March 2013


If you’re on Facebook at all (or all day, like me…), you might have noticed that a lot of people have changed their profile pictures or have posted what looks like white or pink equal sign (=) on a red background.

People are doing this because today, the Supreme Court started hearings regarding the Constitutionality of Proposition 8 (the California proposition – and later amendment – that only recognizes marriage between a man and a woman) and the Defense of Marriage Act (DOMA – a federal law from the 90s that defines marriage as a legal union between one man and one woman, and this deals with a lot of benefits/legal-related issues).

In my humble opinion, both entities are the byproducts of scared people. Same-sex couples who wish to marry aren’t out to get anyone – they’re not trying to ruin the sanctity of marriage. Straight people have been ruining that for years… what with all the divorces and the quickie weddings that last a few days or months. To me, if same-sex couples are willing to fight so hard for so long just to be legally wed to their significant others, they aren’t going to ruin anything… instead they’re just trying to celebrate their love in a binding, government-recognized way.

I’m proud to say that a majority of my Facebook friends have changed their profile pictures or have shared HRC pictures and stories today. I changed my picture this morning, shared some pictures and have had the HRC tweets popping up on my phone all day long.

I’m not a member of the LGBTQ community, but I will fight for them just the same. I have a friend who has been with his partner for 17+ years and I know they’d like to get married in their state and have that marriage be recognized by everyone. There are people from my graduating class from high school who have come out over the past decade and I would love to see them marry the people they love. 

What are people so scared of?

That’s not even a rhetorical question… What are people so scared of?

So what if a man wants to marry another man? How does that hurt you? How does that hurt marriage between a man and a woman? How does two people who LOVE each other getting married hurt anyone?

I read some article saying the the Supreme Court justices are hesitant now – that they feared they have taken this case on too soon. When 58% of the country is for gay marriage and prominent political figures have announced that they support gay marriage, don’t you think the time is now? 

Equal rights and the legalization of same-sex marriage WILL happen during  my lifetime. If our government doesn’t get its head out of its ass now, then my generation will when it’s our time to run this place. We will right the wrongs of the past. Together, we can make a difference. 

Let’s fight for love 🙂 

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Glee was infinitely more tolerable this week due to a majority of the episode centering on Blaine and Sam’s friendship and their ability to work together and lead the rest of the Glee club in Mr. Schue and Finn’s absence.

 

The theme of this week’s episode was “Guilty Pleasures.” Upon watching the episode, you figure that the writers probably went around the room and said what their guilty pleasures because no high school kid these days is a Fanilow (sorry Sam!), whereas people from my generation and above are (as in, I am a Fanilow… I have a well worn copy of Barry Manilow’s Ultimate Hits… but I’m also 10+ years older than the characters on this show). This episode was obviously catering to the guilty pleasures of older writers/producers when they had a Small Wonder reference. I would wager if you asked any high school kid if they know what Small Wonder was, they would have no idea. A few months ago I asked a 21 year old about The Wonder Years and he had NO IDEA what I was talking about. So… yeah. This episode was for us older gleeks, though I’m sure the younger crowd didn’t mind all the Blam on this week’s episode of Blee.

 

It’s been working out good doing my glee-cap around the songs, so let’s do that again this week…

 

Wake Me Up Before You Go Go – Blaine and Sam (w/New Directions)

 

At the start of the episode, Blaine cornered Sam at his locker and tried to give him $50 for food because he saw Sam stealing pasta from the school’s kitchen. Sam caves and says he’s not stealing the noodles to eat, but to create art. He shows Blaine a room full of pasta art, complete with a very well done portrait of Kurt. Blaine is taken aback and muses, “The macaroni really captures him,” starting off an episode chock-full of great Blam quotes.

 

Once Sam gets his guilty pleasure off his chest, he asks Blaine to share what his guilt pleasure is. We all know Blaine’s guilty pleasure is Sam, especially with all those close ups of his eyes and those lips. But, Blaine balks and says he loves Wham! and that Wham! is his favorite band of all time. (I would argue Blaine probably does love Wham! – especially since he likely helped Kurt do one of their songs for his NYADA application, but we all know he was lying in the moment to spare himself from humiliation and potentially ruining his friendship with Blaine).

 

Tina interrupts and says that Mr. Schue is sick, to which Sam asks if she is going to straddle him while he’s passed out and rub his chest with ointment. Tina claims it was just a phase while Sam and Blaine get a decent chuckle out of what was probably one of the most awkward/creepy moments in television history.

 

Blaine and Sam have all the glee kids gather in the choir room. Though they have no teacher, Blam gives the glee kids an assignment to sing guilty pleasure songs. They got the idea when Blaine told Sam about Wham (“Shooting the crap like brothers do…”) and say that by sharing their musical shame, they can be cohesive and use it as team building.

 

When the other kids are initially not for the idea, Blaine and Sam unzip their hoodies to reveal their “Choose Life” 80s t-shirts and instantly we are transported on stage to the whole of New Directions in bright colored shorts, shirts and skirts singing “Wake Me Up Before You Go Go.”

 

I’m grateful I saw the video of this the other day because I might have had a heart attack at all the 80s awesomeness and the fact that Blaine had Darren hair and was wearing short blue shorts and an earring. All the dancing made me laugh and gave me some flashbacks to my youth. It was a fun and up-beat performance and I was giggling the entire time.

 

 

Copacabana – Sam

 

Continuing with the Blam storyline, Sam pulls Blaine aside in the locker room by saying, “Put some pants on, I need to talk to you.” (Their friendship is PRICELESS.) When Sam gets all shifty, Blaine jumps to the conclusion he’s hoping for as he asks, “Do you have feelings for me?” Sam quickly says No but still acts all weird until Blaine finally gets him to blurt out that he likes Barry Manliow. Sam has several monologues about Manilow throughout the episode, but this one ends with “It’s like he’s talking right to me.”

