, but allowed him to have a journey viewers wanted to see. Others, like Puck (Mark Salling), Mercedes (Amber Riley), and Mike Chang (Harry Shum Jr.), only briefly dropped in from time to time, which is why it came as no surprise that this would be their final year as full-time characters.

The season started pretty strong, but it soon became clear that Glee was now two shows, and the New York part was stronger. It didn’t help when some members of the New Directions would disappear for weeks at a time, and a Will / Emma (Jayma Mays) walk down the aisle kept being delayed artificially, including a terrible plot in which Finn kissed Emma. The worst, though, was when Finn disappeared, the actor entering rehab, and the writing never taking the time to explain his obvious absence. Sadly, Monteith passed away over the summer, and this will never fully be resolved.

The most polarizing episode of this season, and of Glee ever, was the spring installment “Shooting Star.” It begins as any normal episode would, but then gunshots rings out in the halls of McKinley High School, scaring the crap our of students and viewers alike. For a large chunk of the episode, the show becomes a super-intense, on-edge story that hits very close to home at a time when school shootings happen on a semi-regular basis. While it is arguable whether something like this belongs in a series like Glee or not, the hour is finely produced and not to be missed.

There are lots of special features in this release, including multiple extras dealing with the New York addition to the show. We get the Jukebox, deleted scenes, and more. Basically, no one should be disappointed here.

I’m a fan of Blu-ray, and always want to watch programming in high definition. Glee isn’t particularly visually stimulating in the way that it must be seen in HD. There are great costumes and choreography from time to time, but those can be enjoyed in a standard definition picture, too. The songs will obviously sound better with a sharper soundtrack, and Glee does have a lot of music, so for those who care more about audio, the argument is there. But for viewers who are only concerned about picture, I guess it’s up to personal preference whether you go DVD or Blu-ray, without a huge difference between the two. I still prefer the latter.

Glee: The Complete Fourth Season is available now.

"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.

"Swan Song" replaces ugly duckling on Glee

"Swan Song," the latest episode of FOX's Glee, is a mixed bag. Part of the episode is very good, and part of the episode stinks. Scenes and plot make a move for greatness, and then either embrace it, or chicken out. Interestingly, the setting of said scenes tend to be a good indicator as to which end of the spectrum they fall on.

So the New Directions lose Sectionals. Last week's episode ended with them leaving the stage after Marley (Melissa Benoist) faints. Many assumed the club would pick up their performance at the start of the week's installment, and while "Swan Song" does begin moments after the previous episode ended, this is not to be the case.

Sue (Jane Lynch) is the instigator who shuts down the New Directions' chances for good. She has done many mean things, but nitpicking rules to get them disqualified is especially sinister. It seems to just be in the name of fulfilling a personal vendetta against Finn (Cory Monteith) for a rude comment he made weeks ago, as even Sue begins to wonder if she is going too far. But the point is, Sue gets away with it, the glee club season is over, Finn fails as a director, and everyone blames Marley for blowing their shot.

It's a very disheartening episode. "Swan Song" sees the members of the group meandering, several of them feeling very down on themselves, and the seniors losing all hope for their final year. The various singers switch to new clubs far too fast, and are accepted way too readily to be believable into these new groups, especially Artie (Kevin McHale), somehow scoring a band leadership position at a time when marching band is also over for the year. The thing that hits home is that the glee club is kaput, and they are all sad.

The only person that is truly happy about their failure is Brad the Piano Player (Brad Ellis), who gets his first line of the series, despite having appeared throughout, when he thanks Sue for saving him from the rude kids. It's a tongue-in-cheek joke that answers some concerns about realism in the show as a whole, without taking itself too seriously.

As dire as this seems, though, there is never any doubt about the end result. Finn and Marley feel bad, they help each other get over it, and then everyone is swayed into returning for a feel good finale to the tune of "Don't Dream It's Over." Not only is this totally predictable, and lets characters off the hook much too easily, the moment is spoiled in FOX's promos for the episode, which is yet another reason to avoid commercials and previews of any kind.

