CBS All Access take THE STAND.

 Article first published as TV Review: THE STAND on Seat42F.

This week, CBS All Access rebooted Stephen King’s THE STAND with a brand-new, nine-episode miniseries that will be released weekly. The story is one of two powerful beings, one good and one evil, fighting in a post-apocalyptic landscape. It reportedly contains additional material and a fresh ending and coda by the author himself, so even if you’ve read or watched the 90s miniseries, there’s something new here. Also, this version is on a streaming service, so it is not bound by episode running times or broadcast television standards.

THE STAND starts after a pandemic wipes out the vast majority of the world’s population, then flashes back to show us briefly how the early days played out. It doesn’t waste much time going through the illness, just giving us enough of a glimpse of some corpses to let us know the impact of what happened. The big difference between this and a network broadcast seems to be letting the production get really gross with the bodies. This was also made before the recent real pandemic, and it’s unsettling to watch this alternate, much more dire outcome. Though I do worry too many will see this and take it as a sign that ours isn’t so bad, which is not the lesson that should be taken away at all.

Judging from the pilot of THE STAND, titled “The End,” there appears to be three lead characters. Stu Redman (James Marsden, Westworld) is a simple guy who somehow becomes the only one in his friend group, and then in a much larger circle, that is immune to the virus, surviving in a government facility while everyone else dies around him. At the same time, Harold Lauder (Owen Teague, It, Bloodline) is left alone in his neighborhood with his former babysitter, Frannie Goldsmith (Odessa Young, Assassination Nation). Unlike Frannie, who is grief-stricken by her circumstances, Harold seems gleeful for the chance to get close to Frannie, who he has been stalking for a while.

Harold gets the most focus in “The End,” seen both during the crisis and after, when a bunch of survivors (including all three leads) gather. But that doesn’t mean viewers will root for him. He’s an unlikeable creep, and every moment he’s with Frannie is a moment that I fear for her safety. And that’s even before Harold reveals his chilling manifesto, which surely means dark times are coming.

Without having read the book or seen the earlier version, I didn’t realize from this initial installment that THE STAND was actually about a supernatural battle. The good Mother Abagail (Whoopi Goldberg, Sister Act, Ghost) and the evil Randall Flagg (Alexander Skarsgård, Big Little Lies) are barely glimpsed in the first episode, and not explained in the slightest. Before reviewing materials on the series, I had no idea they were of much importance at all. Though I like both performers very much and look forward to seeing more of them.

Teague is a fine performer, perfect for the part, as unsettling as it may be. But spending time with his character is tiresome, and that’s why I was disappointed THE STAND took out several others I liked in short order. “The End” offers us Hamish Linklater (Legion) as kindly Dr. Ellis, whose passing was incredibly sad. J.K. Simmons (Spiderman) appears in a single scene, and as impactful as he is, he feels wasted. I’m glad Eion Bailey (Once Upon a Time) is sticking around, but I wonder how many other great actors will blow through in little more than cameos, presumably attracted by the King name.

I liked THE STAND, I didn’t love it. I didn’t get as much of the performers that I wanted to see, and got a lot of one who made me very uncomfortable (albeit, well-acted for the role). Its parallels to modern events are scary, but the pacing is a little slow, and it doesn’t substantially reveal major elements of its own story in the only episode released so far. Without exterior motivation, I don’t think this hour alone would make me want to watch.

THE STAND’s first episode is available now on CBS All Access, and will release new installments every Thursday.

GLEE "Bash"ing Not as Easy Any More

Article first published as TV Review: 'Glee' - 'Bash' on Blogcritics.

Glee takes a darker turn in this week’s episode, “Bash,” when Kurt (Chris Colfer) steps in to defend a gay man being beat up. The victim runs, abandoning his savior, and Kurt is kicked until he ends up in the hospital, exposing the seedy side of New York City, where hate crimes are on the rise. Kurt’s experiences affect all of his friends, and end up being a center piece for the entire hour, which is mostly a pretty good one.

It’s weird to think of New York as a place that isn’t tolerant, given the wide variety of people who live there, but I guess bigots are everywhere, and in a huge place where it’s easy for individuals to hide, some have begun to strike out. As Kurt says, they feel their way of life slipping away and it makes them angry, so they pummel the people they feel are responsible for it. It’s not rational, and it’s a truly ugly side of human behavior, but it is something we can understand. “Bash” does a good job in communicating this, and is emotionally moving.

