A Camp-y AMERICAN HORROR STORY

Article first published as TV Review: AMERICAN HORROR STORY 1984 on Seat42F.

Anew season of AMERICAN HORROR STORY has started! This one is subtitled 1984 and takes place at a lakeside camp near Los Angeles in the summer of that year. Orwell, it isn’t, with a creepy massacre back story and a violent criminal who is breaking into homes in the city. Which characters will make it out alive?

First it must be said, as we’ve come to expect from AHS, the visual look is amazing. From sets to costumes to hairstyles to props, each are meticulously detailed to be of the era. Actually, more importantly, it looks as if from a movie from that era. The highly stylized, a bit more heightened that reality, is a hallmark of every season of the series, and that continues through this one. Even the lighting and film end up looking like this was made a few decades ago, albeit with a sharp picture. This isn’t novel for AMERICAN HORROR STORY, but it’s important to keep up the quality nine seasons in.

The cast is a mix between familiar faces and new ones. Emma Roberts (AHS: Coven) returns as lead Brooke Thompson. A departure from Roberts’ normal bitchy role, Brooke is timid and agreeable. Attacked in her apartment, Brooke allows herself to be persuaded by new bud Montana Duke (Billie Lourd, AHS: Cult) to flee the area and become a camp counselor, despite being hesitant to miss college classes she’s signed up for. The girls are joined by athlete Chet (Gus Kenworthy, Sharknado 5), actor Xavier (Cody Fern, American Crime Story: Versace), and drug supplier Ray (DeRon Horton, Dear White People).

The four (sans Brooke) make up an established group of friends that welcome her in. One assumes that these will be the primary leads, those hunted by the killer or killers this season. Older staff members like camp owner Margaret Booth (Leslie Grossman, AHS: Cult), doctor Rita (Angelica Ross, Pose), and creep Trevor (Matthew Morrison, Glee) seem likely to stay on the fringes. This makes sense for the 80s genre, though other seasons of AMERICAN HORROR STORY have tended to split the age groups. For instance, Coven had a group of young witches, but also meaty material for the older characters. That’s part of what seems to set 1984 apart.

Setting itself apart is likely a good idea with franchise veterans Sarah Paulson and Evan Peters (mostly) sitting things out. Instead of wondering what part they should be playing and measuring any other performer against them, it’s easy to settle in with this new group. AMERICAN HORROR STORY: 1984 is a bit reminiscent of Scream Queens, another Ryan Murphy project starring Roberts. However, Scream Queens was campy and this is camp the noun, not the adjective. It’s a bit odd to see AHS in that light, but it works. As usual, there is plenty of blood and plenty of mystery.

One does wonder where 1984 will go besides slasher flick, as most seasons of the program have bent a couple large themes. Rumors have swirled that aliens might come into the mix. Ghosts also seem a reasonable guess. But I wonder at the specific year, which works because of the Olympics element of the story, but also calls to mind a famous dystopian novel. I’m hoping for a bit of Orwell slipped in here somewhere. If does not, I kind of think the title should have been something else.

The bottom line, though, is that AMERICAN HORROR STORY hasn’t missed a step with 1984, and we have a season of chills and thrills awaiting us. I am very much looking forward to it.

AMERICAN HORROR STORY: 1984 airs Wednesdays on FX.

GLEE's "Dreams Come (Almost) True"

Article originally published as TV Review: 'Glee' Series Finale - '2009' and 'Dreams Come True' on Blogcritics.

FOX’s Glee comes to an end this, week after six seasons on the air . The first hour of the two-part finale, “2009,” takes place during the pilot of the show, revealing different perspectives as the audition process for the brand-new New Directions begins, and filling in some of the gaps in motivation between these early characters and who they become. The second half, “Dreams Come True,” goes slightly into the future, glimpsing the fates of several key members of the cast, before ending about five and a half years down the world in a nearly-perfect world.

Glee’s quality is inconsistent; something that remains through the end. However, the series almost always hits the emotional points it needs to hit, which it does in “2009” and “Dreams Come True.” Honestly, there was little point to “2009,” having no real purpose to its flashbacks, other than to evoke nostalgia. In that, it succeeds, forcing fans to remember where Rachel (Lea Michele), Mercedes (Amber Riley), Kurt (Chris Colfer), Artie (Kevin McHale), Tina (Jenna Ushkowitz), Will (Matthew Morrison), and Sue (Jane Lynch) come from, providing context to where they end up by the series end. And while it was a completely unnecessary episode, it was also a very moving remembrance, especially when including memories of Finn (Cory Monteith, whose untimely death forever changed the show).

Some of the songs were recycled from the pilot; “Mister Cellophane,” and “I Kissed a Girl” are the songs with which Kurt and Tina auditioned, respectively, and the series wastes precious on them. I won’t complain about Glee using “Don’t Stop Believin'” yet again because it is the show’s signature song, and it does allow us to see Finn again, the rest of the episode masterfully matching up the re-used footage. Rachel and Kurt’s “Popular,” Artie’s “Pony,” and Mercedes’s “I’m His Child” are better because they’re new and they fit, at least adding a little bit of something to “2009.”

The episode is fun. Seeing Will married to Terri (Jessalyn Gilsig) again, remembering how neurotic and in-lust Emma (Jayma Mays) first is, hearing the Tina we know justify the Tina Glee starts with, and having Howard (Kent Avenido) around for comic relief are all enjoyable. An unexpected glimpse of Blaine (Darren Criss) is welcome. There are a few poignant bits: seeing Will and Sue’s friendship sort of fall apart, and reminding us how poorly Kurt and his father (Mike O’Malley) communicate, as well as showing Kurt at an extremely low point, mean something. But overall, “2009” doesn’t serve much purpose in the grand scheme of things.

I would have had less of a problem with this bit of nostalgia if “2009” had not been part of the two-hour series finale. Had it aired last week, it would have been better. The issue is, after spending a full episode in the past, there isn’t a lot of time to tie up the endings, which means that many, many deserving characters don’t get their earned send-offs, some of which could be very brief, but aren’t present at all. These two hours do re-focus the story on the core cast, but even they aren’t all given their due, with Artie and Tina, arguably the least necessary characters, shafted in the second hour in favor of allowing Sam (Chord Overstreet) and Blaine some pay-off.

“Dreams Come True” presents an idealized version of the future. Rachel wins a Tony, for which she thanks Will, carries a surrogate child for Kurt and Blaine, and is married to Jesse St. James (Jonathan Groff). Kurt and Blaine are on Broadway, and doing school visits in their spare time. Sam takes over the New Directions, something in which he’d never before shown, but does seem oddly fitting. Mercedes is on tour with Beyonce. Sue is winning a second term as Vice President under Jeb Bush. The last is a bit nightmarish, but it’s the outcome Sue would want.

The most optimistic vision of all finds Will taking over as principal at McKinley, now a school for the arts, and turning it into a model copied nationally. Glee has always championed arts education, positioning music as the magic bullet that can fix a severely broken system. As someone heavily involved in music and drama while in school, I am sympathetic, but Glee takes it all to the super unrealistic nth degree. I certainly appreciate what the show is trying to do, but by tossing believability so far out the window, it pretty much undermines its own message.

What I’d have preferred from the finale is something the two hours do in half measures. Mercedes gets to say goodbye with “Someday We’ll Be Together,” Will croons his “Teach Your Children” thank you to the alumni, Sue lets “The Winner Takes It All” express her emotions to Will, and Rachel is sent off in the penultimate number, “This Time.” All of these are great, especially the Sue song, and they are good ways to let these characters depart. Kurt and Blaine’s “Daydream Believer” is at least as enjoyable as these others, though feeling less final. There are non-singing moments, too, such as see Sue and Will watch the Tonys together, Blaine worrying about Sam, and Tina and Artie’s kiss, that are touching. But there are other characters who matter besides them. Santana (Naya Rivera) and Brittany (Heather Morris) arguably get their due in their wedding episode, but others in the cast are not featured, and that’s a shame.

“Dreams Come True” ends with a huge group number honoring Will and the auditorium named for Finn with “I Lived.” This is terrific, with almost all of the previous glee club members (sans Rory and Marley, most noticeably) coming back to be with Will. Such faces are glimpsed as Zizes (Ashley Fink, whose return I long yearned for), Joe (Samuel Larsen), Matt (Dijon Talton), Mike Chang (Harry Shum Jr.), Ryder (Blake Jenner), Jake (Jacob Artist), Puck (Mark Salling), Quinn (Dianna Agron), and many more. That it should include kids that come after them is debatable, since Will gives up coaching in the near future. But I would have liked to have seen a more full Mr. Holland’s Opus press, with all of the alumni parading past their teacher, showing viewers how they end up, while honoring the legacy Will builds.