 

You can tell Blaine thinks Sam is nuts for being a Fanilow, but tells him he needs to come out about it to the other glee kids. Sam looks worried, but later in class, he flat out tells everyone that he loves Barry Manilow and then rattles off a laundry lists of why (amazing performer and songwriter, underappreciated, great hair, etc…). Sam ends his rambling with “This is who I am and I make no apologies.”

 

Nor should you, Sam.

 

So, Sam puts on those crazy arm things you see people wear on DWTS and sings Copacabana. And guess what? ALL the glee kids know it and join in because everyone and their mom knows that song. Blaine calls Sam brave for singing that, but soon the rest of the glee guys admit to being Fanilows too.

 

 

Against All Odds – Blaine

 

After Sam sings his Manilow jam, he approaches Blaine in the library (the kid was reading a Goosebumps book, for crying out loud… which a lot of people are taking to be an Easter Egg w/regard to Klaine because Blaine is reading “The Phantom in the Auditorium” and Kurt did that PotO number last season…). Sam tells Blaine it’s his turn to admit his guilty pleasure because he has talked the talk, but has yet to “Walk the walk, pilgrim.” (Oh Sam and your John Wayne impressions trying to use humor to make Blaine laugh/feel less awkward about the whole situation… besties, yo.) Encouraging his friend to be honest, Sam tells Blaine that he needs to set an example for the glee club.

 

So, in the auditorium a little later, Blaine sits at a piano on stage and plays a moving rendition of the Phil Collins CLASSIC Against All Odds. Darren sang that live and accompanied himself on piano. Though it wasn’t as heartbreaking as Teenage Dream in 4×4, it was still pretty great. There was no way to do that kind of song/performance pre-recorded, and Darren is talented and capable enough to do that live-to-tape.

 

The whole of the glee club is in the audience, but we keep getting shots of Blaine looking over at Sam and Sam watching Blaine’s every move. It’s a devastating song and I can see why it was used for the show.

 

I saw some people grumbling about how Blaine is singing this love song about Sam. Blaine’s not in love with Sam the way he is in love with Kurt. I think the pain Blaine was feeling was from his own internal conflicts – knowing that having a crush on a straight person is not going to amount to anything, knowing that having a crush on his straight best friend could potentially ruin their friendship, and having feelings for Sam while having feelings for Kurt.

 

A lot of the lyrics of the song apply perfectly to the Blam relationship. For example, “You’re the only who really knew me at all.” Since Kurt left, Sam is the only person in Blaine’s life who seems to know him inside and out and still loves him unconditionally because of or in spite of this knowledge.

 

And what about this whole verse:

 

I wish I could just make you turn around,

turn around and see me cry

There’s so much I need to say to you,

so many reasons why

You’re the only one who really knew me at all

 

Blaine is obviously struggling about whether he should tell Sam or not about the crush. He wants to tell Sam because Sam is his best friend. He needs to tell Sam because keeping it in will eventually break Blaine and likely put a strain on their relationship. Blaine just doesn’t have the confidence in himself to trust that if he tells Sam his secret, Sam is going to be okay with it. Sam is friends with pretty much everyone, whereas Blaine is not – and I think that’s his own doing. We the audience still don’t know all that much about him, which leads me to believe that the writers have made him this surfacely friendly person/people pleaser who keeps his own business to himself. Sam sees through that, though, because Sam cares about Blaine. This is seriously one of the best examples of male friendship in any show I watch on a regular basis.

 

When Blaine finishes his song, Tina asks who it’s about and Blaine immediately says Kurt, but also Phil Collins. He goes on about how he’ll spread his music and ends with, “I am no longer in the closet about my love for Phil Collins.” Sam does not believe Blaine’s words and you KNOW he’s going to call him out on it…

 

… Which he does. Sam finds Blaine at the piano on stage a while later and they have conversation about musical guilty pleasures that they both know is really about them. Sam takes the reins on the conversation and addresses the elephant in the room. He says Blaine doesn’t have to be uncomfortable and that he knows that he is Blaine’s guilty pleasure. He then says how he knows Blaine is into guys and that he himself is an attractive guy, so he would have been offended if Blaine wasn’t into him. Though Sam was joking to put Blaine at ease, he was completely serious when he told Blaine that nothing was going to change between them. He says the attention feels good and says that it’s flattering. In true Sam Evans-style, he tells Blaine that they need to hug it out and the boys wrap each other in a huge hug, with Blaine smiling brightly, eyes closed, as he embraces his best friend.

 

After a few moments, Sam sports a frown and says, “Please tell me that’s a pack of Lifesavers in your pocket.” Blaine says no, that they’re breath mints, and asks if Sam wants one. Sam says Yes and Blaine takes the roll of mints out of his pocket and each boy pops a mint into his mouth. It was a great – albeit cheesy – to diffuse the entire situation and really the whole crush on Sam should be over by this point. If anything is mentioned again, it’ll be a joke/teasing situation. This plot line should have been wrapped up during “Naked,” as there were no instances of Blaine’s crush since then, but at least it got resolved.

 

Now we just need all the Blam all the time.

 

 

Wannabe – Kitty, Brittany, Marley, Tina and Unique

 

Brittany approaches Kitty near the top of the episode and tells her that everyone hates her and she’s mean. She says Kitty should use her powers for good and not evil and invites her on Fondue for Two. The girls chat and start talking about guilty pleasures. The Bring it On movies are brought up (woot) and then Kitty whispers her musical guilty pleasure to Brit. Tina – who watches Fondue for Two – demands to know what Kitty’s guilty pleasure is and Brittany tells her it’s the Spice Girls. All the glee girls are like, “omg, me too!” and they plot to sing a Spice Girls song and try to figure out which Spice Girl they should be.