The episode begins with Kurt, Blaine (Darren Criss), Rachel (Lea Michele), and Sam (Chord Overstreet) participating in a vigil for someone else who has been hurt. They sing a beautiful rendition of one of my favorite Sondheim pieces (this episode has a lot of Sondheim songs), “No One Is Alone” from Into the Woods. It’s a sad occasion, one sure to be repeated when Kurt gets involved in a similar incident, making the show take an even more unexpected turn as Blaine sits by Kurt’s bedside and sings the weakest number of the week, “Not While I’m Around,” which is appropriately melancholy, but lacks the power one might hope for.

It isn’t long before Kurt’s father, Burt (Mike O’Malley), flies into town, furious at Kurt for getting involved. “Bash” provides O’Malley yet another opportunity for a moving performance. We see the pain in his eyes, reflecting his child’s physical ailments, but the pride still shines through, knowing that Kurt is a good man, no longer a kid, who stands up for what he believes in. It’s a complex situation, Burt’s range of emotions all understandable and warring to surface, but love is the one that shines through the bets, making a for a terrific father-son scene.

And, because Glee must always let its heroes triumph, “Bash” concludes with Kurt’s mid-term performance of “I’m Still Here.” It’s a wonderful moment, Kurt recovered from his ordeal (mostly), surrounded by his loved ones. He will not let others bring him down, and he will continue to do what he does best. It’s an amazing song, performed fantastically, and surely earns Kurt top marks from his smiling professor, Carmen Tibideaux (Whoopi Goldberg).

Rachel is deeply affected by what happens to Kurt. She’s getting a little too big for her britches, choosing a duet with Blaine, “Broadway Baby,” for her own mid-term. It’s a great number, but Carmen is upset with Rachel for ignoring the guidelines of the assignment. Rachel, high on tech week for Funny Girl, pretty much tells Carmen where to stick it, resulting in Rachel quitting school. When Kurt steps in to confront Rachel, trying to reason with her that she needs an education, she tells him he doesn’t take risks. Needless to say, she feels responsible for Kurt interfering in the bad situation later in the installment, and while she doesn’t apologize to Carmen, she does resolve to stick with her friends, telling Kurt that she’s sorry.

In a way, Rachel taking responsibility for Kurt’s actions only shows even more how self-involved Rachel has become. Why does she think a few words she says will cause Kurt to change his behavior? Kurt isn’t easily manipulated, and as his best friend, Rachel should know that. Kurt’s decision has nothing at all to do with the diva, and so it makes Rachel seem pathetic when she infers that it does, even as the scene in which the two make up is sweet.

Rachel’s story is the weakest in “Bash,” and not just because she’s being a jerk. She tells her boss, Sidney (Michael Lerner), that she simply has to have time off of tech week for her school work, and he objects. She insists it’s just this one time, ignoring the fact that she just took a full week off to go back to Ohio, not to mention how her waitressing job must be distracting her even if, as Carmen says, Rachel has let her studies slip. Sidney agrees to let Rachel have one break, then she promptly spends much of the rest of the episode off set, rushing to Kurt’s bedside and hanging out with her friends, without a hint of complaint from the production. I don’t know how the writers expect us to buy the lack of continuity in any of this because it just doesn’t make any sense at all.

Oh, and if anyone is wondering, Blaine does make up his project for Carmen during “Not While I’m Around,” so his spot at NYADA is safe.

The other subplot happening in “Bash” involves the reunion of Mercedes (Amber Riley) and Sam. They fall for one another over reruns of The Facts of Life, which Sam hopelessly misinterprets, and then Mercedes opens up with a nice “(You Make Me Feel Like) A Natural Woman.” However, one lousy dinner with her backup singers (Dana Davis, Franklin & Bash, and Saidah Arrika Ekulona, Righteous Kill), and Mercedes dumps Sam out of fear of what racist people will think, and how that might hurt her career. Thankfully, Kurt’s bravery makes Mercedes come to her senses in an Amber Riley-original, “Colorblind,” and the couple reconciles.

I’ve always been a fan of the off-again, on-again pair. Not all Glee viewers root for Sam and Mercedes, but they fit together unexpectedly well. They may be different people, but they also like one another a great deal, offering support and advice without judgment. Their plot in “Bash” is a little hokey, but overall, I’m still holding out hope Riley will be re-signed as a series regular and stay in New York.

“Bash” isn’t the best episode of Glee ever, but it does continue the trend of a higher quality since the Ohio setting was ditched, and aside from Blaine’s song, which did its job, the musical sequences are much more even. The Kurt stuff doesn’t quite fit in the series, but it’s well handled. I think getting away from the cheesiness inherent in the high school story lines has been good for the show, and overall, it’s doing better.

Glee airs Tuesdays at 8 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.