While some of what I suggested is personal preference, and Glee is, of course, free to handle its swan song any way it wants, the way it did feels a little weak to me. By ignoring so many of the characters that made the show important and going overboard in its support of arts education, it just doesn’t live up to its potential. And yet, it hits emotional note after emotional note, and tears are flowing for much of the two-hour running time. So does it succeed at capping the six-year run, being as almost-great as the rest of the show? Or does is squander a chance at a lasting legacy by not entirely sticking the landing? I guess that’s up for each individual fan to decide for themselves.

It is with some relief that I end my last Gleekonomics column, but there’s no denying, Glee and its characters, despite all of their flaws, will be missed.

GLEE Almost Done Being "Built"

Article originally published as TV Review: 'Glee' - "We Built This Glee Club" on Blogcritics.

FOX’s Glee takes the team to Sectionals in the penultimate episode of the series, “We Built This Glee Club.” Like in the previous week, it mainly ignores the alumni who have been featured prominently for six years and keeps the cast small. The exception to this is Rachel (Lea Michele), who gets a visit from an old friend and finally decides whether to return to school or Broadway.

If Sectionals were a culmination of Rachel’s journey, or Rachel, Kurt (Chris Colfer), and Blaine’s (Darren Criss) journey, or even Will’s (Matthew Morrison) triumphant return, “We Built This Glee Club” would be a great episode. Instead, it’s only a pretty good episode. That’s because this close to the end of the entire series, there are few stakes and little payoff, no matter how enjoyable the hour may be. Yes, technically the glee club might be disbanded if they don’t win, but that’s not a threat brought to the forefront here. It would be so easy to build this installment into something, given where the season starts, and yet Glee stops short of doing so.

My problem is not so much with the Sectionals themselves. The Falconers doing “Broken Wings” is ridiculously silly, as is the judging panel made up of Rod Remington (Bill A. Jones), Butch (stand up comedian Fortune Feimster) and her poodle, and a cranky comptroller (Patricia Forte), and the uneven number of songs that each group performers is stupid, if practical, but that’s par for Glee‘s Sectionals episodes, and it’s fun they bring back the comptroller from their very first competition. Given how over-the-top showy Vocal Adrenaline’s “We Built This City” / “Mickey” piece is, focusing on pizzazz over vocal quality, it’s no wonder that the New Directions win.

I am a little disappointed by the New Directions, not because of their song choices, but because of who is featured. Powerhouse Jane (Samantha Marie Ware) is the lone newbie that doesn’t get a solo, which seems a massive waste, and while I get that the Warblers provide the dance moves, some of them should have gotten to sing out front, too, no? But it’s hard to argue about the effectiveness of the “Take Me to Church” / “Chandelier” / “Come Sail Away” set, which is well executed and delightful. I don’t completely excuse the faults, but it’s a solid enough performance to make the trophy feel earned.

I have no problem with Glee showing a Sectionals win with no promise of following the group to Regionals and Nationals, either. Viewers aren’t emotionally invested enough in this cast yet, and so this basically just lets fans know that the tradition will continue, long after our television screens stop showing it. That’s a nice thought.

Afterwards, Sue (Jane Lynch) tells Will she ensures New Directions will win as payback for him defending her, and her exploits of poisoning the school and sending glitter bombs to the glee club are merely her having fun and motivating them. I sort of buy this. Sue has many times in the past exhibited a tough love strategy. However, it just doesn’t quite add up, given how she blows Will off last week, and her continued persistence in trying to kill the club this year. This is almost a pay-off for Sue, but like the Sectionals themselves, falls a little short of that.

The best plot in the hour finds Jesse St. James (Jonathan Groff) returning to McKinley to urge Rachel to say yes to the Broadway show. She would be starring opposite him. She chooses school, but doesn’t close the door on a romance with her ex, and their “Listen to Your Heart” duet is full of sparks. I never really bought into a Rachel / Sam (Chord Overstreet) pairing, and Jesse makes way more sense for her. The song makes up for not seeing them on stage together in New York, and if they can date despite their hectic schedules, they could make for a fitting Glee endgame.

“We Built This Glee Club” isn’t very focused on the conclusion, and that is definitely the reason it fails to meet expectations. As mentioned, it doesn’t concentrate on earned wins, nor does it satisfactorily tie up arcs, despite ample opportunity to do so. Kurt, Blaine, and Rachel’s impending return to the Big Apple without pay-off makes the entire final season feel like a bit of a waste, even if it teases tantalizingly for the spin-off that should have replaced the mother ship a couple of years ago, and that we’re not likely to get at this point. It also makes no use of the alumni contracted full-time this season, both those currently working in the school and those absent. Too bad, as a few tweaks would have made this a very worthy penultimate airing, especially in the touching throw-back involving the trophies and glimpses of deceased Cory Monteith as Finn.

Glee concludes its six-season run with a two-hour episode next Friday at 8 p.m. ET on FOX.

GLEE Sees "Sue"

Article first published as TV Review: 'Glee' - 'The Rise and Fall of Sue Sylvester' on Blogcritics.

FOX’s Glee spends a bit of time on its primary villain this week with “The Rise and Fall of Sue Sylvester.” Sue (Jane Lynch) is the loud-mouthed, abrasive, arts-hating, championship-winning cheerleading coach-turned-principal at McKinley High. But why is she this way? What makes her tick? Why is she so bent on destroying the glee club? This hour touches on those things, stopping short of really delving into the part the way it should.

There’s no denying Sue is a complex character, but she isn’t always written that way. In the best Glee episodes, we see that Sue’s harsh attitude comes from pushing the kids to do their best, their future and self in her mind. She rarely goes after anyone for something they can’t help, such as sexual preference, physical disability, or gender confusion. Instead, she attacks their interests and the way they spend their time.

However, like the rest of Glee, the portrait painted above isn’t always consistent. Sometimes, she has attacked for petty or no reason. Sometimes, she shows unexpected kindness where she shouldn’t. Sometimes, her actions just plain don’t make sense. That’s the way this show is written, and it with the end a mere two weeks away, that doesn’t change now.

“The Rise and Fall of Sue Sylvester” makes some attempts to correct those inconsistencies, though it doesn’t go far enough. It attempts to explain away her hatred of the arts, not just because she thinks they are a waste of valuable time, but because they are the passion of her unloving mother, Doris (Carol Burnett). Bringing Doris in, the two sing a healing and fun rendition of “The Trolley Song” from Meet Me in St. Louis, though Sue is not at all changed by this.

Following the number, she takes over coaching Vocal Adrenaline through the energetic “Far From Over,” determined to destroy Will Schuester (Matthew Morrison) because of a personal vendetta. What has Will done to deserve this? I always assumed Sue’s annoyance with Will mainly stemmed from his pushing of a subject she detests, and that’s usually how it’s portrayed. They are often friends, especially in the later days of Glee, and Will, along with Beiste (Dot-Marie Jones), stands up for Sue when her character is attacked this week. Why is she going after him now? Other than providing a dramatic showdown for the story, it doesn’t make sense. Though, Sue and VA are a match made in heaven, er, hell.

The character assassination doesn’t make sense either. Becky Jackson (Lauren Potter), Sue’s best friend in the world and near clone of the coach, turns against her for no good reason. Becky exposes some of Sue’s lies to Geraldo Rivera (himself), and they are aired on television. This is a fun sequence with cameos by Carnie Wilson, Michael Bolton, and others, playing themselves, and it works to prove Sue is really insecure, making up things. Either that, or she believes what she says, and others attack her for no reason, like her mother did, also giving a credible explanation for her character. But this refusal to pick one direction ends up making the sequence messy and insincere, ruining it overall.

Lynch is an incredible actress and Glee gives her the break-out role she deserves. It’s fitting she should get such focus just before the series’ end. Too bad it’s done with such weak effort, stopping short of truly giving us an idea of who Sue Sylvester is.

Elsewhere in the episode, Dalton Academy burns down and the Warblers are forced to join with the New Directions because apparently there are no other legit private schools in the area. (This is not true, though it sort of depends on which area you’re talking about, as McKinley’s Lima and Dalton’s Westerville are hours apart in real life, but I’ll leave my complaints about how poorly Glee has always treated Ohio in my past reviews.) This should be a major plot, a coming together of two rivals, but since the meat of the hour is given over to Sue, it’s reduced to a couple small bits and a big, unearned healing number in “Rise.” Apparently we don’t get to see the adjustment arc; they are just now one big happy glee club with enough numbers for Sectionals. Oh, and it looks like maybe half the Warblers actually came, if that, even though the characters talk like the entire group has transferred, and barely a mention is made of how they screw over Jane (Samantha Marie Ware) earlier in the season. So, bad job all around.

