FOX's SECOND CHANCE

Article originally published as SECOND CHANCE Review on Seat42F.

FOX’s first mid-season drama out of the gate this January is called SECOND CHANCE. While it has gone through quite a few title changes (it used to be known as Lookinglass, and before that, The Frankenstein Code), the premise seems to have stayed relatively consistent. A brilliant, but antisocial, man develops a way to save his dying sister, reversing what death means. Testing it on an old sheriff who was murdered, it’s about someone getting a second chance to live.

It’s probably wise they didn’t keep Frankenstein in the name of the show. Frankenstein was about creating new life, and this series is about getting a do-over on a life misspent. Dr. Frankenstein obsessively sought to create a creature for his own selfish purposes, while the brain in this, Otto (Adhir Kalyan, Rules of Engagement), is trying to save his sister, Mary (Dilshad Vadsaria, Greek). And if you’ve ever read the novel by Mary Shelley (which I do recommend), I doubt you’ll see very little of that echoed in this particular story.

The revived is Jimmy Pritchard (The Loop’s Philip Baker Hall at the start, then EastEnders and True Blood’s Robert Kazinsky, likely for the rest of the series). While Jimmy’s death is just a case of him being in the wrong place at the wrong time, is life is made up of bad choices, being a bad father to FBI agent Duval Pritchard (Tim DeKay, White Collar) and drunk Helen (Amanda Detmer, What About Brian), and having to resign from office in disgrace. At least Duval’s daughter, Gracie (Ciara Bravo, Red Band Society), still likes Grandpa.

Obviously, Jimmy is probably not the ideal man for Mary and Otto in terms of personality, but his genetic markers make him ideal for their science experiment. Hence how an uneasy partnership is formed.

I like the SECOND CHANCE pilot, and think it could be a very interesting drama. If it is about Jimmy trying to be a better person, and if it remains about his family (Duval and Gracie are main characters, and there’s a very cool twist after Duval meets new Jimmy), I would very much enjoy this show. The first episode is certainly focused on those things, and that’s a good sign. I am also very interested in the Mary / Otto relationship, and what goes on within their company and with their assistants, Alexa (Vanessa Lengies, Glee) and Arthur (Scott Menville, Teen Titans).

What I worry it will devolve into is a case-of-the-week procedural. It could take a little bending, but if Jimmy teams up with Duval and works to solve cases so he can be the lawman he never was, I’ll be super disappointed. FOX hurt its failed, almost brilliant sci-fi series Almost Human by trying to force it into a procedural box. That show managed to still be good, but it could have been so much better without the shackles. I could easily see this one taking the same path since so much of the broadcast networks’ fare does.

Which is a shame. With FOX in a total ratings free fall this year, and the Big Four dying out overall, it seems a good time to take a chance on something new, something exciting, something that can build a loyal fan base who excitedly engage and may even bring back a canceled show for a second chance if it doesn’t live long enough. SECOND CHANCE could be FOX’s second chance to get things right, which would be nicely poetic. It just seems unlikely that it will be.

SECOND CHANCE premieres Wednesday at 9 p.m. on FOX.

Glee Celebrates "A Wedding"

Article first published as TV Review: 'Glee' - "A Wedding" on Blogcritics.

This week’s installment of FOX’s Glee, titled “A Wedding,” is set almost entirely in a barn in Indiana. See, it’s Santana Lopez (Naya Rivera) and Brittany S. Pierce’s (Heather Morris) wedding day, and they still can’t legally tie the knot in Ohio, which is not harped upon, but is definitely wrong. As everyone plans and attends the wedding, the characters apparently make several trips that take multiple hours each direction across state lines, but almost no one important misses the big day, which turns into a double celebration.

Santana and Brittany are one of the two best couples on the series, arguably the best one, so it’s natural that they would get married before the series’ end. They always understand each other better than anyone else can, and their love is true. They break up for awhile and pursue their own interests, but eventually come back together because their bond is so strong. This episode is not surprising and a very welcome development, up to and including Brittany’s superstitious freakouts.

Brittany springs the idea of a double ceremony on Kurt Hummel (Chris Colfer) and Blaine Anderson (Darren Criss), who are just getting back together, and while the boys acknowledge the craziness of the idea, they do say their vows. Klaine is another destined-to-be-together pairing who has explored separate avenues but always come back to one another. It does happen too fast, but no one cares because the guys know who they are and what they want, so it works.

Tina (Jenna Ushkowitz) tries to make it a triple wedding when she proposes to ex-boyfriend Mike (Harry Shum Jr.), but he declines. This feels just as natural as the other two tying the knot. Not everyone meets their soul mate in high school, and despite Glee‘s propensity for mostly only having McKinley students and alum date other McKinley students and alum, most high school sweethearts don’t work out. The promise Artie (Kevin McHale) and Tina make to marry if they’re still single at 30 is a silly, dated reference, and one that probably won’t work out since Glee won’t still be running in ten years.

So, look, the general conceit of this episode, that two pairs of must-be spouses not only date in their teen years, but get married at twenty, is ridiculous. It’s not realistic. But Glee isn’t always realistic, and I’ve pointed out on numerous occasions in the past that the series tends to favor emotion over story structure. In this case, “A Wedding” is an enjoyably sweet episode, even if it doesn’t really make sense when viewed from a real-world perspective.

Which doesn’t mean Glee should be forgiven for all of its mistakes. Will (Matthew Morrison) not showing up until the last minute and Quinn (Dianna Agron), who is around earlier this year, not showing up at all, is pretty inexcusable. Where are the couples’ friends from New York? The frequent costume changes at the wedding and reception are downright ludicrous. Burt’s (Mike O’Malley) lack of surprise at his son suddenly getting hitched and Kurt having ready vows is unforgivable. The girls being gifted a month-long honeymoon while the boys get a weekend and none react to it is stupid, but clearly signals who’ll appear these next few weeks. Why isn’t Sam and Brittany’s fake wedding referenced? I’m just saying the overall feeling of joy one gets from watching “A Wedding” mostly outweighs this, but Glee would be a much better show if their writers exerted a little bit of effort on continuity.

Sue (Jane Lynch) isn’t invited at first because Santana hates her, understandably. But Brittany, like most of their classmates, forgives Sue easily, like one would a racist elder relative, so the principal manages to worm her way in anyway. Sue is a complex character at her best, and while she isn’t always written consistently, her support of these unions is nice and shows a good side to her character.