 

The girls perform Wannabe and everyone is happy because that song (and the Spice Girls) is awesome. During the song, Artie is hardcore eyeing Kitty and at the end, he remarks how he’s never seen her so happy.

 

The best part about this number was the band. The drummer side-eyed the girls and my favorite band dude was back, rocking a keytar, no less.

 

 

My Prerogative – Jake

 

Jake was going to sing a Chris Brown song until ALL the glee girls hound him for wanting to sing his music. Jake makes the perfectly legit argument saying that he likes Chris Brown’s music, but not Chris Brown (which is exactly how I feel about Chris Brown) and how people should be able to separate the art from the artist. The girls say that they should never do a Chris Brown song (though, remember Season One they sang “No Air,” so too late…).

 

When it’s Jake’s turn to sing, he opts to sing a Bobby Brown song, “My Prerogative.” I liked his dance moves, but his voice bothers me when he doesn’t sing low.

 

Silly Jake was unaware that Bobby Brown is pretty much just as bad as Chris Brown, since it’s believed he’s the one who got Whitney Houston started on drugs. Marley was still made at Jake’s insensitiveness, but they kiss in the hall anyway. Meh.

 

 

Creep – Brody and Rachel

 

So, Santana is living with Kurt and Rachel now because Brody moved out. She is still snarky as always and says she’ll break her pact with Kurt and tell Rachel about Brody. Kurt says she can’t do that until after her Funny Girl audition. As of that point in the plot, Brody left without saying why but said they’ll always be friends. Santana knows the truth, but tries to stay on Rachel’s good side by saying the two of them should prank Kurt. They opt for the “hand in warm water” trick and find him in his bed, wrapped in a “boyfriend pillow” (i.e. a pillow with an arm you can wrap around yourself). They immediately pick on him, but he says it was purchased while on Ambien (does he need an Intervention). He named his pillow “Bruce” and says he’s exclusive (which I take to mean that Adam and Kurt have never shared a bed…).

 

Later, Kurt gets Santana and Rachel pillows and Rachel calls the pillow weird, saying she doesn’t need it b/c she’s going to get back together with Brody. Santana loses it and says that Brody was a gigolo, which Rachel doesn’t believe. Rachel asks Kurt if it’s true and if he knew, but he doesn’t say anything (even though she can totally tell he was withholding information).

 

(Kurt withholds information a lot…  He didn’t have a huge role in this episode, but we did get a VO about his own guilty pleasures. Not was one of Kurt’s guilty pleasures his boyfriend pillow, but he also wear a Richard Simmons outfit while he sweats to the Oldies. The fandom exploded at the sight of Kurt’s legs in those shorts and everything else going on in those shorts…)

 

Rachel approaches Brody at a class and gives him some money, saying she was hoping she could have dinner with him. (Low blow, Rachel, even for you.) She says she was an idiot because they said they’d be honest with each other. Brody calls her out on not being honest with him about sleeping with Finn at the wedding. He then tells her that Finn was the one who came and beat him up (which she still didn’t know) and says that he knows she is still in love with Finn. Rachel was sure Santana was the one who ratted her out, but he just knew.

 

In a rare moment of self clarity, Rachel says that she used her relationship with Brody to make Finn jealous and to fill her own heartache. Brody asks if they are over and Rachel says, “Yeah, it feels like it is.”

FINALLY.

 

They then sang “Creep” and I wrote in my notes NO1CURRS and “ugh, just give me Blam already.”

 

I like this song, but I thought it was not used well on the show with all the slow motion and whatnot.

 

 

Mamma Mia – Everybody in NYC and Lima

 

Kurt and Santana are watching a Facts of Life marathon when Rachel gets back. She says that her and Brody are officially over and thanks Santana for what she did. Kurt tells Rachel not to be sad and that he named her boyfriend pillow for her (Colin – after the kid in The Secret Garden). Rachel said she’s not sad, and that she’s ready to date older guys. (REALLY? Did you not just get out of a bad relationship with an older guy? Because that is literally what just happened 5 minutes ago…)

 

She also says they are going to watch movies and she plays the pity card to get then to watch Mamma Mia. And then everyone sings Mamma Mia (which is totally one of my favorite ABBA songs) and the NYC kids frolic about their apartment while the Lima kids are in ABBA-outfits (and poor Blainers’s hair is flat-ironed out, making him look like Pete Wentz’s long-lost brother…).

 

The most notable moment during this song was a tie between Kurt tripping over his hula hoop and Kurt throwing a hula hoop in NYC and Blaine catching a hula hoop in Lima. People on the blogs went bat-shit.

 

So, yeah…

 

I enjoyed this episode for all the Blam and its epic lack of Mr. Schue and Finn.

 

We are now on a 3 week hiatus until the last 5 episodes. I’m ready for this season to be over. And I’m okay if Blaine and Kurt are not back together by the end of it… however, I would like an update on Papa Hummel’s cancer. (Right?)

 

Thoughts?

Last night I had one of those “Wow, this is only happening because I live in NY and am friends with the right people” moments.

 

When a good friend of mine asked if I wanted to go with her to an advanced screening of August: Osage County, my immediate response was YES. Though I hadn’t seen the play, I knew enough about it to know that the film adaptation was going to be one of the most anticipated movies of this fall and winter’s sprint to the Oscars.

 

Tracey Letts’s words are often frightening, especially when they are lashed out at others from Meryl Streep who turns in yet another tour de force performance. (The woman can do no wrong.) While I was bothered at times by the audience laughing at some of the harsh truths and foul language flying out from her lipstick-stained mouth, one could argue that the laughter was a coping mechanism. It was bizarre hearing that kind of bitterness coming from Meryl Streep, but at the same time, there was no one else you’d rather hear it from.

 

The premise of the story seems simple – set in Osage County, Oklahoma, three grownup sisters (and their significant others) are reunited when their alcoholic father skips out on their prescription drug-addicted mother (who is suffering from mouth cancer).