The final subplot squeezed into “The Rise and Fall of Sue Sylvester” is that Rachel (Lea Michele) somehow convinces Carmen (sadly unseen this week) to let her back into NYADA, and Carmen relents just as Rachel is offered another Broadway role. Rachel is torn, understandably, with Kurt (Chris Colfer), Blaine (Darren Criss), and Mercedes (Amber Riley) supporting Broadway, and only a disappointed Sam championing school. This decision is actually handled pretty well by Glee, and while I think school has to be her decision, I’m not sure it will be. Thankfully, no answer is given, as this needs more mulling over.

My problem with this subplot is not how it’s done, but when it occurs. Rachel makes a promise to Kitty (Becca Tobin) and the New Directions that she will see them through to the end. Right before their all-important Sectionals, and during a transitional time as two groups come together, she disappears to New York. Then, when she returns, her focus is on her personal life, not them. She is making the same mistakes again and betraying more people. I hope this comes back to bite her in the butt, not because I don’t like Rachel, but because it should to deliver a solid story.

Song wise, there’s also a performance of “Rather Be” in the opening, which is fine, but pales in comparison to the other, better numbers in the episode, which are few, but memorable.

You might be surprised to hear that overall, I am satisfied with “The Rise and Fall of Sue Sylvester.” It is an enjoyable episode with some great moments, such as the Will / Sue fantasy battle in “The Final Countdown,” with the kids looking at them like they’re crazy. All of the complaints above are legitimate and important, but they’re not enough to completely spoil the hour. If you accept that Glee is always uneven, never living up to what it should be, then this episode is graded pretty well on a curve of past installments, partly because of the focus on the incredible Lynch. Or, maybe I’m just going to miss the show, for all its flaws, and I’m willing to look past the glaring mistakes it makes more than I used to.

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

GLEE Finds Another "Child Star"

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

This week’s Glee, “Child Star,” finally focuses on the new kids of the New Directions, even as they joke that another alumnus may walk through the door at any second (none do). Instead, we see much of their personal dynamic as couples come together and friendships are worked out, all while the group prepares to perform at a horrible kid’s bar mitzvah. Which leads to a couple of fresh faces joining the group.

I feel slightly bad for the seven kids who join Glee in its final season because they’ll never get the development that beloved favorites have gotten. At the same time, while I enjoyed “Child Star” overall, I spent a lot of time missing all the other long-time characters absent from the hour, caring more about them this close to the end than I do about any new people in the cast. It’s really a tough position in which to put this crop of youngsters, especially when two of them don’t even appear until this episode.

Mason (whom many believe has an incestuous relationship with his sister, Madison), reveals that he is actually attracted to Jane (Samanatha Marie Ware). Jane is flattered, until Madison erupts in jealous rage (see? incest!), and Jane backs away from the drama. Luckily, Mason isn’t content to stay all Flowers in the Attic with his sibling, and makes a stand in the best musical performance of the night: Queen’s “I Want to Break Free.” This leads to Madison understanding and loosening her grip, a fairly predictable story move, but, one that gives Mason and Jane as happy an ending as they’re likely to get in the short time Glee has left.

Meanwhile, Spencer (Marshall Williams) has a crush on Alistair (Finneas O’Connell, Bad Teacher), which he expresses in a the enjoyable “Friday I’m in Love,” but has no game. Roderick (Noah Gurthrie) wants to climb a rope but has no athletic skills. Synergy is found when the two agree to help each other out, though this goes horribly, Spencer having no idea how to motivate someone like Roderick, and Roderick not even attempting to coach Spencer. Somehow, though, it all works out in the end because this is Glee, where emotion always trumps logic, and Spencer, Roderick, and Jane (why Jane?) celebrate together in the fantastic “Uptown Funk.”

I mentioned that I like “Child Star,” and I do, but neither of its stories play out all that intelligently. I guess I’m getting soft on the series as the end looms near, realizing I’m going to miss its whacky unevenness.It does “heart” so well, making me feel for the characters even when I shouldn’t care. This episode is a prime example, a way to blatantly illustrate what Glee does well and what it sucks at, so it strikes the nostalgia note alongside the others it is trying to hit.

All of this may be burying the lead because the titular “Child Star” introduced this week is Myron Muskovitz (J.J. Totah, Jessie). Myron is having his bar miztvah, and being a flaming, drama queen, 13-year-old, he wants everything to be perfect. His uncle, Superintendent Harris (Christopher Cousins), forces Sue (Jane Lynch) to cooperate, meaning the New Directions get involved in the party. Strangely, Myron also demands Sue and Beiste (Dot-Marie Jones) dance back up for him, which is fun, but completely goes against his drive for perfection. Anyway, everyone reluctantly agrees to meet the nightmare child’s demands, and in the end, his uncle strong-arms him out of middle school and into the glee club.

Myron is absolutely awful, so I’m glad there won’t be time to develop him. Don’t get me wrong; Totah clearly has talent. But his Disney Channel pedigree shows when Myron goes total spoiled brat, and is more annoying that he is likeable. His introductory performance, “Lose My Breath,” is more creepy than anything. When he eventually goes on at his bar mitzvah with “Break Free,” thankfully he blends into the background more than his character should, realistically speaking, since so many others are on stage with him. Still, that doesn’t mean he should be allowed to stay.

The silver lining is, with Myron and Alistair joining up, the New Directions now number eight, and twelve are needed for Sectionals in two weeks. Is anyone other than me thinking that now is a great time to bring back Marley, Jake, Ryder, and Unique? After all, while there is no way in the world these twelve should be able to have a credible set ready in time for judging, at least we know the four have chops and their presence has been missed. If they don’t return, the other spots are doomed to go to glorified extras, as has been done on Glee in the past.

The other thing worth noting in “Child Star” is that Will (Matthew Morrison) finally goes toe-to-toe with Sue on her level. Will has been through quite a journey, and coming back from Vocal Adrenaline, he’s found inner strength. He always stands up to Sue, but as he calls her Suzy Q and gets in her face, something seems different in their chemistry. Since Sue is likely to stay on as principal and Will will surely be back in charge of the New Directions at the end of all this, I’m thinking Glee is going to do a plot where Will finally turns into the man Sue has slyly been trying to make him into, even if her hilariously jumping on his back indicates otherwise.

I have a few last complaints about this episode. First, where is Kurt? His honeymoon is only said to be a weekend, meaning he should be back already. Why are Will and Rachel (Lea Michele) left to run the glee club alone? Also, why is Kitty (Becca Tobin), the lone glee clubber without plot this week, demoted to guest star this year when she is around more than Artie (Kevin McHale) and recently re-promoted Mercedes (Amber Riley)? She deserves better, and so does Mercedes for that matter, getting the credit but not the screen time. I’m not complaining about the lack of Artie. Lastly, the final number of “Child Star” is “Cool Kids,” which falls flat and serves very little purpose in the story. Bad ending choice.

Over all, “Child Star” is emotionally fulfilling enough, though not as much as some other recent hours, and despite plot holes, works OK. The end is in sight. Let’s get to it.

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

GLEE "Transitioning" Towards Finale

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

FOX’s Glee begins “Transitioning” to the endgame  as it reaches the halfway point of its final season this week. Coach Bieste (Dot-Marie Jones) returns to McKinley as a man, where he is protected by Principal Sylvester (Jane Lynch) and his players. But Will’s (Matthew Morrison) new glee club doesn’t share the same spirit of tolerance and compassion, going after Bieste to psych out the New Directions. This, while Rachel (Lea Michelle) is mourning the loss of her childhood home and Blaine (Darren Criss) is wondering if his future should bring him back to Kurt (Chris Colfer).

I stated in a recent review that it makes no sense, given the past history of the character, that Bieste would have gender reassignment surgery. That still holds true. However, the emotional execution of the story in “Transitioning” and the powerful performance by Jones almost make one forget that, feeling the character’s pain, and seeing Glee highlight yet another group of people are misunderstood and deserve acceptance.

When Glee starts down this route with Bieste, my immediate thought is, “Why isn’t Unique (Alex Newell) the one going through this?” It’s never stated on the show, but my guess is that a high schooler getting the surgery likely crosses some ethical lines and Unique isn’t yet a candidate for such a transition. Thankfully, Unique does return this week to offer emotional support, her first appearance this season, and organizes a three-hundred member transgender choir to make Bieste feel like he belongs. It’s touching, and despite a weird locker room scene between Bieste and Unique, by and large works.