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 ditches the "Props" for "Nationals"

Glee went for the double dose last night, presenting two new episodes the week before its third season finale. Why make the penultimate week a two- hour special, and leave the finale a mere 60 minutes? Well, for one thing, the last episode will be paired with American Idol. And secondly, after an hour of high excitement Nationals competition, wouldn't the softer toned goodbyes seem to drag on? Glee made the right decision.

To the episodes! The first, "Props," opens with an understated Rachel (Lea Michele) performance of "I Won't Give Up." It's a fantastic song, not in your face, that allows Michele to emit the pain and determination of this struggling diva-wannabe. Rachel becomes sympathetic in a way that she rarely is as she vows not to quit on her dreams. With this number, her NYADA future is sealed, even if there is no clear path for her to get into the school yet.

It really changes the tone of Glee to begin with a song like this. It adds some weight and heft to the episode, letting viewers know the show means serious business this week. It actually works really well.

A handful of supporting characters get their dues in "Props." Most prominent is Tina (Jenna Ushkowitz), who delivers a startling rant about being shoved into the background for three years, and threatens to quit the New Directions. She has a point, in that she is a founding member of the group who never gets her due. Then again, Tina is a boring character, and does not need any more plot. This episode will suffice nicely for covering the base. She cannot possibly be the lead next year. Please, no!

The best part of Tina's story in "Props" is when she bumps her head. Suddenly, she is Rachel Berry. Better yet, Finn (Cory Monteith) has become Kurt and Puck (Mark Salling) is Blaine! In fact, all of the New Directions members, including its coaches, have switched bodies! This may be gimmicky, but it's incredibly enjoyable. Some of the actors really capture the spirit of another character, while some fall a little flat. But any way you slice it, this is a brilliant move.

Of course, the whole ordeal has a purpose. After performing an acceptable, but not Rachel-level, quality "Because You Loved Me," Tina comes to the conclusion that Rachel's life is hard, too. To make up for her meanness earlier, Tina drives Rachel to confront Carmen Tibideaux (Whoopi Goldberg), who gives Rachel the appropriate smack down. But at least Tina believes in her! To celebrate, they duet "Flashdance... What a Feeling."

But as central as Tina's story is to "Props," Bieste (Dot-Marie Jones) and Puck steal the show. Bieste struggles with her relationship, not finding the strength to leave Cooter (Eric Bruskotter), even though he continues to be abusive. Meanwhile, Puck is being bullied by hockey captain Rick 'The Stick' (Rock Anthony). Their plots come to a head as Bieste catches Puck pulling a (fake) knife on Rick.

This is a startling moment for Glee. Prop or not, there is no coming back from Puck with a knife. In this scene, it's clear that Puck has no future. He will end up dead or worse. He has nothing left to lose, and has grown desperate. It mirrors the way Bieste feels, as she considers stabbing Cooter while doing the dishes. These two are on the brink of no return.

And then realization, in the form of Bieste, smacks them. Seeing her emotions reflected back at her startles Bieste enough to act. She gets Puck a make up test so that he might graduate, and she leaves her hubby in a moment of sheer strength and bravery. It's a triumphant moment for her character and the series.

True, as a teacher, she should have reported Puck for the incident. And in reality, some student might have told, getting her in trouble, too. But for the purposes of this story, realism is unnecessary.

Jones and Salling deliver their best performances of the series in "Props." This entire arc really hits every right note, telling a perfect story for two talented actors. Jones proves herself practically every time she gets on screen, but this is the first episode in a long time where Salling delivers. Their duet of "Mean," as Glee must turn everything into song, is a wonderful capper. Give them a couple of awards, pronto!

Finally, Sue (Jane Lynch) wants to add props to the New Directions' Nationals performance to help them against their competition. At first, Will (Matthew Morrison) listens to her because, after all, she has won several national cheerleading titles, and his glee club didn't even break the Top Ten at Nationals last year. But, of course, in the end, Glee repeats its oft-heard message of being true to oneself, and avoiding the unnecessary gimmicks.

Then it's time for the second hour, which finds the New Directions, with Emma (Jayma Mays) and Bieste in tow, heading to Nationals in Chicago. Rather than flitting around the city this time, though, the New Directions erupt in a fight amongst themselves. Surprisingly, this is not them coming apart at the seams, but rather, demonstrates their passion for what they are about to do. As such, Santana (Naya Rivera) and Will are able to pull them back together.