 

This is where the simplicity ends.

 

Everyone in this film (except maybe the Native American cook/maid) has some serious problem(s) that they are mostly unwilling to share until it just boils up and explodes out of them like the alien in Alien. Every now and again, there is an outburst (or several) between family members that was the result of prolonged festering and avoidance.  People who seem close are actually strangers and those who wish themselves different from their bat-shit family members find themselves following in their footsteps.

 

The white house with the wraparound porch  in the middle of the Great Plains no longer screams “American Dream.” Instead, it’s a cautionary tale of what happens when isolation and suffocation take hold and there is no way out. Because in August: Osage County, even the path that seems to be an escape route is lined with obstacles nearly impossible to overcome.

 

I’m betting a lot of people will walk away from this film marveling at Julia Roberts’s performance. This is one of the least vain roles she’s ever taken on and she is deserving of whatever praise she will likely receive. (Those who know me best know I’m not a Julia fan… so if I’m saying she’s good, she’s good.) She manages to go head-to-head with Meryl Streep and come out on top in several key scenes. Curse words fly off of Roberts’s tongue,  much like Streep’s, and it’s almost jarring until you realize that these words are a necessity because there is no other way to get through to these incredibly stubborn characters.

 

This film is full of incredibly strong, yet at the same time incredibly weak, female characters. Each woman has her own strength, but it’s her faults that stand out and are targeted by everyone else in the film. These characters aim to tear each other down, and they all manage to succeed. It’s terrifying to watch, but you cannot look away.

 

Though this film focuses mostly on the women in the family, the male characters each have a purpose. Of the four male supporting roles (played by Chris Cooper, Ewan McGregor, Benedict Cumberbatch and Dermot Mulroney), I was BLOWN AWAY by Cooper. The father-son scenes between him and Cumberbatch (or him just talking about Cumberbatch’s character) were extremely poignant and made the truth about their relationship even more heartbreaking. Cooper was the least flawed of all the characters and his inherent likability was a life preserver I clung to throughout the film.

 

While this film boasted one of the best ensemble casts assembled, I am sad to admit that Ewan McGregor was the weak link of the film. Though he is one of my favorite actors of all time, his performance was not on the same level as everyone else. I don’t know if it was because he was working so hard to hide the accent, or that he looked like a bearded schoolboy up against the masterful Streep, but something felt off. He had a few decent scenes with Roberts, but on a whole, I was not impressed with his work in this film. (Sorry, Ewan!)

 

I won’t spoil any of the plot twists in this film, but there were several jaw-dropping reveals that kept the plot going and your interest levels up. The worst was finding out something horrific about the “good” characters… as if things weren’t already hard enough for them, they got an epic wrench thrown into the mix.

 

However, even though there were quite a few forks in the road, almost everything was wrapped up by the end of the film and there was some sense of closure among other aspects of ambiguity.

 

It’s a powerful film with a boat load of dialogue. This movie is heavy on the dialogue and doesn’t rely on a bunch of locations or any sort of special effects. It’s a story and you are more than interested to hear it out because you have to know how that family’s mess is going to end up.

 

Before we even went into the movie theater,  my friend and I were chosen to take part in a focus group after the film. There were made 30 of us and we were asked to expand upon a bunch of questions that we answered in a theater-wide survey after the film. We were the first people to see the film and there were filmmakers present to listen in on the focus group. (One of said filmmakers was Harvey Weinstein… we saw him outside of the theater in the lobby when we were finally released from the focus group and I almost had a heart attack. That man and his production companies are responsible for some of my favorite films of the past two decades. I was too nervous to approach him, but I did take a blurry picture of him from across the lobby.)

 

When August: Osage County is released in November, I highly recommend seeing this film. It’s a shoe-in for several acting nominations (Streep, Roberts, Margo Martindale, and *maybe* Cooper), as well as screenplay and Best Picture. (In addition to Weinstein being EP, George Clooney and Grant Heslov were two of the producers… those men are among the best producers working in film today.)

 

See this film. And then be eternally grateful that these people are not your family members.

So, Glee’s “Feud” episode should have been called “Fight Club”… I think this was one of the most physically violent episodes of the show. (At least Kurt didn’t get shoved into any lockers… the fan fave was maybe in the episode for 4 minutes, but had one of the best lines of the whole night – “Bitch stole my pillow.” – Because he and Rachel kicked her out of their apartment and she did, in fact, take his pillow. And Rachel’s comforter.)

 

The show opened with that same music that plays when Sue Sylvester is gonna go ape-shit on someone (“O Fortuna” from Carmina Burana), but this time it dealt with Will and Finn (though fear not, Sue still goes ape shit on people in this episode too… as per usual).

 

So, how about we deal with this episode like last week? By song (and, therefore, by “Feud”).

 

Heartbreaker – Brody vs. Rachel

 

It’s official – Rachel is not pregnant and Brody is a gigolo (Neither of these revelations are a surprise.). Brody calls himself “Gunner” and allows himself to get picked up by an older woman to help pay for his tuition. Throughout the song, he muses that he thinks he loves Rachel (you don’t Brody, let’s be real here…) and he wastes her time and the viewers’ time by singing and dancing with this older woman. He’s a minor character who is nothing more than a nice body and plot filler. Rachel sings the song with him, though she is home and alone. She says she thinks she loves him too, but you can tell this is not a “forever” relationship. I can’t wait for Brody not to be on the show anymore.

 

 

The Bitch is Back/Dress You Up – Ryder vs. Unique

 

Unique is mad at Ryder for kissing Marley (remember Unique and Marley are besties and they are flawless together, MmmKay?). She also calls Ryder a poser while she calls herself a “proud Black woman.” Ryder scoffs and calls Unique a “dude” and that pisses her off.