The story of the loss itself is gripping, but the cop out finale somewhat ruins any pathos generated, making "Swan Song" fall flat. Yes, Glee is a tale of triumph. But flopping so big, so early in the season calls for more than a couple of e-mails and a few inspiring words. Presumably, Glee doesn't want to spoil its planned happy Christmas episode. However, the series would have done much, much better to focus on the pathos, rather than the recurring themes of togetherness, a move that has deepened the New York story considerably, which I'll get to in a moment.

And while the New Directions, being disqualified, should be considered third place at Sectionals (out of three), look for the Warblers to be disqualified, too, and the group to get a second chance. If they don't, and are truly done with competition for the year, it will be better for the series, I think, and it would definitely be a surprise.

For some reason, Sugar Motta (Vanessa Lengies) sits this entire fiasco out. She doesn't appear in a single scene, including when the group comes back together in the end. Sure, she's not a main character, but like Unique's (Alex Newell) recent week off, it's a glaring omission that spoils the story, knowing a vital member of the club has just disappeared at an important moment. She needs to be there, at least in the wide shots.

Yet, Kitty (Becca Tobin), whose inclusion in the New Directions still baffles, and who doesn't really seem to care about the club, does come for the cold, outdoor, end performance. Why? It doesn't make sense.

The other arc happening at McKinley this week is Brittany (Heather Morris) getting with Sam (Chord Overstreet). This has been telegraphed all fall, but it doesn't make the inevitable kiss any easier to swallow. Even a decent duet of "Somethin' Stupid" doesn't make their pairing feel right, and hopefully the relationship will be short-lived, like Brittany's previous dalliance with Artie.

The reason I don't like Sam and Brittany as a pair is not because she is previously part of a lesbian couple, despite what her character says on screen in acknowledgement to fan resistance; Brittany is established pretty firmly as being bi-sexual in earlier seasons. Instead, it's because they just don't feel right together. There is no spark, no warmth, no connection. I like both of the characters very much, and they deserve better than being thrust together just because they are blond and ditzy.

On to New York City, where "Swan Song" shines. Rachel (Lea Michelle) continues to butt heads with Cassandra (Kate Hudson), which leads to a terrific dance off while singing "All That Jazz." For a bit, Rachel keeps up, really allowing Michelle to show off just how deep her talent goes, and illustrating the growth of the character. In the end, though, the dancing vet, Cassandra, wins out with the physical moves.

It's nice to see Rachel find her niche, and learn something about herself. She may not be great at dancing, but the confrontation leads her to redouble her confidence about her singing ability. The dance classes will still be important, as she will have a better chance at parts on Broadway if she is well rounded. But with a rare voice like Rachel's, there is no denying the power she has, and that she can succeed without being the best mover on the floor.

Rachel has ample opportunity to flaunt her talent when Carmen Tibideaux (Whoopi Goldberg) selects her for a special Winter Showcase, the first freshman picked in years. Rachel's "Being Good Isn't Good Enough" brings down the house, so much so that she is allowed an encore of "O Holy Night." Both numbers soar, and it's not hard to believe at all when Rachel wins against more experienced upperclassmen. Her voice, and the way that she uses it, is rare, even in the company of other performers.

"Swan Song" takes a more unexpected turn, though, when Carmen allows Kurt (Chris Colfer) to sing in front of everyone at the showcase, too. It's a trial by fire, the second chance he asked for, but when he least expects it. It may be that Carmen wants to see how he will do under pressure, or thinks that he might be better if he doesn't over prepare. Whatever the reason, this comes on Caremn's terms, and Kurt gets to sing "Being Alive," which is enough to gain his entry into NYADA.

Kurt's triumph is a great moment for Glee. He's no Rachel, of course, but he does deserve to be there, and it's satisfying that he finally is able to show it. It doesn't feel hokey because of the gravitas that Goldberg brings to the situation, and the sincerity she lends to the twist.