And pull together they do! Their set list of "The Edge of Glory," "It's All Coming Back to Me Now," and "Paradise by the Dashboard Light" is spectacular! Most of the members of the group are featured, and the dancing and singing is fantastic! It's easily one of, if not the, best sets the group has ever put together. Finn, in particular, shows just how much he's grown in the last three years, and by extension, Monteith has improved as a performer. It's no wonder they win!


Should that have said, SPOILER ALERT, the New Directions win Nationals? Nah. This victory is a foregone conclusion from the "Pilot" of the series. There is never a single doubt that they will take the title before the original leads graduate, which may be why there is less build up before the actual "Nationals" episode. But that doesn't make their victory any less sweet, and after these numbers, well deserved.

The only regret is that Kurt (Chris Colfer) is kind of shoved into the background for all three songs, while Carmen is in the audience. Hopefully, this won't affect his standing with her when he attends her school next year. He's already in, so it shouldn't. She's seen him shine by himself, and now she also seems him being a team player.

Of course, there must be competition. Jesse St. James (Jonathan Groff) returns to talk smack, before genuinely putting in a good word for Rachel with Carmen. Not that Jesse's recommendation probably means much, considering he failed his own audition with Carmen. But she remembers him, so that's something. This also provides a little bit of redemption for a character who is self-absorbed enough to not be so well liked.
Jesse's star singer is Unique (Alex Newell), who is used as a tool to win, but could not be further in personality from Jesse. Which makes one wonder how their rehearsals go.

Mercedes (Amber Riley) and Kurt have a friendship with Unique now, and visit him/her before his/her performance. It's a touching moment that sticks to Glee's spirit of inclusion and fellowship. No petty words are exchanged, and their encouragement even sparks the hope that Unique might transfer to McKinley next year. In a perfect world, this will happen. Might the Glee writers be dropping hints? After all, with Rachel gone, McKinley needs a new powerhouse, and, despite words spoken in the first hour, it won't be Tina.

Powerhouse is a great description of Unique! His/her "Starships" and "Pinball Wizard" are amazing! In fact, there is some serious doubt about victory from Rachel and the others after witnessing it. Thankfully, using the entire group beats one voice and some props, but Unique gets the MVP award, and so is recognized appropriately.

Every time Glee embarks on a competition, they bring in some celebrity judges for an amusing, though unimportant, decision scene. "Nationals" is no different, with Lindsay Lohan (herself), Perez Hilton (himself), and Rex Lee (Entourage, Suburgatory) as a glee club-obsessed politician. They are every bit as effective as any past panel, though don't add much to the episode. In fact, the conversation viewers see in the judges room doesn't make a lot of sense, as the trio are not leaning towards the New Directions at the time. Ah, well. In an episode this good, Glee can have its tropes.

With Nationals over, the New Directions head home. A quiet school is waiting, kids lining the hallways, hockey players approaching with the familiar slushie cups. One can be forgiven for assuming the Figgins (Iqbal Theba) has made them turn up, but that the kids' standing has not risen. Then the slushie cups are revealed to be full of confetti, and applause erupts. The New Directions are heroes! "Tongue Tied," sung by them, but on playback, not with mouths moving, takes them through this celebration.

It's hard to say how realistic this is. Students love to support their peers who bring glory to their school, but it's not likely that the New Directions will be regarded as much cooler tomorrow by most of their classmates. This is a temporary recognition, and not one that will last. However, it will change the opinions of a few, which should be enough to beef up the roster and replace the graduating seniors next year.

With the kids getting their dues, there is still time to turn the attention to Will. The graduating seniors thank him for everything, giving him credit for changing their lives. And it's true. The glee club is what it is because of Will. He fades into the background for much of these final episodes of this season, but he deserves recognition for getting the kids to the point where he can do that. They stand on their own because he helped them get to there.

As such, Will is honored with a Teacher of the Year award, with the New Directions singing "We Are the Champions" to him. Even Sue is impressed and believes that Will deserves it, an appropriate reaction, given that she actually demonstrates her affection for the students in "Nationals" and the episodes leading up to it. Emma takes her appreciation a step further, rewarding him in the bedroom. All of this is an acknowledgement of everything that Will has worked so hard for, and he takes it well. Very heart warming.

So what's left? Next week is "Graduation," time to say goodbye to many of the popular characters (except Rachel and Kurt, whose college life will share screen time with McKinley High next season). It's sure to be full of tears and bittersweet song. Tune in to FOX next week at a special time, 9 p.m., for what will surely be a wonderful episode of Glee.

A quick bit of casting news: Sarah Jessica Parker (Sex and the City) and Kate Hudson (Almost Famous) are joining Glee next year on a recurring basis! Neat-o!

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 - "Props; Nationals" on Blogcritics.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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