 

This was one of those episodes where Glee tried to tackle a HUGE topic of gender identity and it just came off weak and not quite great. Unique and Ryder sing their mashup and it’s a great mashup (those two have such strong voices), but when Blaine asks them to shake hands and let bygones be bygones. Unique wants Ryder to call her a girl, but Ryder refuses, saying he’s a dude. Unique is furious and says, “You don’t get to decide for me.” Jake (who is also mad at Ryder for kissing Marley) calls Ryder a douche and says that in the glee club, people are supposed to be allowed to be whoever they want. (Way to go, Ryder.)

Ryder has been conversing with some girl (whose name is Katie – I think) online (oh, remember the days of IM? Sigh). They talk about silly stuff, but also about serious matters, such as Ryder not calling Unique a girl. Ryder says he respects Wade and his choices and then the mystery girl says that being a girl is Wade/Unique’s truth so that Ryder should respect said truth.

 

Later in the episode, Ryder asks Unique, Marley and Jake to meet him. He apologizes to Marley for kissing her. He apologizes to Jake as well and says that friendship is about trust. He promised that even though he fumbled this time, he wouldn’t let him down in the future. They shook hands and will eventually be okay, just not yet. As for Unique, Ryder says he won’t pretend to understand, but says “You’re a girl, dude.” Unique says that she got chased home by a group of girls the day before. Ryder, Marley, Jake AND Kitty (who walks in last second) says they will walk her home because they are friends and they have to stick together, especially with Regionals coming up. They say how Artie, Sam, Tina and probably Brittany would be graduating… (What about Joe, Sugar and BLAINE?!), so they have to be their own little group. This felt like a half-assed attempt to set up Season 5. I wasn’t buying it. I also don’t really care enough about any of these 5 characters to make me excited for their chunk of the show next season. Blaine and Sam have been the only characters I care about in Lima (and Burt Hummel, but we haven’t seen much of him this season… which sucks b/c I want to know how he’s doing with his cancer…), so once they’re gone, my attention will likely be gone too.

 

 

Cold Hearted – Santana (who sings it at Brody)

 

Santana has made it her mission in NYC to get Brody away from Rachel and out of the apartment. As much as I love Santana’s newfound loyalty to the person she really couldn’t stand for 3 seasons, I kind of don’t really get it. Perhaps she’s just pissed that Rachel is naïve to believe Brody isn’t the scumbag the rest of us know he is.

 

Santana calls Brody “donkey face” and Rachel says that he said he has a side job as a cater/waiter. (Yeah… he “caters” to older ladies needs.) Santana tells her she needs to stop and focus and how this is not the Rachel Berry she went to school with. While Brody is in the shower, Santana steals his pager.

 

Later, Auntie Snix goes to NYADA and confronts Brody. He calls her loud and rude and says she’s all talk. She says she’s a hardcore friend and then oozes sex as she gets her Paula Abdul on. (At this point in the show I wrote “Can Naya just sing all the songs?” in my notes.)

 

Santana gets back to the apartment later and tells her roommates that she got a job tending bar at a Coyote Ugly place (um… she’s underage. How does a 19-year-old tend bar?). Rachel and Kurt ask to speak with her and they said she just can’t up and go to NYADA and do that because that’s where they go to school. They ask her to move out and that does not sit well with Santana b/c she considers them her family and she has love for them. She leaves, though, saying she’ll move in with Lena Dunham. She takes Rachel’s blanket and Kurt’s pillow (“Bitch took my pillow.”) and exits the apartment.

 

Toward the very end of the episode, Brody goes into a hotel room to find Santana waiting for him. She reveals that Finn is there with her and she leaves the two of them alone. Finn is livid and tells Brody to disappear from Rachel’s life forever. Brody says he loves Rachel (ew – no you don’t) and the two of them start fighting. Finn is Hulk-angry and they break a bunch of furniture before Finn growls “Stay away from my future wife.” He then kicks a table on his way out.

 

(Personal note – I think it’s wrong for the two of them to be fighting over Rachel like she’s some piece of property. Shouldn’t she get a say of who she loves/wants to be with? While the lesser of the two evils would be Finn, if she wants to be dumb and stick with Brody, that’s her prerogative. Also – Finn going ape-shit on Brody is not great. Finn is a violent person – as you will see in another song chunk of re-cap – and it makes you wonder if he would ever hit a girl or a kid, or something/someone that shouldn’t be hit.)

 

 

Bye Bye Bye/I Want It That Way – Will vs. Finn (w/the New Directions boys claiming neutrality of Switzerland)

 

Tina, Artie and Blaine sat Will and Finn down in the choir room to tell them that Will has been extra mean to Finn (bossing him around to get coffee, praising Ryder when really Ryder is just Finn 2.0, etc…) and Finn has been losing his mind (he kicked a music stand… of course). Blaine writes “Feuds” on the whiteboard and tells the two older men that they have to stop it. The three seniors give Will and Finn the assignment to sing songs from feuding artists and that they need to make up and be on the same page/team for Regionals.

 

The two men have a chat in the auditorium later and they try to discuss what they are going to sing. Will ends up lashing out at Finn, saying that he only gave him control of the Glee club b/c he took pity on him and was trying to get Finn back on his feet. Will said he felt betrayed by what Finn did (kiss Emma) and said that Finn broke the code of the brother.

 

So, what do these two oh-so-manly men decide to sing for their Feud songs? Will channels NSYNC (with the help of Blaine and Jake) as they sing “Bye Bye Bye” complete w/marionette strings while Finn (with the help of Artie, Ryder and Sam) take on the Backstreet Boys CLASSIS, “I Want It That Way.”

 

I was DYING during this song because I love NSYNC and BSB so much and always will and it was beyond amazing to see some classic boyband moves. With heaps of bias, I loved seeing Darren on Team Bye Bye Bye because it was fun to watch him dance and do tricks with the strings.