An ongoing story this season is Will’s uneasy adjustment to Vocal Adrenaline. The group is led by Clint (singer Max George), a jerk of a student who doesn’t like or respect his coach. Will gets fed up and decides to quit when trying to reach the kids doesn’t work. It’s a tough decision that he makes with his supportive wife, Emma (Jayma Mays, finally back!), realizing he will never fit in to the culture of the school that pays him so well. But it’s satisfying when Will agrees to return to McKinley as an unpaid mentor who will surely get back his old, beloved job when Rachel inevitably returns to New York at year’s end.

Glee‘s handling of Vocal Adrenaline has been uneven, much like the rest of the show. They are introduced as villains originally, but evolve into something much better over time. While they do eventually run Unique off, there is a period where Unique is their lead. It’s regrettable to see this backslide, and it sucks that a teacher as dedicated as Will would give up on the kids. But without administrative support or the control needed to make real changes, it’s understandable that Will leaves and this group is firmly a two-dimensional bad guy at the end.

Rachel’s “Transitioning” involves giving up her childhood home, which affects her because it’s where she retreats after her early career failures. It’s a safe refuge, so while it may be a bit immature of Rachel to cling to it, I can also see why she does. Letting go of the place is part of the show’s final theme, moving on to the next stage of life. Sam (Chord Overstreet), Mercedes (Amber Riley), Kurt, Blaine, and the kids help Rachel get through this in a journey the audience is invested in as well.

It is weird that the alumni party with the students, though since none are actual faculty, merely outsiders serving as mentors, and Glee has always promoted student-teacher friendships, it kind of works. I’m glad the bar is closed in Rachel’s basement, despite how the New Directions used to drink down, there because that would have been highly inappropriate for Rachel to give kids booze. It’s also weird that Rachel and Sam are becoming a couple and that Kitty (Becca Tobin) is grouped with the alumni in helping Rachel. However, these inconsistencies, the worst parts of this hour, are overshadowed by all of the moving stories unfolding, so it doesn’t ruin “Transitioning.”

The one thing that really bothers me is that Rachel almost does an Ohio singers-themed lesson, which is abandoned. Despite being set in the Buckeye state, Glee gets almost nothing about Ohio right, and it would have been gratifying if the writers finally did some research and paid tribute to the setting. Sadly, this will not happen, though I did somewhat enjoy Glee poking fun at some of its own weaknesses around this part of the episode, a tongue in cheek acknowledgment it hasn’t done Ohio justice.

In the final subplot, Blaine kisses Kurt. But after Blaine and Karofsky (Max Adler) break up in a terrifically done scene, Blaine finds out Kurt is still dating Walter (Harry Hamlin), and so unavailable.

This is only temporary, of course; Kurt and Blaine will end up together. Once Cory Monteith, and, by extension, his character, Finn, passes away, Kurt and Blaine replace Rachel and Finn as the show’s favorite twosome. Santana and Brittany are awesome and I’ll always love them, but Klaine is who most viewers are particularly invested in. Walter is merely the last obstacle to be overcome, and hopefully he will be at least half as understanding as Karofsky of the situation.

By and large, the music in “Transitioning” is good, too. Blaine and Kurt’s “Somebody Loves You” isn’t their best work, but it’s serviceable. Mercedes and Roderick (Noah Guthrie) are a perfect pairing in “All About That Bass.” Sam and Rachel make me forget how weird their coupling is when they sing “Time After Time.” Vocal Adrenaline, assholes that they are, rock “You Give Love a Bad Name.” And, of course, Will and Unique’s “Same Love” and the trangender choir’s “I Know Where I’ve Been” are incredibly sweet, powerful stuff.

There have been many times in the past few year’s where I have regretted taking on Glee as a weekly column (you can find a review of every single episode of Glee ever by clicking the “Gleekonomics” link at the top of this page). That regret is melting away as Glee begins to nail its final season. The story isn’t air-tight, nor has it ever been, but the ensemble usually excels at emotional stuff, and there is plenty of that in “Transitioning” and season six. A couple of missteps early in the year worry me, but if the last six installments are anything like this one, Glee will end strong.

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

GLEE "Hurt"

Article first published as TV Review: 'Glee' - The Hurt Locker' on Blogcritics.

I’ve reviewed every episode ever aired of FOX’s Glee, good or bad. Still, I couldn’t help but combine last week’s “The Hurt Locker, Part One” with this week’s “The Hurt Locker, Part Two” into a single article. So close to the end of the series, the show takes a side trip into some truly horrendous stories, emphasizing the inconsistency that has always been a hallmark of the characters, and with far less singing than normal. To say I’m disappointed in this two-hour episode is an understatement.

The main problem with the episode concerns the story in which Sue (Jane Lynch) hypnotizes Sam (Chord Overstreet) to seduce Rachel (Lea Michele), starts a new feud with Will (Matthew Morrison) over a forgotten plastic fork, and works hard to get Klaine, a.k.a. Kurt (Chris Colfer) and Blaine (Darren Criss) back together. Sue is often an uneven character, combining an underlying soft heart with true villainy, the two sometimes in direct conflict. But “The Hurt Locker” is a new low for a character that has no true investment in the show’s gay twosome, overreacts more than she usually does with Will, and brings an unneeded, stupid supernatural element into the show.

Despite Sue’s flaws, I usually like her because of the amazing Jane Lynch, who sells some pretty ridiculous things enough to almost be believable. Even she cannot overcome a swinging watch and a creepy storage shed, though. When a Saw-like puppet of her is introduced, one knows Glee has completely lost it. What are the writers thinking?

In these interweaving threads, Sue brings the New Directions, Vocal Adrenaline, and the Warblers together for a show choir invitational. This is a convenient plot to get nearly all of the main characters (save Beiste and the mostly-MIA-this-year Mercedes and Artie) in one place, and allows for performances from the show’s major groups. This, in theory, is a solid concept, even if it is poorly executed.

The invitational actually delivers most of the music for the two hours, including the only songs sang in part two. Sadly, though, these performances are as flawed as the story. Vocal Adrenaline’s “Rock Lobster” and “Whip It” are clearly the best, even if they are awarded second place because of emotional manipulation. The Warblers’ “My Sharona” and “You Spin Me Round (Like a Record)” are surprisingly flat, and I’m not sure how Sue could possibly be moved by the New Directions’ lackluster “It Must Have Been Love,” “Father Figure,” and “All Out of Love.” Not to mention, Sue doesn’t bring up the 12-member requirement spoken of in the first half, and the New Directions are once again the only group to perform three songs.

There are some better numbers during the episode’s first hour. Sue’s “Bitch” is goofy, but enjoyable. Rachel and Sam’s “A Thousand Miles” is also good. Too bad those are first, and everything else that comes after it pretty much sucks.

It certainly seems that Glee is setting up Sue to be the ultimate villain in this final season. It makes sense for Will to soon abandon his new kids that hate him to return to the fold, and Blaine doesn’t fare much better with the Warblers, whose performance he completely misses while being stuck in a fake elevator. But I guess that is something to sort of look forward to in the end game.

A hint of goodness exists in the way Kitty (Becca Tobin) is recruited back to the glee club. Rachel’s words to her sound sincere, though we know Rachel isn’t the most reliable. Kitty, however, is someone to count on, and now that she’s back on board, the club should only grow. In a perfect world, Kitty will find and bring back her four former classmates whom she thinks abandoned her to fill out some of number needed to compete in Sectionals. But if only one person from that class is going to return, I’m glad it’s her.

I don’t think for a minute anyone thinks Kurt and Blaine won’t end up together. I like Max Adler’s Karofsky, and I’m surprised at how much I enjoy Kurt’s budding relationship with much-older man Walter (Harry Hamlin, Mad Men, Veronica Mars), but Klaine is destiny. “The Hurt Locker” leaves no doubt in my mind about that.

So what will it take Glee to get its act together? I think the answer is: more involvement from Ryan Murphy. I can only assume that most of the troubles plaguing Glee these past years are because he’s busy with many projects, as his other work such as The Normal Heart and American Horror Story have been excellent. Glee has almost always stuck its landing on emotion, though, so I’m expecting a moving finale. Comparing Spencer (Marshall Williams) to Finn in this episode strikes a wrong chord, but hopefully there will be less of that moving forward and more of what Glee does well. Unfortunately, since Glee has disappointed many times, including in this double episode, I can’t say with certainty it will give fans the conclusion they deserve.

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

"Homecoming" For GLEE

Article first published as TV Review: 'Glee' - 'Loser Like Me' and 'Homecoming' on Blogcritics.