My only regret is that this may spell the end for Isabelle (Sarah Jessica Parker), who has been an absolute joy this year, as Kurt will probably quit his job to attend classes. Please, oh please, give her a goodbye, and not just have her never appear again!

The stark contrast between the New York and McKinley stories, as well as the maturation Rachel and Kurt have gone through, make an argument to ditch the high school stuff completely after this season. It's not that there are no more stories to tell there, but it's that the writers seem hard pressed to come up with them. Or, at least, to put as much effort into the students' parts, as they do the best alumni. For this reason, it may be time to sacrifice some of Glee so that another piece can flourish.

Glee will next present it's Christmas episode, "Glee, Actually," this Thursday at 9 p.m. ET on FOX.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

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

Give thanks for Glee

 There is much to be thankful for in this week's episode of FOX's Glee, "Thanskgiving," even if it aired a week late. (I can gripe about that because Glee, unlike most shows, actually aired an episode on Thanksgiving, but it wasn't this one.) In the episode, most of the recent McKinley alumni return home to assist Finn (Cory Monteith) in getting the New Directions ready for Sectionals. They work with the newer students, helping to ease the transition.

It's easy to complain about the frequent appearances by recent grads on the show this year. As I've said before, the writing has allowed Finn an unbelievable reason for sticking around, but at least it serves a purpose and furthers the character. The others, on the other hand, just seem unwilling to move on with their lives, refusing to let go of their high school glory. However, in "Thanksgiving," because it is a holiday, and because they are there to help their friend Finn with an important milestone, it doesn't feel as forced.

The episode opens with Puck (Mark Salling), Mercedes (Amber Riley), Mike (Harry Shum Jr.), Santana (Naya Rivera), and Quinn (Dianna Agron) returning to the McKinley stage (and Finn) with a performance of "Homeward Bound" / "Home." Musically, it's pretty good, and in terms of staging, it works very well. The number is pleasant, and gives a satisfying reintroduction, especially for Quinn, who is the sole graduate no longer in the main cast, and "Thanksgiving" marks her first return this season.

It still bothers me that Artie (Kevin McHale) and Sam (Chord Overstreet) are not part of this, though. Without having specific dialogue on hand to prove it, I am pretty sure that it was established that Artie was in the same grade as the others, and I know that Sam returned from Kentucky for his senior year. Plus, how could Sam, as a junior in high school, work as a stripper? It's this little inconsistency that eats away week after week.

And Brittany (Heather Morris), who has a valid reason to still be in school, should be included in the reunion. These are her friends, too, and she was in their grade for thirteen years. Does that not matter?

But what is most strange is the way that the alumni act like they are so much better than the current students. Finn declares his classmates heroes, and the glee club cheers adoringly. Isn't this beyond patronizing? Most of the current members were in the group during the Nationals win, too. Tina (Jenna Ushkowitz) and Artie were two of the first members of the New Directions. This arc should really have been held back a couple of years, though one wonders if Glee will still be on in that much time.

Taking the leap and setting aside these complaints, we next get to see Quinn, Santana, and Brittany reunited for "Come See About Me." It's a great number for them, and it does feel like other pieces that they have done in the past. It may not be necessary to school the students with it, but it's enjoyable for the audience. I also like when the cracks do show between Quinn and Santana, not sweeping any drama under the rug, and acknowledging that, although they are friends, their relationship isn't perfect.

Kitty's (Becca Tobin) obsession with Quinn is weird and creepy. Weren't they in school together? Surely, Kitty isn't a freshman this year, given her social and cheerleading standing. Her character comes out of nowhere enough as it is, as it would have been better to set her up at least a year earlier, but her fawning over Quinn seems completely out of character. Kitty is a confident, manipulative girl. She shouldn't be defining her life based on someone else.

Thankfully, everything else set at the high school goes pretty smoothly. We get some more nice Jake (Jacob Artist) / Ryder (Blake Jenner) bonding, and a callback Brittany joke about Unique (Alex Newell) and Mercedes. Then it's time for Sectionals!