Sue’s ticket in is by bringing Santana’s abuela, Alma (Ivonne Coll), to the ceremony. I like that Alma doesn’t come around on gay marriage, but decides she wants to be a part of Santana’s life again. Alma’s tears during the wedding likely are as much from disappointment as joy, but this is a realistic take on the generational divide, with Glee’s trademark happy ending twist to it.

Finally, there’s a weird little subplot in which Rachel (Lea Michele) is afraid of what Finn’s mother will think about her moving on with Sam (Chord Overstreet). I guess, from Rachel’s perspective, this is a concern, but from a logical approach, there’s no reason to think Carole (Romy Rosemont) would disapprove, and of course she doesn’t. I’m still not a fan of Samchel, nor do I think this story is needed here, but if it is going to be done, this is the best way Glee can do it.

The musical numbers in “A Wedding” start late, but are solid. The moms group, including Carole Hudson-Hummel, Whitney S. Pierce (Jennifer Coolidge), Maribel Lopez (Gloria Estefan), and never-before-seen Pam Anderson (Gina Gershon), whom duet with the reconnected Troubletones – Brittany, Santana, Mercedes (Amber Riley), and Sugar (Vanessa Lengies) – on “I’m So Excited,” is all kinds of crazy fun mixed with real talent. Mercedes and Artie’s “At Last” is perfect for the wedding. “Hey Ya!,” which features Artie and a couple of high schoolers who probably shouldn’t be there, may not be generation-ally appropriate, but comes off great. Finally, the two couples sing “Our Day Will Come,” and it may not be the best piece in the hour, but is still pretty good.

“A Wedding” is a feel-good installment designed for maximum emotional impact, and it succeeds there. That the story is full of holes is sadly beside the point, but this close to the end, forgiveness of these glaring mistakes comes a little easier. Overall, I think this episode succeeds.

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

MIXOLOGY A Bad Brew

Article first published MIXOLOGY Review on Seat42F.

ABC’s MIXOLOGY, a new sitcom about ten single people spending one night in a bar, premieres this Wednesday. In the first half hour, “Tom & Maya,” we are introduced to most of the cast and the premise as Tom (Blake Lee, Parks and Recreation), recently dumped by his fiancé of eight years and dragged out by a couple of friends, hits on Maya (Ginger Gonzaga, Legit), a ruthless, ball-busting lawyer.

MIXOLOGY is a little bit of an anthology series with a tone similar to the quickly canceled Love Bites because it will jump around from person to person each week. But it’s not quite an anthology because the main story only takes up a little bit of the episode, with other players being featured throughout the half hour, too, even when their names aren’t in the title.

This structure is very confusing. The characters are easy enough to tell apart, to be sure, but there’s a lot of them for a sitcom, and the pacing is rapid enough to really prevent the viewer from learning even the names of the characters. After two installments, I’m still having to use the show’s website for help in telling you who these people are.

There’s Tom, of course, and his well-intentioned, but kind of douchey, friends, Cal (Craig Frank, 8.13) and Bruce (Andrew Santino, Crafty). Maya is there to meet her wishy-washy friend, Liv (Kate Simses, What’s Your Number?), who chooses the safe relationship over passion. Jessica (Alexis Carra, Incredible Girl) asks her sister, Janey (Sarah Bolger, Once Upon a Time), to go with her to meet a date she set up online. The man Jessica is meeting turns out to be Brit Ron (Adam Campbell, Touch), who is having the worst day of his life. And their waitress, Kacey (Vanessa Lengies, Glee), tries to break up with the jerk bartender, Dominic (Adan Canto, The Following).

To make matters more confusing, Janey disappears before episode two and is replaced by an annoying friend of Jessica’s, Fab (Frankie Shaw, Blue Mountain State), whom we don’t really get a read-on yet. This means a character who has a touching interaction with Janey has to immediately forget about her and turn his attentions elsewhere. Plus, flashbacks grow the cast even more, making MIXOLOGY one hard show to follow.

Not that viewers will be tempted to try to puzzle it out because there isn’t a single likable character in the whole group to connect through. Tom may be the stereotypical “nice guy,” but he’s a wimp and way too much of a pushover to be the hero. And will anyone really want him to get with Maya after they see just how cruel she can be? It’s not like she’s an obvious happy ending for him. The others are equally flawed and detestable, with horndog men and easily manipulated women who like being put down.

To be fair, the setting of MIXOLOGY, a bar where people come to hit on strangers and many of them just want to get laid, isn’t the ideal place to find good people. Good people go to bars, sure, but the types of friends we’re used to seeing portrayed are either frequenting those establishments while enjoying one another’s company, or are having a bad day and acting a bit out of character. Rarely do they make a habit of trolling. Now, this series asks us to see this as a viable place to find love and change one’s life for the better, and that just doesn’t work.

The premise also extremely limits the structure. As mentioned, the episodes do take time to show us other places and events, but the main story is confined to a single place and time. This will grow old week after week. How I Met Your Mother is getting mixed reviews doing its final season over the course of one weekend. Having multiple seasons, assuming the series goes on for any length of time, on one night is just not tenable. Either it needs some serious changes, or it can’t possibly last.

Two episodes was more than enough for me. I don’t think I’ll be checking back in on it again, assuming it even lasts beyond that pair of installments, which is not a certainty at this point.

MIXOLOGY premieres Wednesday at 9:30 p.m. ET on ABC.

Glee attends "Sadie Hawkins" dance

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

The latest installment of FOX's Glee is called "Sadie Hawkins." Tired of being single, and with her eye on a boy, Tina (Jenna Ushkowitz) pushes for a Sadie Hawkins dance at the school. She gets it, but it doesn't solve her problem the way that she hoped it would.

With many of the fan favorite characters having graduated from McKinley last spring, sometimes Glee chooses to focus on the characters I consider the "B team." Tina is very much one of those characters, and unlike some, which flourish under the additional screen time, Tina has yet to do anything that improves my opinion of her. In fact, just the opposite.

Tina's crush in "Sadie Hawkins" is Blaine (Darren Criss). I know it's natural for young girls to fall for gay guys, not fully understanding relationships and sexuality yet. But Tina is introduced to Blaine as Kurt's (Chris Colfer) boyfriend. All of the time that she has known Blaine, there has never been any sign that he is even a tiny bit straight, nor interested in her. It's fine if she is attracted to him, or harbors a secret that she keeps to herself, but making a move on him is stupid and weird.