FOX’s Glee began its final season with two episodes this past Friday. In the first, “Loser Like Me,” Rachel (Lea Michele) sees her Hollywood dreams crash and burn. Returning to Lima, Ohio, she realizes the program that inspired her is no more as well, so she petitions the superintendent to revive the arts at McKinley. He agrees – if she will run the show choir. The story continues in the second hour, “Homecoming,” in which many of Rachel’s fellow alumni return to help her recruit.

I’ve been pretty critical of Glee in recent seasons as the quality of the show, never consistent, noticeably declined. The bright spot was whenever the series moved to New York, with the Ohio plots being much lamer. Unfortunately, this sixth (and final) season pretty much eliminates New York altogether, as there is no one left in the Big Apple to follow.

That being said, something Glee usually nails is emotional heft, and season six is already showing greater willingness to use this hammer. The story may not be entirely believable (Sue’s antics so ridiculously misrepresent what would be allowed in education that I want to scream) nor make total sense (why did Chord Overstreet’s Sam decide to move home and become the assistant football coach?), but “Loser Like Me” succeeds in making me feel something for the characters again. Many of them, especially Rachel and Kurt (Chris Colfer), are at a crossroads in their lives. Things haven’t exactly turned out as they’d hoped, something many young adults face, and they may need to readjust career goals and priorities.

Adding to that is this desperate crusade in the final war against Sue Sylvester (Jane Lynch) to save arts education. The New Directions did something very special for all of the core characters, and Rachel, Kurt, et al. want to make sure that tradition continues. This is an idea many fans of the show can get behind, and it makes it all the more special when old friends, including Puck (Mark Salling), Mercedes (Amber Riley), Artie (Kevin McHale), Quinn (Dianna Agron), Brittany (Heather Morris), Santana (Naya Rivera), and Tina (Jenna Ushkowitz), come together to help one another.

A quick note on casting. I’m glad to see Riley back to full-time status, and the promotion of Dot-Marie Jones’ Coach Beiste makes sense, as well as being very satisfying. But why is McHale sticking around, given that he should be the only one left in NYC? And it’s with great regret to note that Rivera has been downgraded to guest star, though she’s expected to appear in several episodes.

The final season will not only see people come together in opposition to Sue, but it will also test the bounds of new relationships. Kurt and Rachel are heading up the New Directions, and two of their loves ones are now coaching their own glee clubs, Will (Matthew Morrison) having been hired for Vocal Adrenaline and Blaine (Darren Criss) returning to his Warblers. This will provide needed drama, which already begins in “Homecoming” when one of Blaine’s students switches to McKinley. But Kurt and Blaine are destined to repair their relationship and Will clearly isn’t happy with his less chummy group, so those are all just obstacles to overcome, rather than signaling an unhappy ending.

Speaking of Kurt and Blaine, their breakup, shown in flashback in “Loser Like Me,” is incredibly sad. I get why it happens, and I think it’s one of the better fleshed out developments in Glee recently, but it’s still incredibly hard to see this “perfect” couple fall apart. I enjoy Karofsky (Max Adler) getting into the triangle, but I have faith the series will bring Klaine back together in the end, which is how it should be.

The evolution of homosexuality in Glee‘s six short years on the air has been astounding. In the beginning, Kurt is bullied for being gay, and Karofsky certainly can’t bring himself to admit who he has feelings for. In “Loser Like Me,” we are introduced to Spencer Porter (Marshall Williams, How to Build a Better Boy), who is “post-gay,” meaning he doesn’t fit into any of the stereotypes gay boys usually fit into, and hardly anyone has a problem with his sexuality. I don’t think the world has changed quite that dramatically in six years, but it certainly has moved majorly in that direction, thanks in large part to shows like Glee and Modern Family, which gets a name drop this week. I hope those involved in Glee are proud of their societal contribution in this arena, and it’s awesome that the show is able to realistically include a character like Spencer before they go off the air.

Joining Spencer (who is not yet in glee club, but certainly will be) in the fresh batch of newbies are: chubby transfer student Roderick (Noah Guthrie, Dancing With the Stars); discrimination-busting Jane (Samantha Marie Ware); and Flowers in the Attic-esque siblings Mason (Billy Lewis Jr.) and Madison (Laura Dreyfuss). Virtually all these performers are unknown, not a rarity for Glee, but they seem like an interesting group, and even if the latter are only comic relief, they should make for some worthy, albeit brief, narratives in the final season. Plus, they can all sing quite well.

I am a bit sad “Loser Like Me” and “Homecoming” introduce a brand new batch of kids without including any of the most recent students like Marley and Unique. I mean, had Sue not transferred them to other schools, they probably would have kept fighting her, and thus Rachel would not have a clean slate. But I like those guys a lot, despite the horrible stories they are often given, and I’m sad they don’t appear to be returning. Kitty (Becca Tobin) is still around, but it doesn’t look like she’s re-joining the choir. It’s not like they’re the first people Glee regrettably diss-ed though; I still miss Zizes.

While I mainly want to talk story this week, I would be remiss if I didn’t touch on the music in “Loser Like Me” and “Homecoming.” “Suddenly Seymour” is a favorite song of mine, and Glee presents it beautifully. I’m not as big a fan of “Let It Go,” but it’s hard to complain about Ms. Berry’s fantastic rendition of it, and I love the mother/daughter angle because the woman that made the tune famous, Idina Menzel, plays Rachel’s mother on the show. “Take On Me” is telegraphed well before it shows up, but that doesn’t negate it’s effect when it finally does. “Uninvited” is nice, “Viva Voce” is cool, and “Tightrope” is spectacular. “Home” works well for the ending of the two-hour episode.

I was less thrilled with “Mustang Sally,” “Problem,”Dance the Night Away,” and “Sing,” but that speaks as much to the song choices as the performances of them. Though Glee has turned me around on icky songs before by finding a new angle, so the fact that these fail to wow is too bad.

Overall, I am reasonably satisfied with Glee‘s return. These aren’t the best two hours of the series, but they are mostly enjoyable, and they appropriately add serious emotion in the beginning-of-the-end plots introduced. It seems like the show is setting up the ending these characters deserve, and since creator Ryan Murphy has a tendency to nail the dramatic stuff, I’m cautiously optimistic about where the show is going.

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

Rachel's Big "Opening Night" of GLEE

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

This week’s installment of Glee, “Opening Night,” has a couple of nice stories mashed together in a very unnatural way. Add to that a big list of what is missing from the hour that should have been included, and it feels uneven. Had this been split into two separate episodes, allowing room to add in some of the glaring omissions, it might have been really good. Instead, it’s a fair installment with some terrific moments.

The ‘A’ plot revolves around Rachel’s (Lea Michele) Broadway opening night in Funny Girl. Her friends rally around her, including Tina (Jenna Ushkowitz), who has come to visit, but not Artie (Kevin McHale), who is out of town, so we trade one annoying character for another. Still, Rachel has severe nerves and has a hard time finding the will to get up on stage. It takes a former frenemy verbally slapping some sense into her before Rachel can perform. Once she does, as expected, she is amazing.

Rachel’s nervousness is understandable, and is well developed. It gives us the fun opening “Lovefool” with welcome appearances by former recurring players Karofsky (Max Adler), Jacob Ben Israel (John Sussman), and Becky Jackson (Lauren Potter). Those three are tormentors of Rachel’s previously, to varying degrees, so it makes sense to see them now. From here, we get to Rachel curled up in bed, unable to rise, doubting herself after reading online reviews of the preview shows. What nineteen- or twenty-year old wouldn’t be nearly paralyzed with fear in this situation?

It’s Santana (Naya Rivera) that manages to make Rachel see the light when her friends, including Kurt (Chris Colfer), Blaine (Darren Criss), Mercedes (Amber Riley), and Sam (Chord Overstreet) cannot. This works for the story, too. Not only does it solidify that Rachel and Santana are over their feud and really can be true pals, but Rachel needs a kick in the pants, not coddling, and only Santana can do that. Tina gives hard truths, too, but only unintentionally, not having the brass to back them up that Santana does, or wisdom to see what’s needed.

When Rachel takes the stage, she’s terrific. An audience kerfuffle tarnishes the first act a little bit, but Rachel’s chums remain supportive and the producer, Sidney (Michael Lerner), tells Rachel like it is, so Rachel rallies. Her opening, “I’m the Greatest Star,” is good, but her closing, “Who Are You Now?,” is even better. Rachel’s skipping of the cast party to hang out with her friends in a rowdy gay club, complete with a spirited “Pumpin’ Blood,” is a little rude, but she needs to let off steam her way. And the rave reviews in the papers the next morning are well-earned, the culmination of five years of story arcs for the female lead of the series.