The Warblers are back in peak form with "Whistle" and "Live While We're Young." During their recent attempt to recruit Blaine (Darren Criss), the music falls flat, but "Thanksgiving" proves that they still have it. This is what the group is known for, and why fans of Glee worship them. Fantastic performance!

And then there's the other group, The Rosedale Mennonites. Their "Over the River and Through the Wood" / "She'll Be Coming 'Round the Mountain" is entertaining and fun, but the whole thing smacks a bit of bigotry. Glee often tosses in goofy, cartoonish characters, but for some reason, this time it feels more wrong and mean spirited than previous efforts.

The Sectionals section of the episode ends with the New Directions taking the stage for their first number, "Gangnam Style." Setting aside what a silly song it is for the group to do, because it is currently a viral sensation, and it does seem like something Finn would pick, practically everything about it is awkward. From the Ryder / Jake / Marley (Melissa Benoist) lead up, to the camera editing that seems to cheat the big dance moves, it just doesn't quite work. The vocals are decent, and Tina actually ends up being a good choice for the opening solo, but it things don't come together as we would normally expect from these kids.

"Thanksgiving" ends immediately after "Gangnam Style," leaving the other two songs in their set for next week's episode. This is the first time that Glee has ever split a competition performance, and it makes for good dramatic effect. Marley's collapse, something pretty predictably set up, occurs at the end of a song, so it might be possible for them to go on without her and still win.

But it will likely throw everyone off of their game, seeing Marley like this, and considering that she has a solo coming up, it would be pretty far-fetched for the New Directions to cement a victory this year, especially after the weak-ish opening.

That being said, it would be a shame to see them lose Sectionals, and there are a couple of ways to salvage this. One, Dalton Academy could win and later be disqualified. They've become villains since Blaine left them, so it's conceivable that they could step out of line enough to warrant such a punishment. The Mennonites might not be able to travel all the way to Regionals, because of their religious beliefs preventing use of vehicles required for long distance travel (ignoring the stage lights they used earlier). That would leave the New Directions to compete by default. It would, indeed, be a hollow victory, but at least it would get them to Regionals.

One last complaint about "Thanksgiving:" a high school show choir Sectionals competition would never, ever, ever be held on Thanksgiving Day. Parents would throw huge fits. To expect us to buy that bit of scheduling is preposterous.

Besides the Sectionals story, "Thanksgiving" also has some action in New York. Rachel (Lea Michele) and Kurt (Chris Colfer) stay in the city, rather than face their exes back in Ohio (because if they returned, for some reason, they couldn't just stay at home with their families?). They plan to eat by themselves, but each invite a party crasher. Rachel's addition, Brody (Dean Geyer), cooks for them, while Kurt's, Isabelle (Sarah Jessica Parker), turns a quiet dinner into a huge bash, complete with fashionable dance moves and drag queens.

Isabelle is a fantastic addition to the Glee cast. She brings Rachel and Kurt exactly what they need, and embodies the type of life they'd hope to find in the Big Apple. The song she leads them in this week, "Let's Have a Kiki," mixes beautifully with Rachel's "Turkey Lurkey Time," creating the most energetic, memorable Glee number in quite some time. Hopefully, she won't be going anywhere anytime soon.

In the midst of this, Rachel and Brody seem to be making up. She is hurt because he slept with her enemy. He points out that he had no reason not to, but he won't do it again to avoid hurting her. This is an adult attitude, and seeing this helps Rachel transition into a different world, maturing.

Kurt is also struggling to grow up, taking Isabelle's advice and trying to forgive Blaine. It doesn't necessarily mean that they will get back together (though Glee fans might seriously revolt if they don't), but it does mean that he is going to try to see past Blaine's indiscretion, and maybe they can repair their relationship. Obviously, there is still plenty of love present between the pair.