That's not to say I didn't enjoy Tina's "I Don't Know How to Love Him." She does have a pretty good voice, and I like that song. But that's the only part of her story in the this episode that I liked.

Which leaves me hoping that Tina does not go to New York and continue on the series next year. I don't mind if she pops in occasionally, as most of the alumni do, but to interweave her into the main saga longer than necessary would not benefit the show. Unless they improve her character, because I do think the actress could handle better.

Blaine, for his part, also has unrequited feelings. He is interested in Sam (Chord Overstreet). It's not hard to see why, and the two do have good chemistry. Unlike Tina, however, Blaine knows it's simply a fantasy that will never come true, and thus, keeps it to himself until Tina really needs to hear it. He's acting much more reasonable.

Glee already went down this path, having students lusting after others who don't share their sexual preference, in the early days of the show, when Kurt had a thing for Finn (Cory Monteith). It doesn't need revisited.

One could make the argument that these characters are in high school, and their recent actions are reminiscence of how teenagers actually behave. The problem is, Glee is not consistent with that behavior, so when a plot like this comes around, it feels uneven, and does not make for the best episode.

The best part of the entire "Sadie Hawkins" plot is that it returns Lauren Zizes (Ashley Fink) to the show! Her role is brief, and she should have already  graduated, I think. She also acts completely out of character from what we've seen of her before, and I don't buy that her man messed her up this much. It just doesn't feel like the woman that character had grown into when we last saw her, even if that's how her character was originally introduced. But I've missed Zizes (and Fink) so much that I am willing to overlook the writing flaws if they will only make her a recurring player again (or better yet, a series regular), and then effort can be spent on taking her back to her former glory.

Why is Sugar (Vanessa Lengies) in the Too Young to Be Bitter club? She can be annoying (to some, I actually like her), but she's hot, and looks trump personality in a high school setting. Someone would have wanted to go to the dance with her.

Marley (Melissa Benoist) decides to fully go after Jake (Jacob Artist) this week. I feel like their back and forth isn't progressing, but they're good together, and I Marley and the rest of the girls, including Unique (Alex Newell), sing quite an enjoyable "Tell Him." I hope this isn't one of those will-they-or-won't-they stories that is stretched out over three years, even though that's probably exactly what it is.

Meanwhile, Kitty (Becca Tobin) wants Jake, but after he resists her sexual proposition, settles for elder brother Puck (Mark Salling). This pairing can't possibly last, but for where both of these characters are right now, it makes sense for the plot. They will probably have lots of energetic sex. Let's just hope that history doesn't repeat itself and Puck knocks up another Cheerio.

The dance itself is kind of eh. We've seen so many dances on Glee, and I can't say that this one is special. The performances of "No Scrubs," "Locked Out of Heaven," and "I Only Have Eyes For You" are good, but not great, and aren't very memorable. Also, like in the past, the fact that the New Directions get to perform at their school dance, and the student body appreciates this, stretches believability way too far.

Sam is on a mission in "Sadie Hawkins" to prove that the Warblers cheated at the competition and get them disqualified. I'm confused. Didn't the New Directions get third place? Knocking the Warblers out would not automatically put them back in. I'm sure some plot contrivance will occur where the other group also can't compete, and the New Directions do get to continue, but why doesn't Sam realize that? What's his purpose? Just to get even with bullies? Also, steroids might help with the dance moves, but I can't imagine it's good for the voice, so why would the Warblers use these drugs?

In New York, Rachel (Lea Michele) has a tiff with Brody (Dean Geyer). Their argument is dumb, and Rachel is acting petty. I'm really not sure what the purpose of this scene is other than that Rachel asks Brody to move in, and because they wanted a moment that lasted longer than ten seconds, the writers tossed in a fight. Not the strongest bit of this episode, and that's saying something.

Kurt, however, has a wonderful story in "Sadie Hawkins." He is enticed by the Adams Apples, the NYADA version of glee club, and especially by their leader, Adam (Oliver Kieran-Jones, Episodes). But he is told that the are the losers of the school, and that he should stay away from them. Kurt decides not to listen to public opinion.

It's a great Glee story, true to the series in every sense. The New Directions are losers, too, when viewers are first introduced to them, and they become something great. The Adams Apples may look like a ragtag bunch, but their "Baby Got Back," presumably sung in Jonathan Coulton's style to make them seem more odd, is terrific. It's hard to believe that they are shunned by their peers, unless the style of music is just considered a lesser art form, but I'm sure Kurt will turn that around.

Kurt has always marched to the beat of his own drum, so it's really no surprise that he would ignore advice and join up with the Adams Apples, especially when there's a cute boy involved. Adam is a senior, so any romance will probably be temporary, tiding Kurt over until Blaine can get to the Big Apple next spring. I'm fine with that, as Kurt deserves a little happiness, and Adam should be a fitting placeholder.

Unfortunately, "Sadie Hawkins" is not a bright spot in the season. Zizes, Adam, and "Tell Him" don't make up for the school dance itself and other weak numbers. The plot gets hokey, and goes off the rails a bit. However, it's not a terrible installment, and if this is the weak point in season four, which I would argue that, so far, it is, it will still make for a fine season overall.

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!

"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.

Glee The Complete Third Season now available

  FOX's Glee recently released The Complete Third Season on DVD and Blu-ray. This is the final year of high school for many of the original members of the New Directions, and they would like to go out with a bang. That means winning Nationals, setting themselves up to achieve their dreams, and for at least two students, a walk down the aisle.

Season three begins bumpy. Sugar Motta (Vanessa Lengies) tries to buy her way into the glee club, but given her lack of talent, she is rebuked by the existing members. But she soon finds friends when Mercedes (Amber Riley) and Santana (Naya Rivera), tired of losing the solos to Rachel (Lea Michelle), join forces with Sugar as the Troubletones. Now there are two rival glee clubs at the school, fighting for attention and competition awards.

Who do these girls get to coach their new singing group? Why, it's none other than former director of Vocal Adrenaline, Shelby Corcoran (Idina Menzel)! Shelby's return to Lima comes at a bad time for Quinn (Dianna Agron), who is really struggling with her own purpose. Suddenly, Quinn sees the chance to make Shelby look bad while getting her baby (adopted by the teacher) back. Unfortunately for Quinn, her accomplice in this matter, Puck (Mark Salling), decides a better alternative might just be to seduce Shelby into a relationship.