 

The sequence itself, though, made little sense. The boyband singing/dancing was juxtaposed with Will and Finn fighting each other on stage, and then them hugging. HOWEVER, when the song was over and Sam suggested the men to hug it out, Will said he couldn’t. Finn said that he understood there was nothing he could do to get Will’s trust back.

 

Later, Finn is in his office packing up his stuff. Marley comes in and gives him a Thank You card and asks what’s next for him. He says he doesn’t know, so she tells him to grow a pair and forget about Mr. Schue and that Mr. Schue does not define him. Finn disagrees and said that Will and McKinley do define him, so Marley gives him a decent pep talk saying that he’s a natural leader and would make a great teacher. She encourages him to get a teaching degree.

 

(And then, as I mentioned before, Will beats Brody up in a hotel room…)

 

We know from (SPOILERS) that Finn does decide to go to college for teaching. I’m interested in how that will play out, I guess. I don’t hate Finn this season (except when he’s pining after Rachel and kicking/punching things). It’d be nice to see him feel good about himself again.

 

 

I Still Believe/Super Bass – Blaine vs. Sue

 

Oh, Blainers.

 

Blaine’s in Sue’s office where she tells him he’s been slacking on his Cheerios commitment and that he was only a Cheerio from Dec 5-Dec 6. Blaine explains that that was because of glee club, but he was done being a Cheerio. She counters that he – Blaine Devon Anderson – signed a contract stating that he would be available for Cheerios duties when she needed him. The signature is a forgery and he doesn’t want to be on Cheerios. Sue says that if he doesn’t rejoin, something unfortunate would happen to him extremely soon. He asks if she’s threatening him and we all know she is.

 

Later in the episode, Sue makes his life a little less dapper. She gives him some sort of cement instead of hair gel, takes out a bunch of credit cards in his name and ruins his parents’ credit (it’d be awesome if we ever got to see said parents…) and then she hired a plane with a banner that read “Blaine is on the bottom.” At that, Blaine says “that’s not true – not really,” which give Klainer’s some background information into some personal matters… for reasons. He calls what she is doing “inexcusable” and this is the most fired up we’ve seen Blaine ever – especially at an adult. Sue challenges him to a Mariah Carey/Nicki Minaj sing-off and says that if she wins, he has to join Cheerios.

 

When it’s time for the sing-off, Blaine (in his cute little red cardigan) gets up and sings “I Still Believe” and it’s adorable and one-man boybandish. But then Sue – in full Minaj getup – and her Cheerios/black lights/feathers knock out “Super Bass” and it’s easy to see that Blainers is not going to come out of this the victor. In a last-ditch effort, he jumps up on the little stage in the choir room and tries to sing that he still believes, but you can see his hope fading fast (you know.. that point in the song that goes “I had a dream” instead of “I still believe…”). At one point, Sue shoves him off the stage (which I’m pretty sure you’re not allowed to do to a student). And, when only Tina votes for Blaine over Sue, we know that Cheerio!Blaine is back.

 

Speaking of Cheerio!Blaine, we were blessed with several close ups of the boy in uniform and his ass was made for those horrible poly-blend, but blissfully tight, pants. He is made co-captain with Becky (and she kisses him on the lips…) along with being told that this is the real world and real world has commitments. She asks if he’s committed to being a Cheerio and he says Yes. She then tosses him a thong and tells him to wear that to avoid VPLs.

 

You’d think Blainers would be defeated, but the kid had a smile on his face as he walked down the hall – thong in hand – and meets up with Sam. Turns out my favorite dynamic duo (BLAM!) made a plan to take down Sue Sylvester with Blaine working from the inside. (In my head canon, this scheme was hatched over the two of them having a comic book movie marathon the night that Blaine lost the sing-off… Sam suggested that they use this shitty situation to their advantage and then Blaine got excited about being able to do something good while on the Cheerios even though he already had so much on his plate.)

 

So, I’m looking forward to Blam taking Sue down and Blaine in those pants (and a cheer routine? That’d be a waste of talent and plot if they don’t let Blaine do at least one routine… I mean, even Kurt got to do 4 Minutes…).

 

 

Closer – New Directions (no Feuds here…)

 

At the end of the episode, all of the New Directions (minus Sugar and Joe who weren’t in the episode) sang this song. It was nice to see Blaine and Marley playing keyboard. The song was up-tempo… I really don’t have much more to add than that. (I don’t even know who Tegan and Sara are… #sorrynotsorry).

 

So, yeah. That was the show. It wasn’t great, but there were moments of okay.

 

I am looking forward to next week’s theme of “Guilty Pleasures.” I love all the songs they will be singing and I’m not ashamed to admit it. PLUS, we get the “Blaine has/had a crush on Sam” talk that we were supposed to get episodes ago. (FINALLY.) Oh, and Kurt has a boyfriend pillow.

 

I just want all the Blam, okay? They’re the best part of the show.

 

Thoughts? Favorite songs? Did you think this episode was uncommonly violent?

 

 

So, 

I told myself when I moved to NYC that after I got a full time job and was financially stable, I would try and focus on my social life (as in, having one). 

A few weeks ago, I got hired on full-time at the company I have been working for off and on since August, so I thought “okay, the full-time job has happened… maybe I’ll give this a whirl.”

I was not meant to partake in online dating websites.

A few years ago at a friend’s suggestion, I signed up for OKCupid. That first night, some guy started messaging me and we ended up talking for a couple hours. We had some mutual interests and he seemed nice. I had literally just moved to the area the month before, so I didn’t know anybody, however I wasn’t ready to just drive to some strange location and meet some stranger. So, when he suggested I do just that I was like, “Hold the phone, guy on the Internet. You just started talking to me a couple hours ago. I’m not comfortable meeting you face-to-face yet.”