Once more, though, I am annoyed that all the blame for what happened is placed on Blaine. Some objected to my assertion in an earlier review that Kurt deserves a huge share of responsibility because he was ignoring Blaine. I admit, Kurt's behavior doesn't justify cheating, but he gives Blaine plenty of reason to be unhappy prior to Blaine's mistake. This has to be taken into account, and it's unfortunate that this isn't addressed more.

The New York stuff in "Thanksgiving" is fantastic, overall, but it still feels likely a completely different series. The more Glee jumps back and forth in an episode between McKinley and the city, the more jarring these jumps become. It would be very nice if a way could be worked out by next year to separate the two, either sacrificing one completely, or by splitting them into different series.

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 episodes I don't fully review, please follow me on Twitter!

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

Glee gets a "Makeover"

 
Glee undergoes a "Makeover" in the third installment of this fourth season. Blaine (Darren Criss), lonely without Kurt (Chris Colfer), the entire reason he transferred to McKinley, seeks to find his place at the school. He decides, after a soulful rendition of "Everybody Wants to Rule the World" and a ridiculous montage of Blaine in various clubs, that maybe he should be class president. This puts him at odds with Brittany (Heather Morris), who is seeking a second term.

Blaine and Brittany square off in a debate with their running mates, Sam (Chord Overstreet) and Artie (Kevin McHale). It's fantastic that Sue (Jane Lynch) says what many viewers are thinking: when did Vice Presidents and forums become a part of the school's student government? It's a clearly staged set up for a humorous story.

Which is fine. Glee is often a little over the top, and unlike Isabelle's arrival, this appropriately furthers Blaine's growth at a time when it is needed. The silly stuff, Sam and Brittany's ditziness, and the song that duo share, "Celebrity Skin," make things entertaining, and keep it from skewing too dark. Overall, this works, especially when sense wins out over stupidity, and because of the tongue in cheek method in which it is carried out.

I just do not like the setup of a Sam / Brittany pairing. Glee makes us care way too much about Brittany and Santana to ditch it now. It will take a heck of a lot to win me over, and the show is nowhere close to this point. Blaine and Kurt cannot split, either!

For his part, Kurt is already settling into a new role in the Big Apple, serving as an assistant to Isabelle Wright (Sarah Jessica Parker, Sex and the City), which leaves him little time for his boy back home. While it may be understandable that he is excited about his new position, ignoring Blaine's calls isn't completely in character, and Kurt deserves a good smack.

I do not like Sarah Jessica Parker. I can't pinpoint exactly why; She seems like a perfectly lovely person. I just can't stand the parts she plays, even after watching (and liking) all six seasons and both movies of Sex and the City.

That being said, Isabelle is a great part for Parker. She slides right into the Glee cast with ease, becoming a fairy godmother for Kurt. Her trio song. "The Way You Look Tonight" / "You're Never Fully Dressed Without a Smile." with Kurt and Rachel (Lea Michele) is also annoying, but again, fits wonderfully into the voices and events of "Makeover." It's odd, but I think this might be the role that actually makes me begin to appreciate this actress.

Unfortunately, Isabelle's introduction comes too soon. Kurt just arrived in the city, and instead of struggling, he lands in a cushy job with a boss who loves him and doesn't mind that he breaks into the office late at night so his roommate can try on clothes. It's coincidence that Kurt just happens to find the kindred spirit of Isabelle, but it's too much to be believable. Had Isabelle arrived late in the season, there would have been a sense of a deserved reward. Instead, what's easy to miss in the truly charming plot is that the whole thing should have been held off on until mid-season.

Will Kurt decide to give up singing to work in the fashion world? It's disappointing, but it doesn't come out of nowhere. Kurt's clothing has always been an essential element to the character, and his voice, while very good, isn't usually played with the Rachel Berry star quality. As long as the decision doesn't come easily, this could be a pretty respectable shift. I just wish Kurt's desk was next to Ugly Betty's.