Toss in a renewed rivalry with the Warblers, led by the duplicitous Sebastian Smythe (Grant Gustin), new students, hockey bullies, the return of a few familiar faces, four winners from The Glee Project, a musical, and a couple of love triangles, and season three turns out to be a heck of a ride for Glee!

Of course, besides the fun and the singing, things do tend to take a more serious, nostalgic bend towards the end of the season. Graduation is looming. Rachel and Kurt (Chris Colfer) try to get into NYADA by impressing the legendary Carmen Tibideaux (Whoopi Goldberg), and both face failure. Finn (Cory Monteith), too, sees his dreams slipping away, and is faced with the reality of his father's secret past. This complicates the plan the three of them have to move to New York City, Finn and Rachel as husband and wife.

And there are also a couple of dark turns. Most memorably, Coach Beiste (Dot Jones) falls in love with an abuser. Glee has a lot of cheeriness in it, but it's hard to see things looking up when one's own husband is beating you. Jones turns in a masterful, award-worthy performance as a woman struggling with self-esteem and pride.

Other highlights of the year include Santana and Brittany (Heather Morris) fully out of the closet and together as a couple, a kinder, gentler, pregnant Sue (Jane Lynch), Burt (Mike O'Malley) saying a touching goodbye to Kurt, Ricky Martin as a Spanish teacher, Will (Matthew Morrison) being honored for his influence on the kids, a Michael Jackson and a Whitney Houston tribute, Helen Mirren providing an inner monologue for Becky Jackson (Lauren Potter), and two elections.

Of course, not everything flows smoothly. Glee, while frequently killing musical numbers, is very uneven in the writing. There will be fantastic episodes, like "Nationals," running close by horrible installments, like "Prom-A-Saurus." Sometimes the students lose their character, or seem to switch which grade level they're in. Parents who act like they've been at every event throughout the series just now show up on screen.

Season four will be a very transitional year for Glee, with a lot of fresh faces filling in the holes in the club, while splitting screen time with the alumni, especially Rachel, as they move into adult life. Will things improve, providing a different, but more stream-lined show? Or will added chaos finally cause the whole train to wreck in spectacular fashion? You'll have to tune in to find out.

In the meantime, besides twenty-two episodes, Glee The Complete Third Season has plenty of extras to keep fans busy. From extended and deleted scenes, to the popular Jukebox, to behind the scenes featurettes such as "Meet the Newbies," "Saying Goodbye," and "Ask Sue: World Domination Blog," this four disc set is filled with gleeful goodness.

Many will wonder if it's worth it to buy the Blu-ray release over the standard DVD. That depends, of course, on how much you care about quality. There are few special effects in Glee, so visually, high definition may seem unnecessary. But concerts look and sound better in an immersive experience, which argues for the Blu-ray. Glee in high def looks wonderful and has a crystal clear 5.1 DTS audio track. There isn't any spitting and popping, with each note landing flawlessly. The rich blacks in the performance scenes are stunning, and each bright light and glittering sequin stand out beautifully. So, yes, I recommend Blu-ray.

Glee The Complete Third Season is available now.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Article first published as Blu-ray Review: Glee The Complete Third Season on Blogcritics.

Glee considers matters of the "Heart"

FOX's Glee this week focuses on "Heart." Rachel's dads, Hiram (Jeff Goldblum, Jurassic Park, Law & Order: Criminal Intent) and Leroy (Tony Award winner Brian Stokes Mitchell) learn of Rachel (Lea Michele) and Finn's (Cory Monteith) plans to marry. They act very supportive, but secretly plot with Burt (Mike O'Malley) and Carole (Romy Rosemont) to derail the ceremony. Unfortunately for them, their machinations backfire, and the young couple decides they will tie the knot this coming May.

Rachel and Finn are too young to marry. They haven't known each other, or been together, long enough to take this step. They are both going into it for the wrong reasons, which have been expounded upon in depth in previous Glee episode reviews. So it's a little disheartening (hehe) that "Heart" chooses to overlook any of these elements, at least in the minds of the central couple, and instead, focuses on how they get along. Which is splendidly, for now. There is a little bit of a rocky start to a night spent together, but they come through it stronger than ever. Unfortunately.

When are parents going to learn that kids will do what they are going to do? Rachel and Finn are making a mistake, true, but it's far too late for their mom and dads to do anything about it. Hiram drops a few passive-aggressive comments, but other than that, both couples seem set on reverse psychology to undo the impending union. This fails, as all such plans do. How will Hiram, Leroy, Carole, and Burt cope with this, and what is their next move? Or will they just get on board, and do what Rachel and Finn want?

"Heart" introduces Hiram and Leroy to Glee viewers (apparently someone forgot that a picture of Rachel's dads was featured in the pilot, though with different actors). It's hard to think of two better men to play these pivotal roles than Goldblum and Stokes Mitchell. Both are fantastically flamboyant, in a way that fits the situation. As they croon "Chapel of Love" and "You're the Top," it's immediately obvious why Rachel is who she is. The two guys also have delightful chemistry, and it feels like a great home setting for Rachel's character.

Love is in the air at school, too. Artie (Kevin McHale) continues to hate being alone, and sets his sights on Sugar (Vanessa Lengies) as his next possible boo, thinking her Valentine's party is the perfect time to hook up. Unfortunately for Artie, Rory (Damian McGinty) has the same idea, and two end up competing over the girl, who doesn't really seem right for either one of them.

Rory wins Sugar, for now, but does so by lying about his upcoming deportation. Rory has had little to no plot all season, and so it's nice to finally get a little story for him, as well as a song when he uses "Home" to woo Sugar. But this plot seems to come out of nowhere, and his sneakiness doesn't exactly gel with the Rory first introduced all those months ago. While, perhaps, his character has changed from the time spent in Ohio, viewers not having been privy to such a change, or the reason for it, are left confused. This is a very weird plot.

The second Glee Project winner finally makes his debut in "Heart." Joe Hart (hehe again) is played by Samuel Larsen. Joe is an odd character, introduced as uber-religious, but also a bit of a live-and-let-live hippy. It's fun to hear him perform "Stereo Hearts" and a mash up of two songs, both titled "Cherish." Yet, it's totally bizarre when he decides not to judge Santana (Naya Rivera) and Brittany's (Heather Morris) relationship, given his character's introduction. Not only does Joe come out of nowhere, but his odd behavior makes him hard to pinpoint. Sadly, it's not in a complicated, deep manner, but rather, it feels like the writer's just aren't sure what to do with him.