The worst part of this storyline, though, is that Will (Matthew Morrison), who has come to New York specifically for the show, has to run home before it begins because Emma (Jayma Mays) is in labor. It’s not like Mays even appears in the episode, nor do Will or Rachel struggle with his absence, so what is the point of this? It seems gimmicky, like a bad sitcom, and the episode would have changed not at all had Will stayed, uninterrupted.

Or maybe the worst part is that Rachel’s dads, introduced as two men that would be mega-fans of their daughter, don’t show up, as they never do, their characters having been consistently wasted all throughout Glee. Nor do many of Rachel’s friends come, despite that fact that this person they know and like is starring in a Broadway show! Maybe Glee didn’t want another big reunion episode so soon after the ending of the McKinley plot, but “Opening Night” pretty much screams for one, and fails to get it.

Of course, Glee sticks a couple of touching Finn references in, as it is beginning to do way too often. Rachel thinks of Finn while singing, and Will gives her child the middle name of Finn. These are sweet, to be sure, and definitely fit for the moment. But do we have to be reminded of Finn week after week? Many shows don’t mention a character enough after their passing; Glee is almost doing it too much.

Sandwiched into “Opening Night” is a ‘B’ story in which Sue (Jane Lynch), criticized for lambasting New York City in her news segment because she’s never been there, tags along with Will. Unable to sit through Funny Girl, Sue climbs over the New York Times critic early in the show, then meets up with a man named Mario (Chris Parnell, Suburgatory, Archer), who walks out in a similar manner. The two fall in love over dinner, then have sex all over Rachel’s apartment (because they didn’t know Will had left an empty hotel room?). In the end, though, Sue won’t stay in the city and Mario won’t move to Ohio, so their affair ends, but leaves Sue with an appreciation for the Big Apple.

Sue deserves a romance, and I like her how and Mario connect, Mario even sticking by her after Rachel (justifiably) loudly and harshly tells Sue off. So why bring this up if it’s not going to be an ongoing arc? And why stuff it into Rachel’s episode? Sue’s “N.Y.C.” number with Will is great, but the fact that Sue shares Rachel’s big closer, “Who Are You Now?,” is jarring and weird. It’s nice to see Sue get story, and good story at that,  but it’s just sandwiched so unevenly into “Opening Night” that it doesn’t land as it should.

I’m also a little torn over the Rachel / Sue showdown in this episode. Sue is known to be supportive of her students, using her cruelty as a motivator, not because she’s truly mean. So why can’t Sue be happy for Rachel when Rachel has succeeded? Is Sue resentful that it has come about so easily for the girl? If so, explore that, don’t leave us wondering. Rachel laying into Sue feels good because, in the moment, Sue seems to deserve it, and yet, because we see Sue emotionally bare this week, it also feels a little rougher than it should be, creating unnecessarily mixed feelings.

Once more, “Opening Night” is superior to the NYC/McKinley split episodes, but does not completely fulfill its potential. It will be interesting to see how Glee ties up the New York arc in the next three weeks, and if its final season, which will feature a new format and setting(s?), finally figures out what the show should be. Glee airs Tuesdays at 8 p.m. ET on FOX.

GLEE Stumbles In "New Directions"

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

If there’s one thing I can say about the second half of FOX’s Glee‘s 100th episode celebration it’s that it’s way better than the first. The story about how a high school principal stubbornly shuts down a second-in-the-nation ranked show choir still makes absolutely no sense, but at least the music improves, and the ending nails every emotional note better than anything Glee has done yet.

As “New Directions” opens, Holly (Gwyneth Paltrow) and April (Kristin Chenoweth) are still determined to save the club. Sue (Jane Lynch), who happens to be besties with Holly, something that comes out of nowhere, agrees to let the women try to shoehorn the New Directions into another club. They choose the agricultural one, for no discernible reason, and Holly leads all the kids in an energetic, but weird, “Party All the Time.”

This doesn’t work, of course, and Sue forbids them for trying again. So Holly and April take off to engage in illegal activities, as they should, as they do not belong at McKinley.

With them out of the way, “New Directions” proceeds through serving a number of its long-time cast members, continuing to ignore the five newbies, save for a brief scene where they reminisce alone. The quintet doesn’t even get a song, just a few scant lines, which seems a shame, given how they are built up earlier in their season-and-a-half tenure with the show. I’m still holding out hope that they start a covert, unofficial glee club in the school next year and the series ends with them revitalizing the lost organization, but we’ll see.

Instead, this episode gives due to older and former students. Tina (Jenna Ushkowitz) considers not moving to New York (yay!) when she doesn’t have a reason to. But Artie, (Kevin McHale), Sam (Chord Overstreet), and Blaine (Darren Criss) woo her into agreeing to come with a terrific “Loser Like Me” rendition (boo!) since she didn’t get into her fall back school, Ohio State. But then Tina is accepted by Brown and decides not to head to NY after all, meaning this will be her last episode for the foreseeable future (YAY!!!).

Speaking as someone who lives in the city where OSU is located, I can confidently say that it is definitely not a fall back school and has quite high standards. The fact that it was labeled as such is very offensive. Though, in the end, Brown accepts Tina when OSU doesn’t, so I guess Ohioans get the last laugh.

I’d also like to complain about how only a few dozen students graduate in a school that clearly has a much larger student body than that, but I digress.

Other parts of “New Directions” involve couples getting back together. Quinn (Dianna Agron) and Puck (Mark Salling) announce their renewed relationship with the club’s final song, “Just Give Me a Reason,” which is a good performance, but a strange way to close down the group. Brittany (Heather Morris) and Santana (Naya Rivera) reconnect, with Brit deciding to drop out of MIT and move to the Big Apple. And Santana and Rachel (Lea Michele) make up.

I’m a little disappointed at the ending of the Rachel / Santana split. It’s nice that Mercedes (Amber Riley) and Kurt (Chris Colfer) use a fair “I Am Changing” to point out how stupid the feud is. I also enjoy how Brittany helps Santana come around after Santana slaps aside Rachel’s olive branch. But Santana quitting the Broadway show, a huge opportunity, is lame, and the girls don’t exactly feel like friends, even after the heart-warming “Be Okay” reconciliation number. Is there no hope for frenemies to turn into true chums?

All of this is perfunctory, though, as the real showcase starts about two-thirds of the way through. As Will (Matthew Morrison) gives up on trying to save the day, completely out of character, the students put together an inspiring video message to his unborn child, followed by a phenomenal reprise of “Don’t Stop Believin’” This musical number begins with the surviving original members and expands as appropriate, with lots of people sharing the solos. From the video to the song, it’s one big tear-jerking scene that really feels like a series finale, everyone saying goodbye for the final time.

Why isn’t this saved for a series finale? Is it because the glee club will be revived at some point, since disbanding it flies in the face of the tone of the show? Or is it just a convenient excuse to ditch many of the newer cast and double down on the higher quality, more mature New York stuff? On one hand, I want to praise the show for finally sticking a landing, presenting one of, if not the, best sequence of the whole run. On the other hand, I want to scream that Glee should not be so depressing, and this can’t be how it wraps up, even if it’s just the close of one chapter.

The capper of “New Directions” finds Will and Sue sharing a quiet moment alone in the empty choir room. Sue says she respects him, something completely nonsensical given how completely she has destroyed him, and her peace offering of scoring him an interview with Vocal Adrenaline is dumb.  It comes across as insincere and hokey, and while it’s satisfying to have a sweet moment between Sue and Will, the context ruins any friendship that might have existed.

So now, as has long been anticipated, the high school days of Glee are over. Will that fix what’s been wrong with the show, or will the problems merely transfer to the big city? Can the series ever repeat the emotional highs reached this week? Guess we’ll find out soon enough.

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

GLEE Lacks in the "City of Angels"

Article first published as TV Review: 'Glee' - 'City of Angels' on Blogcritics.

How can a show that so consistently hits the right notes emotionally and musically be so bad at a cohesive, believable story? This week’s installment of FOX’s Glee, “City of Angels,” delivers when it memorializes Finn (Cory Monteith) and shows how much the kids care, but falls flat on its face when the story takes wrong turn after wrong turn. Will next week’s big 100th episode be any better?

“City of Angels” finds the New Directions heading to L.A. for the Show Choir National Championship. The group sings “I Love L.A.” as they transition from the choir room to the streets of the city the show films most of their scenes in, even though it takes place in Ohio. It’s as much a tribute to the town as the glee club did when they arrived in New York, so it seems appropriate, even as viewers understand the actors actually live in L.A. so their enthusiasm, as believable as it does come across as being, is faked.