Rachel, on the other hand, is right on schedule with her story. She no sooner succumbs to Brody's (Dean Geyer) wooing, enhanced by the song "A Change Will Do You Good," than Finn (Cory Monteith) shows up at her door, catching the two of them together. Right from the beginning of the season, this is the exact turn of events that Glee tees up, completely obvious in its arc. It's done well enough, but I'm glad to get past what we all know is going to happen so that we can find out which way the writers are going to take things now.

The final plot in "Makeover" involves Will (Matthew Morrison) stepping away from McKinley to work for show choirs on a national level. It's strange, even when it is explained, that the committee meets at Will's school, and it includes previous guest star Dalton Rumba (Michael Hitchcock, who has written several episodes), though I appreciate seeing Sean Gunn (Gilmore Girls) as another member. It also feels like a repeated story, because Will already struggles with leaving the school in a previous arc when he is offered a role on Broadway.

The way Will's story will probably go is that he leaves, realizes he made a mistake, and then comes back, too late to save the group's chance at another Nationals win. This is a rebuilding year, anyway, so letting Will step back will only add to the chaos of the leaderless New Directions. Let's just hope Sue is made the temporary director in his absence, as that could be quite funny.

Will and Sue filmed a song for "Makeover" entitled "Mister Monotony" that is cut from this episode. This is horrible because advance photos of this number are all over the internet, and then the installment didn't deliver. Ironically, the song was sung by Judy Garland in the film Easter Parade, from which it was also cut. Come on, Ryan Murphy! It's time for another web exclusive deleted scene!

All in all, "Makeover" is not a bad episode of Glee, nor an overly impressive one. It goes a bit too light on drama and bit too heavy on goofy fluff. But it furthers a couple of plots, and is pretty entertaining. This places it somewhere near the middle when ranking episodes of the series.

Watch new episodes of Glee Thursdays at 9 p.m. ET on FOX.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Article first published as TV Review: Glee - "Makeover" on Blogcritics.

The Closer closes fifth season

     I am not a fan of Kyra Sedgwick, and as such, have never given The Closer a chance.  This, despite the fact that it is the highest watched cable series ever, and the number of viewers has grown every season.  So when I received the screener DVD for tonight's season five finale, I decided to give it a shot.  After all, I can't stand Sarah Jessica Parker, but I liked Sex and the City.  I thought that maybe this would be the same.  I soon confirmed my suspicion, though, that this was a procedural show, not serial, and so while I may like an episode, it is not something I would probably watch regularly.  The following review does contain some slight spoilers, but does not ruin any big twists or the ending of the episode, which airs tonight on TNT.

     This was a great episode.  Sedgwick's Brenda Leigh Johnson is a tad annoying, but she is surrounded by a strong supporting cast, especially J.K. Simmons (Spiderman trilogy) as Chief Pope.  He is grumbling, but lovable, and this week, he has a major beef with Johnson that goes beyond the current case.  If only she knew what it was, she might also discover why her live-in boyfriend Fritz (Jon Tenney, who recently did an arc on Brothers & Sisters) seems irritated with her as well.  The answer to that question may throw quite a wrench into her relationships with both men.  Or maybe not.  You'll find out if you watch the episode.

     The rest of the police team really gelled.  I don't know if they've been fleshed out as individuals, as they all sort of blurred together this week, aside from Taylor (Robert Gossett), who's tough demeanor with the warm center, played apart from the stereotypical, would make a welcome addition to any show, crime related or not.

     This week's main case revolved around the suspected abuse of an officer under the command of Captain Raydor (Mary McDonnell, Battlestar Galactica), returning as a nemesis to Johnson.  Raydor wants Johnson to investigate if one of her women is being beat by her husband, but wants Johnson to tread lightly, though the officer refuses to cooperate.  Of course, things do get ratcheted up a notch, and while the conclusion was predictable, (I knew what really happened as soon as Johnson arrived at the crime scene) watching Sedgwick and McDonnell spar was massively entertaining.  It was a great dynamic, and were McDonnell to return to the show, I'd certainly be interested in watching again.

     Even if you have never watched The Closer, I do recommend turning it on.  You might be pleasantly surprised by what you see.  No prior knowledge needed.