Santana is hauled into Figgins's (Iqbal Theba) office for kissing Brittany in the hall. The broken rule isn't a PDA issue, which would be understandable, but rather, because the girls are lesbians. This kind of bigotry is completely intolerable, and thankfully Glee continues to highlight that. In 2012, homophobia is the new racism, and it's pretty darn ugly. Given what happened in New Jersey this week, this is incredibly relevant to the current news cycle.

Kurt (Chris Colfer) gets a surprise secret admirer in "Heart" when Karofsky (Max Adler) returns. Dressed as a gorilla at first, Karofsky makes a play for his former tormentee. Kurt is flattered, but gently lets him down. It's not surprising that Dave latches onto Kurt, given that Kurt is the only out gay teen Karosky knows while dealing with his internal conflict. It's only surprising that it's taken this long for Dave to act on those feelings. But Kurt is very happy with Blaine (Darren Criss), and Kurt and Karofsky just don't seem like a matching pair, anyway. However, hopefully Karosky will find a reason to return to Glee again soon, because his character arc has been neat, and any screen time for him is welcome.

The assignment Will (Matthew Morrison) gives his kids this week is to study the best love songs of all time. Yet, only two are featured in "Heart," which is pretty disappointing. Tina (Jenna Ushkowitz) and Mike Chang (Harry Shum Jr.) kick things off with "L-O-V-E," a great number, if not really being relevant to any of the episode's stories. Then it's not until Mercedes (Amber Riley) delivers a coincidentally timely (given Whitney Houston's recent passing) rendition of "I Will Always Love You" while pining over Sam (Chord Overstreet), that another example of this theme comes along. This is a truly powerful performance, and well appreciated. But that's it. Other songs, such as the guys' "Let Me Love You," are fun, but nothing deserves the "best" title other than those two numbers.

"Love Shack" is a strong ending for the episode, with Blaine returning in top form, to lead the group in a remarkably enjoyable version of the old pop hit. It surely shouldn't be on a "best love songs" list, but Glee turns it into something really fun with great choreography and tongue-in-cheek jokes. The best moment may be Finn's face as he cheesily pops up into frame near the end. The performance is an appropriate ending, even if it's mainly fluff.

Which is kind of what "Heart" is: fluff. The plots glosses over anything serious or real. The episode is amusing and entertaining. It's not bad, but there is so much missed opportunity here for it to be better.
With the impending end of many characters' runs on Glee, things will probably take a more dramatic turn soon. Maybe even next week, which is the winter finale, and features Regionals. Until then, this is a serviceable, if not overly impressive, entry.

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

MORE GLEE: If you like my reviews, please follow me on Twitter! Click here for all of the Glee reviews I've ever written. To purchase Glee DVDs, streaming episodes, music, and more, please click here. Article first published as TV Review: Glee - "Heart" on Blogcritics.

Glee wants to "Hold on to Sixteen"

     FOX's Glee presents "Hold on to Sixteen." Finn (Cory Monteith) and Rachel (Lea Michele) are worried about Sectionals, so they travel to Kentucky to bring back Sam (Chord Overstreet), whom they find working as a sexy dancer. Sam agrees to return to McKinley, though Blaine (Darren Criss) isn't pleased, feeling shoved out of the group. Finn makes peace with Blaine, and the New Directions win Sectionals. Quinn (Dianna Agron), who decides to keep Shelby's (Idina Menzel) secret, at least for now, convinces Will (Matthew Morrison) to fold the losing Troubletones back into the group, with the caveat that they get to perform a number at all future contests. Thus, the band is back together again.

     The most glaring thing wrong with "Hold on to Sixteen" is Quinn's conversion back into the good girl. She is ready to spill the beans on Shelby, but a few words from Rachel change her mind? And they're friends now? Though, kudos to Rachel for calling Shelby "Beth's real mom," which she definitely is. Shelby also tells Quinn that she needs to enjoy being a teenager, a concept that Sam echoes to Quinn earlier in the episode. But it just doesn't gel. Quinn acts nice at the end, but all that keeps coming to mind is, "What's her angle?" Is her character so ruined that she cannot be seen as a decent human being anymore? Or is it intentional that Quinn is merely acting that way to further her next schem
e?
     Mike Chang's (Harry Shum Jr.) first, and probably only, real character arc comes to an end in "Hold on to Sixteen." Tina (Jenna Ushkowitz) makes it her personal mission to convert Mike Chang Sr. (Keong Sim) into a believer in his son's dancing. And, of course, she does, even though Mike Sr.'s outlook is much more realistic. This entire plot in "Hang on to Sixteen" is cheesy, and yet, still heart warming. Sometimes a little cheese is OK in a series like Glee, and this is probably one of those times. Let's just hope Glee doesn't shove Mike back into the background for the rest of the season.

     And Tina will never, ever make it as a professional performer of any notability. That's not a slam against Ushkowitz, but rather, her character.

     Annoyingly, it does not appear that Blaine's stalker with the "CW hair," Sebastian (Grant Gustin), is going away. He pops up again in "Hang on to Sixteen," and his exchange with Kurt (Chris Colfer) is quite fun. Yet, he feels like an unnecessary hindrance, and the series would be better off without him.

     Sam's return is welcome, if a bit weird. This is the guy too shy to wear the golden underwear in Rocky Horror last fall, and now he strips down to them in a lecherous crowd, voluntarily, every day? It's also odd that Sam's parents (including Smallville's John Schneider) allow him to go stay with friends and transfer back to a high school four hours away. Top that off with Sam's come back performance of the country talky "Red Solo Cup," and the whole reunion is a little forced. But that doesn't matter, as viewers will be as happy as Santana (Naya Rivera) is, as evidenced by her amusing insult list, to have Sam back.

     When Sam last leaves Ohio, he is in a relationship with Mercedes (Amber Riley). Upon coming back in "Hold on to Sixteen," he vows to win her heart once more. This is complicated by the fact that she already has a boyfriend, albeit one who never gets, but deserves, much screen time. The best part about the inevitable showdown may be if Shane (Lamarcus Tinker) gets some actual story, and maybe even a song. However, Sam will probably win in the end, since fan favorite Overstreet is back to (potentially) stay.

     Sam's rejoining of the New Directions is beneficial, to be sure, though definitely not the only reason that they win Sectionals. With Rachel out of commission, almost every group member gets to sing solos. It's a true team effort, which may be why it sounds fantastic, perhaps even their best Sectionals yet! That, and the fact that they do a Jackson medley, perfectly suited to their voices, including "ABC," "Control," and "Man in the Mirror." Well, admittedly "Control" is a little out of synch, but the opening and closing are awesome from start to finish.