He said he was okay with that and we chatted a couple more times, though each time he became more insistent that we meet soon. His insistence was making me uncomfortable and I told him that I was going to stop talking with him because he wasn’t accepting that I was not ready to take any next step.

I deleted my OKCupid account that night.

Cut to 3 years later, and I signed up for that Plenty of Fish website. 

I have this silly idea in my head that if the Pilgrims could meet people without the Internet, then I could do. BUT, since there is so much pressure from society to be in a relationship, I decided that I would give this Fish website a whirl because I could always delete my account with them too.

I have been on the website for about a week. Within the first few minutes of being on there, some guy messaged me and we talked for maybe 15 minutes. After 5 minutes, he asked to meet up for coffee. This was about 30 seconds after I told him that I didn’t like it when guys were overly aggressive. After a few more minutes of messaging, I told him I was going to go to bed (which was true – I was tired).

Is it unrealistic of me to want to talk with these people for a lengthy amount of time before I meet anyone face to face? I mean – I can’t just up and meet someone. I live in Queens – there are trains and a shit-ton of walking involved for me to get anywhere. I also don’t want to go meet someone if it’s going to be a waste of anyone’s time.

The guy who asked me to meet last week was “relaxing” by watching CSPAN and liked to spend time at clubs with his friends. I think CSPAN is boring as hell and I am not a fan of clubs. I’m not saying I wouldn’t be willing to talk more with this guy, but my first impression was that we were not even remotely into similar things. Also, he wasn’t using whole words. At least he didn’t call me “baby” or “sweetie.” 

Whatever guy who messaged me last night started his note off with “Hey baby…”  To be honest, I don’t even think I finished reading it before I deleted it. You don’t know me. You don’t have the right to call me “baby” because I’m not your “baby” – I’m a grown-ass woman with two college degrees and enough common sense to know when someone is being genuine and when someone just wants a hookup.

Are my standards to high? Am I being too picky? Will my trust issues completely get in the way with this whole online dating shenanigans? 

Do I fear being a spinster until the end of time? Yes. Oh dear god, yes. This is one of my BIGGEST fears. My younger brother just got married a few months ago and my older sister is getting married in May. I am beyond grateful that my parents have never pressured me with any questions like, “So why aren’t you in a relationship?” or “When are you going to get married?” They aren’t the type who are clamoring for grandkids and wanted my siblings and I to establish ourselves as people before we dove into marriage. However, even though my parents don’t ask those questions, society does. Facebook is a nightmare as of late. Everyone is getting engaged, or getting married or having kids. I’m posting pictures of marquees of Broadway shows I saw with girlfriends or by myself.

So, while I would like to be in a relationship, I am not willing to sacrifice my self-respect for some guy who took a selfie of himself posing in a wifebeater while flexing at the bathroom mirror. 

I’m okay with being alone (for example – on Friday night I had the best self-date EVER. I got 4th row tickets to a brand new musical, I had dinner at my favorite pizza place and cookies from Schmackary’s, and I walked around the theater district and 5th Ave before my show… it was really quite lovely.), but sometimes you just want to hold someone’s hand while you’re walking around, or snuggle with someone while you’re watching a movie. You want someone special to share your happy moments with and someone who you can lean on when you had a crap day.

So yeah… 

Wow, I just bummed myself out. Yikes!

Do any of you have any experience with online dating? Do you have any suggestions for someone with trust issues who is completely leery of this whole concept to begin with?

 

I had the privilege of seeing Kinky Boots (now in previews on Broadway) on Friday night and I cannot get the amazingness of that show out of my head.

 

Kinky Boots – based off of the 2005 film of the same name – deserves to be Broadway’s next HUGE hit because it is the magical combination of great storytelling, memorable songs, fabulous costumes and a beyond talented cast.

 

For those of you who have not seen the film, the plot of Kinky Boots is that a young man named Charlie inherits his dad’s shoemaking factory which is about to go under. At the suggestion of a colleague to find a new niche product to produce, Charlie gets the idea to manufacture boots for Drag Queens (i.e. boots made for men who dress like women… because regular heeled boots were not meant to withstand the weight of a man). When Charlie’s initial boot design is total crap, his Drag Queen acquaintance, Lola (the AMAZINGLY TALENTED Billy Porter – holy shit this man is a flawless performer) and her flock of Angels help Charlie and Co. come up with the design for Kinky Boots. 

 

There are daddy issues, relationship issues, homophobic issues and then some mixed into the plot, making this comedic romp an equally heartfelt punch to your feels. Charlie’s character arc is more like a roller coaster as he deals with what he wants, what he thinks he wants, what he needs, and how he needs to let himself embrace others just as much as he needs them to embrace him. It’s a show about self-acceptance as much as it is about accepting others. 

 

Kinky Boots is also the most fun I have ever had at a show in my entire life. And I’ve seen a lot of shows…

 

The introduction of Lola and her Angels was literally show-stopping. (The audience I was a part of stopped the show at least two or three times with the epic amount of applauding and cheering we were doing after some of the music numbers. At the stage door, the cast said that we were the best audience they had had so far and that we were an enthusiastic wall of sound. They earned it though – they put so much of themselves into that show, it was the least we could do.)

 

 

There are several extremely high-energy numbers where Lola and her Angels dance at the club and at the factory. I was completely gob-smacked by these men and their ability to dance that well in those heels and costumes. You couldn’t help but hoot and holler after the songs were done – they were just so entertaining and full of life and passion. 

 

 

It was hard to pick a favorite song, as most of them were amazing. 

 

Of all the Lola/Angels songs, “The Land of Lola” and “Sex is in the Heel” were definitely highlights.

 

Charlie and Lola’s “Everybody Say Yeah,” which takes place in the factory after the first pair of Kinky Boots is produced was amazing. There was dancing and tricks on these four conveyor belts and everyone was just so high-energy, which was amazing considering this was the last song at the end of a very long, very dance-heavy first Act. 

