Ah yes, it’s nice to be home. After the first couple of episodes from the back nine seriously struggled to be that show that I fell in love with back in fall… Glee’s back.
Before tonight’s episode, the fourty four minutes of each Glee episode have been JAM PACKED with Will’s weird love life, Rachel Berry’s strange singing faces, Brittany’s one-liners, Finn’s inability to dance with both his arms and legs in coordination, and wildly over produced (yet crazy entertaining) musical numbers. In an attempt to take over the iTunes charts, Glee was swiftly becoming an outlet of musical performances, with a lacking amount of character development and story. This week’s episode the tables turned back to normalcy, and the story took the forefront with the musical numbers being weaved in appropriately for added bonus.
So let’s just dive in, shall we?
I have to say, I seriously love the Kurt/Burt relationship. Not ONLY do their names rhyme, but they are a breath of fresh air in that they step away from Glee’s tendency to be outrageously campy and portray a relationship that is seemingly realistic. Burt is easily one of the best dads on TV right now. Also, I can’t help but think that when writing this episode, Ryan Murphy (creator of the show) wrote this relationship as inspired by his experience of coming out to his parents in high school.
It was through this relationship, and the fantastic chemistry between actors Chris Colfer and Mike O’Malley, that we learn the moral of this week’s episode: “Don’t lose track of who you are just because it might be easier to be someone else.” Precious line from Mr. Schuster, but how he said that with a straight face is beyond me.
For Kurt, this “losing track of one’s self” manifested in his sexual orientation, something he accepted many episodes ago, but is still attempting to deal with when it comes to his father. It was this that introduced us to: John Mellencamp-lovin’, flannel-wearin’, and Brittany-kissin’ Straight Kurt. Although Straight Kurt gave it his best shot, in the end the nature of the character came through in the dramatic scene where Kurt is hurt (unintentionally) yet again by his father. It was this scene that showed Kurt’s self consciousness about his sexual orientation, a self consciousness that lead him to believe that he needed to change in order for his dad to accept him. All it took was the most fabulous rendition of Bette Midler’s “Rose’s Turn” for both parties of this relationship to realize that nothing defined their relationship other than the fact that they love each other. (All together now: awwww)
This theme of losing identity was evident not only in the Kurt/Burt relationship but in the Mercedes/Puck relationship as well, which by the way, is a paring I never would have expected. Prior to this episode, I was starting to worry that the thing I loved most about the character of Mercedes (obviously, her ferociousness) was beginning to fade away. It was only a mere fifteen or so episodes ago where Mercedes proclaimed: "Oh HALE NAH! I am Beyonce, I AIN'T no Kelly Rowland!" This attitude has been nowhere to be seen, especially with the recent move to air all of her self conscious tendencies (ie. her body image last episode, her need to be popular this episode). It seemed as if the character of Mercedes was losing her identity. Thankfully it was restored through the faux relationship with Puck that made her realize that her true identity lies in the less than popular participation in Glee Club, not the Cherrios.
Similarly, Puck learned his hair didn’t need to be the only thing that define him as Rachel the same with her voice. The last group number was U2’s “One” allowing the concept of individualism from this episode to come full circle.
I should have written a disclaimer when writing this blog entry that when it comes to writing, I can sometimes be like that man who doesn’t have the neuron to know when to stop and therefore never feels hungry and just eats everything in sight. In reality, I could write for days about a lot of the television shows I watch. And although I would love nothing more than to just write with no end in sight… I’ll try to wrap this up for those who do have social lives to get back to. (And by social lives I mean… procrastinating on Facebook. Let’s be real, people.)
FINAL NOTES!
- I usually cringe when Finn solos begin but his rendition of “Jessie’s Girl” was FANTASTIC! Whoever was the genius to name the character of Jesse St. James and thus allow this musical performance to be born, I applauded you. You, kind sir, are made of awesome.
- We finally learn where Quinn’s been living! I was feeling concerned but now that I know Puck’s mom won’t let her eat bacon, I’m feeling a little more reassured.
- Brittany-ism of the week: “Now I know what it’s like to date a baby!”
- Puck’s white boy dancing. Oh baby… you had me at “tramp” !
- Mercedes’ and Santana’s duet had me reminiscing like crazy. That song was my JAM in the eighth grade.
- NPH IS ON NEXT WEEK EPISODE! It’s going to be LEGEN – wait for it………..
DARY
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