     Small note: glee clubs choose their set lists months before competition and work the same songs tirelessly. Yet, in Glee, the kids pick material days, or hours, before going on. They would never place, let alone win, in the real world.

     Sectionals is a rousing affair, as usual, though lacking any really fun guest judges. Harmony (The Glee Project's Lindsay Pearce) leads her group, the Unitards, in "Buenos Aires." The crazy girl seems very happy to get third, out of three, bragging that she is only a sophomore. Hopefully this means Harmony will return, maybe transferring to McKinley for the next two seasons of Glee? Still, happy about getting last? Come on!

     The Troubletones get the short end of the stick this week. They are overconfident in a win, and are crushed when they don't get it. And only one song is shown in "Hold on to Sixteen," as opposed to all three being seen for the New Directions. Considering that this group is made up of major characters, why are they cut short? Even worse, the New Directions laugh about having things in the bag when the girls sing "I Will Survive," and any take back of those comments when the song morphs into a mash with "Survivor" is on the cutting room floor. This makes our heroes look petty and cruel.

     It is nice that everyone comes back together again with "We Are Young." Though Quinn only delivers her proposal to Mercedes, Santana, and Brittany (Heather Morris), they bring Sugar Motta (Vanessa Lengies) along with them. This is acceptable, since Sugar is a recurring role. But what about the rest of their girls, the ones with no names or speaking roles? Are they just abandoned? That doesn't ring right with the spirit of the whole Troubletones subplot. While it makes sense from a practical perspective, this could have been handled slightly better, perhaps with a humorous scene in which the others feel betrayed by the defectors.

     Lastly, if Rachel is only allowed into the school to pick up work during her suspension, as she claims to be, how comes she spends most of "Hold on to Sixteen" there? Is she really skulking around, risking further punishment? Sneaking in for Sectionals, sure, I could see that. But she isn't even acting like she's trying to hide!

     In a night of many great lines, one in particular stands out: "I started the Dalton branch of Fight Club, which I obviously can’t talk about." ~ Blaine


     Tune in next Tuesday at 8 p.m. ET for Glee's Christmas special! Also, watch Community this Thursday at 8 p.m. ET on NBC for a fun parody of the series.

     If you like my reviews, please follow me on Twitter!

 

     Click here for all of the Glee reviews I've ever written.

 

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

 

 

Article first published as TV Review: Glee - "Hold on to Sixteen" on Blogcritics.

"Pot O' Gold" proves elusive on Glee

     FOX's Glee finally returns with "Pot O' Gold." Brittany (Heather Morris) thinks the new Irish exchange student living with her, Rory Flanagan (The Glee Project co-winner Damian McGinty), is a leprechaun. Santana (Naya Rivera) uses that to her advantage to get Brittany, now her girlfriend, to leave the New Directions with her and defect to Shelby's (Idina Menzel) group. Tossed aside, and exposed as non-magical, Rory is sad and bullied. Until Finn (Cory Monteith) befriends him and brings him over to the New Directions.

     Damian is laying on his accent a bit thick in Glee. He was understandable during the reality show this summer, but sometimes one must strain to pick out the words that his new character is saying. The songs chosen for Rory in this episode also fall flat. "Bein' Green," a classic, has weird phrasing. In "Take Care of Yourself," Rory jumps into an odd falsetto. Neither work really well. Which means a very odd, weak opening for someone that should be a really cool character.

     Also lame is Quinn's (Dianna Agron) plot to steal baby Beth back from Shelby. In "Pot O'Gold," Quinn places dangerous and illegal items in Shelby's house, than calls family services to report her. Luckily for Shelby, Puck (Mark Salling) has an affection for her, and removes the offending objects, with Shelby none the wiser about the plot. Quinn will try again, surely, but Puck won't be a part of it next time. Wanting her baby back makes sense for Quinn, who doesn't have a lot going on otherwise, and has been looking for direction. However, it's a huge step down for the character, who is no longer interesting, merely evil. For now.

     It is no surprise that Puck ends up kissing Shelby at the end of "Pot O' Gold." Anyone with eyeballs can see the smooch coming from a mile away, especially when Puck croons "Waiting for a Girl Like You" to Beth in front of Shelby. Feelings about the budding relationship, though, are mixed. Puck is a senior, and Shelby works at his school. True, Shelby only teaches a glee club, which Puck isn't a part of. And Puck is probably eighteen. Plus, Puck already has a track record of going for cougars, of which Shelby might qualify, albeit she is much classier and less slutty than the typical one. Still, there's something vaguely creepy about a student and an older woman. Please drop the Mrs. Robinson story line!

     Blaine (Darren Criss) continues to clash with Finn as the male lead of the New Directions. It isn't so much that Blaine is trying to take over, but that Finn feels outmatched vocally, and he should. Finn is handling the situation like an idiot, unfortunately. But Blaine is mostly staying out of any real bickering, to his credit. Given Finn' previous plots, he will probably come around and apologize, finally showing maturity. Eventually. Until then, it makes Finn quite a bit unlikable, acting like a child.

     Blaine sings "Last Friday Night (T.G.I.F.)" in an effort to raise the club's spirits. This continues Criss's trend of making catchy, mediocre songs actually sound really good on Glee. Unfortunately, there is something missing in this performance. It may be the lack of an all-male vocal backup. Blaine seems a little different and off with all of the girls singing around him. Too bad, because Blaine rocks otherwise.

     Despite the music-enhanced low points of "Pot O' Gold," there are actually some really good, non-music stories going on. The most notable is Burt's (Mike O'Malley) entry into the race against Sue (Jane Lynch). Coming too late to make it onto the ballot, Burt begins the arduous process of campaigning as a write in. This comes after Burt finds local business owners to re-fund the musical that Sue cuts the budget from. Burt stands a chance at winning because he is passionate about the cause, crediting Will (Matthew Morrison) and the glee club for saving Kurt's life.

     Glee may be slightly preachy when championing Fine Arts Education, but it's not wrong. A lot of kids need music, drama, and art. They need passion when having trouble connecting with other material, and struggling to find themselves. Not to mention the benefits, such as kids performing higher in other subjects, when arts ed is added in. Burt is exactly right that, in a time of budget cuts, the arts should be protected, not chopped. It's a timely message in Ohio and the country, and Glee gets mad props for defending it so vigorously.