The missteps begin right away, though. Since the New Directions are three members short to compete, and the show is exhausted with cheeky jokes to bring supporting characters back after long absences, three new faces are stuck into the ensemble just for “City of Angels.” They don’t have names or lines. Never acknowledged, they are complete filler. What a shame.

Other ridiculous stuff follows. Will taps Sam (Chord Overstreet), without warning, to be the group’s leader at the last minute. Upon arriving at the hotel, Will (Matthew Morrison) is told that Sue (Jane Lynch) has messed with their reservations, although this is a throw-away occurrence that never goes anywhere and is quickly forgotten. Mercedes (Amber Riley) shows up with one of the most unrealistic (second) success stories ever. The chaperones for the trip, Burt (Mike O’Malley) and Carole (Romy Rosemont), irresponsibly take off without even informing Will they’re going. And a deaf woman, Marlee Matlin (herself), judges the singing competition.

If you think all of that is terrible, and it absolutely is, things go from bad to worse when Will and the gang bring home a second place trophy. Sue, surprisingly sympathetically, disbands the club. She lists a bunch of organizations staying intact, but declares the New Directions’ status as number two in the entire country not good enough.

Are we expected to believe that the rest of the teams she mentions won at a national level? I mean, Roz (NeNe Leakes) manages to help the Cheerios get there, but they’ve won lots of times before. Surely the rest didn’t hit that mark. That’s simply ludicrous, and while what Glee is trying to do comes across well enough, the plot–which ends with the only New York scene of the night in which Kurt (Chris Colfer) tells Rachel (Lea Michele) and Santana (Naya Rivera) the news–just doesn’t make sense.

Yes, there are some amazing things in “City of Angels.” The tribute to Finn during the club’s performance, interspersed with clips of the character, is beyond touching. Carole’s struggle with keeping her son’s memory alive and facing Finn’s friends again is moving and raw. The four seniors singing solos, ending together, is great. Even the tiny subplot about Jake (Jacob Artist) and Ryder (Blake Jenner) repairing their friendship, then recruiting Mercedes to help restore Marley’s (Melissa Benoist) faith in herself, works. But balanced with all the crap, this week’s entry doesn’t live up to its potential.

Most of the music in “City of Angels” revolves around the competition. As usual, we get one song from a rival, this time an all-girls choir doing a weird yet good “Vacation,” and two from the main antagonists, Throat Explosion. The latter does an inspired “Mr. Roboto” followed by a very good “Counting Stars,” though as we’ve come to expect, the performance lies solely in the hands of a single individual, the guest character representing everyone else, Jean-Baptiste (Skylar Astin, Pitch Perfect, Ground Floor).

Jean-Baptiste is no better or worse than past foes. He isn’t cruel about Finn, cutting the group some slack and returning a stolen plaque. But he also is a bit of a jerk with the smack talk and is full of himself, though admittedly with the talent to back up such an attitude. I wish he or the group had been introduced before “City of Angels,” but since he fills such a familiar role at this point, I guess that isn’t necessary, as Glee fans will immediately understand what he represents and his purpose for being there.

The New Directions’ numbers themselves aren’t that spectacular, making one wonder why they even got second. We’re told that “More Than a Feeling, “America,” and “I Still Haven’t Found What I’m Looking For” are Finn’s favorite songs (though that has never been established before now), and so the emotion it invokes in the characters and viewers alike lands. But to the judges, it’s puzzling how they would possibly understand or get anything from it, even with Sam’s raised drumsticks at the end.

It’s also worth noting that Carole mentions Finn didn’t have the best rhythm, which makes no sense given that he played the drums. Drummers are notorious for having great rhythm; in fact, it’s impossible to play the instrument if you lack it. So I don’t know why this slips through.

Next week’s 100th episode is sure to elicit a lot of feeling. I just hope it does a better job with the writing than this one, or else it will be just as disappointing. This sloppiness is inexcusable for a show on this level, especially when it wouldn’t take all that much effort to fix it.

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

A "Trio" of Uneven GLEE Stories

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

FOX’s Glee‘s latest episode, “Trio,” is uneven, as is par for the course of Glee installments lately. The New York scenes are mostly excellent, depressing, but frustrating, with solid character definition and development. The McKinley stuff is silly fluff that doesn’t make sense. But with the end of the high school setting so close, all viewers can do is grit their teeth and wait it out.

Let’s hit the good parts first. Rachel (Lea Michelle), still furious at Santana (Naya Rivera) for being her understudy and at Kurt (Chis Colfer) for remaining neutral, meaning he didn’t side against Santana with her, latches onto Elliott (Adam Lambert) as her new gay bestie slash personal assistant. Santana strikes back, paying Elliott to run scenes with her. This battle continues until Elliott and Kurt throw up their hands and tell the ladies to go away until they can work out their issues, kicking Santana and Rachel out of the band.

This part of “Trio” is excellent because, as heartbreaking as it is to have Rachel and Santana at each other’s throats once more, acting like they are back in high school, Glee stays completely authentic to both characters. Rachel is overreacting, she’s always been a bit of a drama queen, and is too proud to back down. Santana doesn’t apologize because she doesn’t want to appear weak, and when threatened, resorts to her old lashing out coping mechanism. Santana didn’t mean to hurt Rachel, but now that she has, neither can back down.

There’s a scene in this episode where we see the girls softening towards one another, and they’re almost vulnerable, admitting they don’t have any other gal pals around. Had Kurt and Elliott not walked in, interrupting, they may have made up, rather than trying to save face as they did, driving them further apart. The question is, can that friendship be found again, or will circumstances keep eroding it until it’s too broken to heal?

I love Rachel and Santana as friends, but they also make great enemies. Fans desperately want them to work it out, so they probably will, eventually. But the presentation of two such powerful voices, conflicted by circumstance, is an enticing one, and I’m glad Glee chose to explore this path, even if, hopefully, it’s only temporary.

I think the main difference between now and high school is that neither Rachel or Santana have any enablers. Their friends, Kurt, Elliott, and even Santana’s girlfriend, Dani (Demi Lovato), recognize that this feud is between two good people, and all move to isolate the women until they can come to their senses and realize the importance they have to each other. Cut the oxygen off to the fire, and it will die out.

I have to admit, I’m expecting Santana to instigate the reconciliation. I do think Rachel needs a big slap in the face to knock her down a peg, so I don’t want to see Santana defeated or to have to bow down. I just think Santana is the one who has to be the bigger person here, having caused the rift in the first place, even if it wasn’t intentional, and is more likely to do so.

This part of the episode results in some pretty solid music, as well. I’m not a big fan of Elliott and Rachel’s “Barracuda” just because it doesn’t feel like a Rachel song, but it showcases Lambert well. “Gloria,” an all-out battle between Rachel and Santana with Elliott caught in the middle, is much more entertaining, allowing both girls to showcase their vocal talent. Kurt, Dani, and Elliott’s debut as One Three Hill, “The Happening,” is plain fun, light and amusing, as well as well sung. And then they all participate in the closing song, shared with the McKinley cast, which is awkward, as usual, but it’s a good number.

Back in Ohio, Tina (Jenna Ushkowitz), Sam (Chord Overstreet), and Blaine (Darren Criss) are celebrating and mourning their final weeks together as seniors. They decide they need to do something epic and memorable, and so after Sue shuts down their idea for a lock down, they sneak into the school at night, because apparently McKinley is the only high school left in the nation without a security alarm or cameras, and party down, only to be interrupted by Becky (Lauren Potter).

It makes sense to see the seniors played up as their time comes to an end, even if that means five cast members, just promoted to series regular status in the fall, have had virtually no screen time for awhile. And the antics in the halls are entertaining, very John Huges-esque, which makes sense for the characters’ sensibilities.

Then, Becky turns up, but is never given a good reason for being there. Glee could have explored Becky’s loneliness and desire to bond with her classmates, but it doesn’t. What’s more, the seniors cruelly leave Artie (Kevin McHale) out until the very end of the episode for no stated reason, just another misstep from Glee. And worst of all, Sam and Tina make out, even though they’ve never shown any interest in one another and don’t afterwards, either. “Trio” is a bundle of stupid contrivances that don’t make sense for them.

I have to admit, their music is good, though. I don’t know how any teenagers today are familiar with “Jumpin’, Jumpin’,” but it’s a welcome blast from the past. “Don’t You (Forget About Me)” reinforces the tone the episode is trying to sell nicely, even if the performance is weak. And the end ending “Hold On,” despite unfortunately including the New Yorkers, hammers in the message of this side of the story.

