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5/5/11

Glee: 2x19 "Rumors"

Right on Cue!

Not that I have not expressed the perils of Glee going forward, but the show never really went more then two episodes in succession with a certain level of mediocrity. It was a nice to see an episode come together like it should have.

Going the Fleetwood Mac direction was a strong concept and reminded me that this is why I loved Glee in the first place. They picked a classic album that resonates with the older audience, grew a pair and reinterpreted it to fit the Glee mold and its younger generation, most of whom may not know the stories associated with the “Rumours” album. I keep saying it, but the more they feature music NOT from today’s top 40 lists, the better the show’s quality.

On that note, this whole episode felt like a Glee classic, just updated slightly. In lieu of “Sue’s Corner” (which by the way, I really miss)…



We got THAT. Brittany is hilarious under any circumstance, but her attempts at journalism almost made me fall off my bed in laughter.

Another thing I have to point out was that this episode featured a lot of overdue moments that have slowly built up throughout Glee’s run this season, which is probably why I loved it so much. While it occasionally grates, there is a lot of pay off when they decide to launch the big guns.

Speaking of which…

“Overdue 1.0.” The tiny, floozy April Rhodes returns. Being a Broadway lover, I was excited for this (I might have cheered upon first glance at her, no lie) because Kristin Chenoweth is hilarious and can bring the roof down with her strong, gigantic voice. She was not featured as much compared to past appearances, but I suspect that was deliberate. We quickly learned with Holly Holiday that when a guest star becomes more prominent then some of the regular cast, it gets a little annoying.

While Matthew Morrison always had good chemistry with his female counterparts, especially with Dot Jones (Coach Beiste) this season, his relationship with Chenoweth on the show is fun to watch and very sweet.



That also pretty much sums up this number well too. Even if you were apprehensive about doing Fleetwood Mac or just using an album as a muse on Glee, the cast worked the screen like it was their bitch to convince you otherwise.

Oh, still not convinced? Artie’s got that covered…take it away!



“OVERDUE 2.0!” This was letter perfect, from song selection to staging, and makes me wonder why they keep giving Kevin McHale rap or hip-hop numbers. Sure, he handles that genre well, but this number, like “Dancing with Myself” and “Dream a Little Dream,” is a great utilization of his voice that happens also to wean out a lot of emotion. Chris Colfer gets the most supporting actor love, but McHale is and has always been right in the thick of things on the acting and vocal fronts. More then any other male on the show, he should get his due by show’s end with some nomination.


So, Artie and Brittany broke up? Alright then, moving on.


Sorry, I cannot get invested in Glee's relationships because most are crack pairings to begin with. Artie and Brittany did have some chemistry and to be fair, the show pokes fun at the fact that the New Directions relationship web is insane. But why care when any relationship could start or end in a second?



I don’t know why the Internet was so abuzz with this number; I thought it was okay at best. Naya Rivera has became a star on the show (to which I cannot disagree with), but we can’t act like everything she does is perfect.

Still, reinterpreting “Songbird” as a girl-on-girl girl-to-girl serenade was a bit of genius.



“Overdue 3.0.” I had to Wikipedia this to confirm my suspicions, but this was the first duet between Quinn and Finn on the show. I wonder what took them so long; you would think that since they dated early on and with their relationship since then, they would have had at least several duets by now. Especially considering how many Rachel/Finn duets have been featured on the show.

Unfortunately, neither Cory Monteith or Dianna Agron are vocal powerhouses, but one thing they excel at (making this a good song), was their acting. They added another dimension to the story and the staging brought great insight into the minds of New Directions, what with all the reactions and pan shots.

Moving on to Rachel…or should I say, RACHEL!



My favorite Fleetwood Mac number sung by one of my favorite performers. Of course I loved this; I never had a doubt that she would not knock it out of the park. As I frequently remind my friends, Rachel is more fun to watch when she is single and on a quest for something, whether it is winning over a suitor or convincing them she is better off without them (see "Firework"). It is only a matter of time before she falls back into some relationship and gets complacent with herself, so right now I am enjoying the fact that she’s solo and belting her heart out about it.

If you are thinking that I did not like the Sam story, you could not be more wrong. I guess this would be “Overdue 4.0,” the return of a classic Glee plot device. This whole story appears out of nowhere {like Sue’s reveal of her sister or Tina’s reveal that she fakes her stutter}, it is over-the-top, it frustrates a bit…and yet, it all works. The whole scene at the motel was dramatic, well-acted and affecting…and not just because they threw two adorable ragamuffins into the mix.

So of course, Glee being classic Glee (if only for tonight)…



They wrap it up with a cheery, upbeat song as if everything is or will be okay. A great way to end the show.

Yes, I loved this episode and it was nice to embrace that fact whole-heartedly. Sometimes I wag my finger at the television screen because my patience and adoration of the show is tested all-too-often, while episodes like this make me sit back, relax and enjoy a stress-free hour of my week.

Let’s wrap it up with this week’s “Awkward Glee Corner.” Yes, it actually has a name now and just like this week’s episode, girlfriend was on her A-game!



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