     The threat from Sue is that she plans to refocus her campaign on her original goal: getting better Special Education programs, in memory of her sister. This is a sympathetic message, and one a lot of people will be able to get behind. Because it's television, and not a huge, nationally-spotlight race, people may even forget just how psychotic Sue's earlier comments sound. But with Kurt and the other seniors graduating, this will probably be Burt's last season on the series. A triumphant move to Washington would be a fitting ending. So let Burt win, and he can help Special Ed as well as Arts Ed. A better choice, over all.

     It seems for awhile like Glee will stop pursuing the love story between Brittany and Santana. Thankfully, that is not the case in "Pot O' Gold." They are out on a date at Breadsticks (of course), and Santana really opens up about her feelings. While less committal, Brittany seems to return those emotions. They make a cute couple, and as long as Brittany really digs girls, which it appears she does (as well as guys), then they can really work. With other love interests removed, there is no reason why the two cannot be together.

     Which makes their triumphant "Candyman," with Mercedes (Amber Riley), so thrilling. They are happy together, mixed only with a little sadness about leaving the New Directions. This girl-power group is formidable, which is apparent not only to the members, but also Shelby, Will, and Finn.

     The only weakness here is that Sugar Motta (Vanessa Lengies) steps aside a bit too easily from headlining the group. If she really has conviction about her talent, as she claims she does, she wouldn't give up so easily. Now it seems like her character is brought in only as convenience to get a second group going, and bring Shelby back. Which might be worth it, anyway.


     Don't miss Glee, Tuesdays at 8 p.m. ET on FOX.

     If you like my reviews, please follow me on Twitter!

 

     Click here for all of the Glee reviews I've ever written.

 

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

 

 

Article first published as TV Review: Glee - "Pot O' Gold" on Blogcritics.

Glee declares "I Am Unicorn"

     FOX's Glee presents "I Am Unicorn" this week. The directors for West Wide Story are announced, and auditions begin. Kurt (Chris Colfer) struggles to appear masculine enough to play Tony. Shelby Corcoran (Idina Menzel) returns as a part-time teacher at McKinley, causing a stir for Rachel (Lea Michele), Puck (Mark Salling), and Quinn (Dianna Agron), for various reasons. Will (Matthew Morrison) institutes a dancing class for those glee club members who are not up to par (cough) Finn (Cory Monteith) (cough).

      The title of this week's episode is an idea that Brittany (Heather Morris) has about those who are truly special. She pinpoints Kurt as a "unicorn," and sets her sights on helping him win Class President. That is, until Kurt rejects his unicorn status, worrying it will cost him something that he really wants. By the time that Kurt comes around, Santana (Naya Rivera) has convinced Brittany that she is also a unicorn, and Brittany decides to run against Kurt. Who might win this show down?

     Kurt's struggle with fitting in has matured this season. He is no longer in denial about who he is, nor does he worry what his classmates think of him. But he does have a dream to be a star, and playing the romantic lead roles requires one to be less flamboyant. His "I'm the Greatest Star" is thrilling, but does little to help his image. While many Hollywood and Broadway actors are, indeed, gay, few are as obviously so as Kurt, a fact that he realizes when he goes out for West Side Story. Burt (Mike O'Malley), of course, is the voice of reason, advising Kurt that there are plenty of other opportunities that he can pursue, rather than this particular aspect of his dream. Kurt may not take this fully to heart yet, but it has at least begun to sink in.

     Which is good, because Kurt will probably not get the part of Tony. It is uncomfortable to listen to the directors, Emma (Jayma Mays), Coach Beiste (Dot-Marie Jones), and Artie (Kevin McHale), all great choices for the group, talk about Kurt not being what they want. But it's also honest. Not one of them thinks that Kurt is lacking in talent, but he just isn't right for this role. It's a harsh truth that Kurt overhears, made worse by the fact that his Junior boyfriend, Blaine (Darren Criss), slays his own tryout, belting "Something's Coming" out of the park. Blaine asks to only be considered for a lesser role, but it's obvious how this will shake down. Hopefully, Kurt can manage to be happy for Blaine, rather than jealous. He needs to repeat to himself, "I Am Unicorn."

     Rachel is fantastic, and the directors are all fans of her. But Mercedes (Amber Riley) has not yet been given her chance. The preview for next week's episode sets up a big Diva Showdown, not the first, nor probably the last, between the two powerful ladies. It's still anyone's game, because both have so much talent, it's hard to see which way the casting trio will lean. Mercedes, however, rarely gets to shine like Rachel does, so perhaps it's her turn.

     One small gripe, since when does casting go on all week like this? A couple of auditions times, sure, but this seems like a never ending slate of appointments. It's just a little weird, speaking as someone from the general area the show takes place who has gone through his fair share of tryouts.

     Also, it's awesome that Mike Chang (Harry Shum Jr.) co-teaches the dancing class with Will. It's a nice showcase for Glee's newest main character, and one that fits him well.

     Besides West Side Story, the other major plot is the return of Shelby. Last seen in season one, Shelby adopts Quinn and Puck's baby and moves to New York. She also turns out to be Rachel's birth mother. Now she's back, recruited by Sugar Motta's (Vanessa Lengies) father to start a second show choir at McKinley, this one featuring the horrific vocal stylings of Sugar. It's easy to see why Will doesn't view the new start up as a threat. Shelby's return will be much more about the emotional impact she has on her daughter and the biological parents of the child she's raising than about what she's doing in the school.

     Or will it? Sugar will definitely never get it together, though Shelby is likely to help her improve somewhat. But Will also drops the tidbit that Vocal Adrenaline, Shelby's former group, has fired its glee club director. Does this mean that she might be swayed to return to her old job, as a competitor of the New Directions, before long? If so, then she would truly be an antagonist once more. Which would be a shame, considering how she has such a nice, friendly story going on now.

     Shelby is timid about reconnecting with Rachel, a natural reaction given how they end things. Rachel acts like she doesn't want Shelby around, surely a falsehood, one done to protect herself emotionally. Shelby seems determined to be in Rachel's life, but to give her the space that she needs, and the time to accept things slowly. It's a wise move, and much more likely to work than the subterfuge she previously engages in. It also helps make their "Somewhere" a really moving performance.

     In a parallel story, Shelby gives Quinn and Puck the chance that she never had: to be there for their daughter starting at a young age. As a mother, Shelby wants to protect baby Beth, and asks both the parents to really commit before they can see her. Puck is willing to do anything, thrilled with the chance to get to know his daughter. Quinn resists, arguing that her purple hair and "skank" friends are who she truly is. Both Shelby and Will attempt to talk sense into her, the latter in a terrific chewing out, to no avail.