The third plot this week finds Will (Matthew Morrison) and Emma (Jayma Mays) trying to conceive. He puts too much pressure on her at first and, after some advice from Sue (Jane Lynch) and Beiste (Dot-Marie Jones), backs off and concentrates on the romance instead. This results in successful impregnation.

To be sure, the pregnancy story is a little rushed, starting and ending in a single hour. However, Will and Emma have been through enough crap, so they don’t need more heaped on top of them. Plus, Mays has limited availability due to her starring role on The Millers, which is why we’ve barely seen her this season, so it makes sense to get through the story all at once.

There are some wonderful moments present. “Danny’s Song” is sweet and soulful. I absolutely love when Will puts paint on Emma’s nose and she freaks out, a play off the familiar trope bent to stay true to the characters, beautifully played by Mays. The affection between the pair is evident, and it appears their union is strong. It’s nice to see them get a happy ending.

That being said, there are parts of this that are absolutely horrid. How dare Will and Emma have sex in a school, cycles be damned? That has to be illegal and immoral and should result in immediate firing. And on top of that, they don’t even lock the door, allowing Becky to walk in on them? I admit, Sue gets some great lines out of this, but the whole thing is ridiculous and disturbing.

So Glee delivers the good with the bad. Viewers have gotten used to this, but still long for the run of multiple great episodes in a row that occasionally pops up through the series, not currently being delivered. Any chance ditching the Ohio stuff and building towards next spring’s series finale will allow them to finally shed the weird unevenness dragging the show down and allow the show to finally, five years in, reach its potential? Maybe. But for now, we’re still saddled with hours that mix terrific moments with bits that clearly have not been thought through.

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

"Frenemies" Make for Drama-Filled GLEE

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

FOX’s Glee returns from hiatus this week with “Frenemies.” The episode revolves around three pairs of characters with very different relationships. Each work through something within the installment, providing great character moments and furthering of the larger plot arcs, as well as a couple of major shakeups. And, as usual, the New York scenes are much, much better than the McKinley story, which is heartening, since the show will soon become New York-centric.

The first pair, and the best in my opinion, is Santana (Naya Rivera) and Rachel (Lea Michele). The hour begins with them never having been closer, Santana regretting being mean to Rachel in high school, so viewers will quickly note there’s nowhere to go but down for them. After Rachel invites Santana to take part in a photo shoot, resulting in a fun “Brave” performance, Santana sees Rachel as rubbing success in the face of the former cheerleader who is now stuck waitressing. So Santana steals Rachel’s signature number, “Don’t Rain On My Parade,” and nails a Funny Girl audition, being cast as Rachel’s understudy. Rachel is so angry she calls off any relationship they have, while performing duet of a terrific “Every Breath You Take,” and moves out of the apartment.

First, for this plot to work, we must completely ignore the fact that Funny Girl is holding auditions specifically for an understudy, not having chosen one from among the ensemble or girls who previously auditioned for the lead. We also must set aside the surprise Rachel seems to exhibit when learning she will get an understudy, a staple of Broadway that she would surely have known about., Then, we have to forget that we see an absolutely terrible singer audition at a Broadway level in front of a Broadway director (Peter Facinelli). This is a completely unrealistic and dumb scenario. Almost as dumb as expecting up to believe Rachel has time to work, go to school, be in a band, and lead the musical.

But, where the characters are concerned, the episode soars. Rachel is being a stuck up pain in the butt. Starring in one show that isn’t even close to getting off the ground yet has gone to her head, something we’ve seen from her before, harkening back to the early days of her personality. It makes sense that Rachel would lose it here, and Santana being a convenient dumping ground to let off steam about her own insecurities, Rachel targets the doubts she has about herself and slays Santana. Plus, there is likely still lingering pain for the things Santana did in high school, and Rachel begins to lose trust in the other girl, if she ever truly had any.

Santana is not without blame for this feud. Choosing to try out without telling Rachel first is an understandable move, and one that can easily be forgiven. Picking Rachel’s song to sing is less so, a very personal blow. But Santana is just pushing Rachel’s buttons, not really launching a war. If their friendship is real, Rachel should be able to look past these things and rejoice to spend more time with her buddy.

The end of the episode is extremely sad. Santana only shows a bit of regret when its too late, and the feeling is not strong enough to spark an apology, nor should it be. Rachel is completely without remorse, storming out and burning the bridges. If things are ever to repair themselves, and they must because, as great as the drama is between them, their friendship is inspiring and an important element of these later seasons, Rachel has to swallow her pride, willingly or being humbled against her will, and say she’s sorry. This probably won’t be quick in coming, but that’s OK, as long as it does in the end.

Poor Kurt (Chris Colfer) is caught in the middle of the fight, but he does the absolute right thing by refusing to take a side, remaining completely neutral, which, given his history with Rachel, Rachel sees as betrayal. But Kurt recognizes that the bond they all share has grown too vital to turn on it, and since they’ll all still be in his band, he must play nice. Something tells me the next practice sessions is going to get ugly, if Rachel doesn’t just quit between episodes.

Besides his roommates’ falling out, Kurt has his own story in “Frenemies.” Convinced Elliott, a.k.a. Starchild (Adam Lambert), is out to take over the band, Kurt tries to be his closest friend, putting stock in the old adage about keeping your enemies closer. Blaine sees right through this and takes Kurt guitar shopping with a rousing “I Believe in a Thing Called Love.” So Elliott does seem to be what he appears – a genuine, nice, supportive person who won’t stab Kurt in the back.

Sure, there’s a chance Elliott is putting on an act and will still turn out to be a villain, but I don’t think so. Glee has always been an optimistic, cheery show at heart, and I really, really dig the relationship between Kurt and Elliott. As upset as Blaine (Darren Criss) might be when he glimpses a too-chummy photo of the two, and as much as Elliott might provide to be an obstacle in that relationship going forward, he also seems like he’s good for Kurt, helping Kurt get past skepticism and find his potential. I hope he doesn’t just disappear one day without closure, a la Adam.

Back in Ohio, Tina (Jenna Ushkowitz) and Artie (Kevin McHale) celebrate their continued friendship, despite their romantic break up years ago, with a sweet “Whenever I Call You Friend.” That lasts only until Sue (Jane Lynch) forces them to compete for the title of valedictorian. This sends Tina into another ugly spiral, sparring with Artie in the sadly under-charged “My Lovin’ (You’re Never Gonna Get It).” Tina goes too far, shoving Artie from his wheelchair, but they soon make up and celebrate their renewed happiness with “Breakaway,” though neither gets the speech at graduation.

I’ve said it before, much to the dismay of some Glee viewers, and I’ll say it again: Artie and Tina are lame, boring, unlikeable characters. Tina is a selfish jerk, as shown on numerous occasions, and Artie is a whiny pushover, forgiving Tina far too quickly for her very cruel comments about Artie’s girlfriend, Kitty (Becca Tobin). One assumes they’ll make up soon, which they do, because neither has the backbone for a continued battle. But their relationship lacks depth because how can two people who treat each other like this really be friends? It’s true that those who know you the best can wound the deepest, but I just don’t see Tina display real, sympathetic remorse when apologizing.

Their storyline drags “Frenemies” down, and they will likely continue to have an increased presence until at least graduation. I’d like to believe we’ll ditch them then, but signs point to at least Artie will be joining the New York contingent. I’ve never understood Glee‘s insistence to make the two of them continued main characters when ditching better players, but I guess we’ll probably be stuck with them til the end.

Sue is ridiculous in this episode. I like her meta-references, which point out completely real flaws in the show, but her silliness just does not make up for bad writing and story structure. Plus, there’s no way she can make the third place student valedictorian, as much as I enjoyed Blaine’s cheeky quote about getting everything just handed to him. She is not being a fit or realistic principal, and its time to get her back out of that office.

I also don’t buy that the judging panel of Will (Matthew Morrison), Beiste (Dot-Marie Jones), Figgins (Iqbal Therba), and Sue is deadlocked on choosing the valedictorian. For one, both Tina and Artie’s speeches (which start touching, and then veer off into terrible and inane) are basically identical, and knowing Will and Beiste, they’d argue to let both of them share the honor. The only way this result occurs is if Sue just declares that’s not an option and makes a unilateral decision, which is likely what happened, but I wish we’d seen it play out.

In short, “Frenemies” has some heartbreaking, but really great, drama in New York, and a weak, stupid sequence at McKinley. This unevenness has always bugged me about the show. I hope when they finally commit to the Big Apple, which has proven to exhibit some much higher-level storytelling, the series improves again before it comes to an end.

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