     Quinn does eventually clean herself up and rejoin glee club, but it's a ruse. She is only trying to appear reformed so that she can get close to Beth. You see, Quinn intends to win custody back from the adoptive mother, surely an uphill battle at this point, and one that no viewer will be rooting for. Despite appearances, it's a step backwards for the mean, manipulative Quinn, and it proves that she is not ready to be a mother. Hopefully, she will clean up her act for real before she has the chance to damage an innocent child.

     This episode has a light musical load, to be sure, but each song is perfect where it is, and with so much great story for the characters, how can one complain?

     Catch next week's all new episode of Glee, "Asian F," next Tuesday at 9 p.m. ET on FOX. What is an Asian F? Why, it's an A-!


     Watch Glee Tuesday nights at 8 p.m. ET on FOX.

     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 - "I Am Unicorn" on Blogcritics.

Glee embarks on "The Purple Piano Project"

     FOX's Glee season premiere is "The Purple Piano Project." Will (Matthew Morrison) gets three purple pianos, and randomly places them around the school. He hopes spontaneous performances by the New Directions will help identify students that just cannot stay away from music. This is needed, because the club has lost three members, including Quinn (Dianna Agron), who has a whole new look, and is hanging out with the "skanks." But Sue (Jane Lynch) is now running for Congress on an anti-arts education platform. Sue tasks new co-Captain Santana (Naya Rivera) with destroying the pianos, leading Santana to be kicked out of glee club.

     Last year, Santana quits the Cheerios because Sue goes too far, siding with the New Directions. This year, she does an about face. While Quinn is actually the one who inexplicably burns a purple piano, Santana is blamed for the incident, and doesn't deny it. What happened to the girl who loved glee club, much as she hated to admit it? Surely she's still in there. Could she only have been participating for Brittany (Heather Morris), and once rejected, care less about the music? It certainly doesn't appear so in the multiple numbers this week that Santana jumps up and shakes her booty around. As such, hopefully the exile will only be temporary.

     Quinn's defection, from both the New Directions and the Cheerios, is more understandable. After all, she has had a rough couple of years and just wants to start over. Hanging out with the group that she chooses isn't the best idea, but it also isn't unrealistic for a teen girl who is long struggling to find her identity. With all of the set backs Quinn must overcome, one is left hoping that she finds happiness more than wanting her back in any specific club. That could happen, when Shelby (Idina Menzel) returns with Quinn's daughter, demanding that Quinn clean up before the two can have a relationship. At least, that's what the preview for next week appears to be setting up.

     Sam (Chord Overstreet) is also gone as of "The Purple Piano Project." Overstreet chose to leave Glee when not upgraded to series regular, and the script reflects that Sam's father got a job and they had to move. This makes sense, given the financial state the family is in when last seen. Zizes's (Ashley Fink) defection makes less sense, as she is a valuable part of the club, and brings a unique personality to the mix. Then she just up and leaves, breaking poor Puck's (Mark Salling) heart in the process. Bad form!

     Sadly, the talent pool at McKinley does not provide quick replacements for the four missing members. Only one girl, newcomer Sugar Motta (Vanessa Lengies, Hawthorne), tries out. She has Asperger's, and thinks she is far better than the rest of the New Directions. Her rendition of "Big Spender," completely out of tune, begs to differ. Will is faced with the possibility, for the first time, of not letting a student who tries out into the group. But finding something for her to do besides sing does not go over well.

     The one bright spot in the membership game is Blaine's (Darren Criss, now a series regular) transfer into the public school. A performance of "It's Not Unusual" quickly secures him a position in the glee club. He transfers because he loves Kurt (Chris Colfer), who practically begs him to switch schools, until Blaine does, and then Kurt worries that this will hurt their relationship. Truly, picking a new high school is an extreme choice for a teenage beau. This could seriously backfire in the long run. And yet, Glee's penchant for happy endings, as well as strong fan feelings for Kurt and Blaine's pairing, might just assure that it works out.

     Kurt's major worry in "The Purple Piano Project" isn't his love life. He and Rachel (Lea Michele) learn, much to their dismay, that the Julliard does not have a musical theater program. Emma (Jayma Mays) suggests another NYC school, and sends them to a mixer for wannabe applicants near by. The two go in with much confidence, but a fantastic performance of "Anything Goes / Anything You Can Do" by Harmony (The Glee Project contestant Lindsay Pearce) and her friends leaves them feeling more than a little intimidated.

     The moment in the car between Kurt and Rachel is one of the surest, sweetest times shown in their friendship, and in all of Glee. It shows just how much they have come to care about each other, and with one another for support, they actually stand a chance at making it. Plus, again, Glee strives for happy endings. Surely, they have talent. Their "Ding-Dong! The Witch Is Dead" proves that. But they also need luck and encouragement, the latter of which they can help each other out with.

     Will needs no encouragement to stand up to Sue in her would-be reign of terror. Faced with losing his job and the program he loves, Will goes on a full-out campaign against his nemesis. Delivering a glitter bomb, he makes a public statement that Sue will not get away with what she is trying to do. Unfortunately, his stunt back fires, driving Sue's rising poll numbers even higher.

     This particular plot in "The Purple Piano Project" matches what is really going on in Ohio and other areas. Tea Partiers, angry at everything government, but with no plans to actually change anything for the better, demand cuts across the board. Suddenly teachers and valuable programs like arts education become the villain. With no regard to the actual benefits, and with general ignorance, they want change. Ohio has cut many teaching jobs and arts programs lately in response to that. Given Sue's personality, she is the perfect candidate to please such a crowd, much to the detriment of the public good.

     There is a positive response to Will's bold actions, though, and that concerns Emma. With her neurosis, the couple is having trouble connecting in the bedroom department. Emma is very turned on by this aggressive, passionate Will, who won't let Bieste (Dot-Marie Jones) fight his battle for him. With a few more of these activities, there should be no more problems for them, sexually.

     All in all, "The Purple Piano Project" proves to be a really good time, with fun happenings such as a food fight and wonderful performances of "We Got the Beat" and "You Can't Stop the Beat" by the New Directions. Keep up this level of light humor, along with appropriate emotional impact, and season three will be great.


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Article first published as TV Review: Glee - "The Purple Piano Project" on Blogcritics.