 

Lauren’s solo “The History of Wrong Guys” was a brilliant use of Annaleigh Ashford’s natural ability to exude comedic charm. She just goes for it and it was a privilege to watch her perform this self-deprecating spiral that a lot of girls can relate to. (Lauren works at the factory with Charlie and she has a crush on him even though he’s dating Nicole…)

 

The show has a few songs that are all about the lyrics and character relationships and not the glitz and glamour of most of Lola’s numbers. (See, when Lola is not in Drag, she’s Simon… and Simon is a vulnerable man who is not his father’s son. In fact, there is a song called “I’m Not My Father’s Son” and it almost made me cry.) 

 

The scenes between Charlie and Lola/Simon were some of my favorites because I enjoy the loud and fabulous shenanigans as much as I crave the intimate, vulnerable moments between these two men trying to be themselves when other people are telling them otherwise. Charlie and Lola/Simon have a lot more in common than they initially think, and its this realization that drives them apart and ultimately brings them back together. An unlikely pair, these two men need each other to take on the world – they are just too stubborn to admit it.

 

Kinky Boots works as a musical because of the trifecta of awesome that crafted its existence.

 

The equally hilarious and emotional book is written by Harvey Fierstein who has the uncanny ability to make the dialogue between the songs be just as powerful and memorable as the music numbers. 

 

The music and lyrics are by Cyndi Lauper. Though nothing sounds like “Time After Time” or “Girls Just Wanna Have Fun,” everything sounds like Cyndi. You can hear her singing these songs and them making complete sense. She has composed selection of songs that make you laugh and make you feel – the words are relatable and the rhythms are catchy. This show has songs that are so fun, as well as these ballads that break your heart. There are anthems that will make you stand and cheer, as well as snarky numbers that have more sass than you thought was possible. I cannot WAIT for this soundtrack to come out.

 

And then there is the direction and choreography by the beyond talented Jerry Mitchell. I SAW Mr. Mitchell at the show I was at and I almost had a heart attack knowing I was less than 50 feet away from a man who I have admired and respected for a long, long time. His choreo is the stuff musical theater dreams are made of and it was a privilege to see his work in his presence. The dance numbers are up tempo and intense. I don’t know how those guys do all that dancing in those heels, but they do and it is MAGICAL to watch. The last number alone is jaw dropping. So many fabulous boots… Oh my goodness.

 

This show has a lot of the same crew and some cast from Legally Blonde: The Musical and it shows – but I mean that in the best way possible. (I LOVE LB:TM – you don’t even know…) However, I would argue that Kinky Boots is a stronger show. 

 

Kinky Boots is great because it’s just as much for men as it is for women. The two leads are men of different races, sexual orientation, and social status and yet they have so many similar problems. This show proves that people who seems different on the outside have more in common on the inside than they initially think. This show is about teamwork and how reaching out to help others and letting people help you can achieve a lot more than being stubborn and dealing with everything on your own.

 

After the show, I went to the stage door and had a chance to talk with several of the cast members. They were so gracious and appreciative of the crowd that night and were grateful of how much the audience loved the show. I sincerely hope this show gets the recognition it deserves and that it blows up as this season’s must-see show. 

 

 

(I was lucky to snag a general rush ticket for $37 and had a fourth row orchestra seat… Partial-view my ass, I didn’t miss a thing.)

 

 

I highly recommend for you to get your ass down to the Al Hirschfeld Theatre as fast as your boots will take you and see Kinky Boots.

Flawless show is flawless, y’all.

Instead of doing my usual Glee-Cap from beginning to end of episode, I’m going to tackle each song in the order in which it was sung and talk about its significance/purpose within the arcs it fell under. Some of these numbers were stand-alone performances, but all had some greatest aspect of importance in the canon of Glee.

 

(I’ll give a brief overview of the other major non-music related plot points at the end, as the Rachel/Santana plot is just too good to not mention.)

 

This week’s theme was songs from the movies. In the show, Will says that movies transport us; they provide comfort and help us escape our day to day anxieties. (Being a cinephile myself, I was nodding my head at these words.) The songs from movies sung in this episode were all outlets for escape, either through the films they were from, or the costumes used during the performances.

 

 

 

You’re All the World to Me – Will and Emma

 

The show opened with Will and Emma (Schuester) in Fred and Ginger-esque costumes. They did the infamous walk on all the walls shtick from Royal Wedding (1951) – the movie this song comes from. It’s a great sight gag and worked for the show because it’s a little goofy and unrealistic. It turned out Will had fallen asleep watching old movies. He and Emma still aren’t married and she’s still missing. So, this song was Will’s dream of them having a happy, music-filled romp around the room.

 

 

 

Shout – Blaine, Brittany and the New Directions

 

After it was announced that not only were the kids supposed to do movie songs, but they were to do their annual boys vs. girls mashups. Blaine and Brittany have the bright idea to do boys vs. girls within one song, so they can still compete while singing together. Blaine suggests they sing Shout, “from the seminal American college comedy, Animal House.” As he flashes his friends the thumbs up, the kids kick it into gear and do a high-energy rendition of this classic number from one of the greatest film comedies of all time.

 

This was Glee’s 500th musical number performed on the show and it did not disappoint. The kids were all over the school, dancing on tables, crawling on the floor, jumping onto peoples shoulders (did anyone else notice that Blaine leapt onto a girl’s back, while all the other boys were the ones supporting girls on their backs?), etc… I’m super biased when I watch this show and if Blaine is in a group song, I only watch him. So, as Blaine sang and danced his little heart out, I couldn’t help but wonder how Darren managed to dance in those pants. Like… when he was going some sort of kick step down the hallway, it looked like he was grimacing. The kid derps a lot on the show anyway, but this song was just an extra large helping of Blaine getting lost in the music, dancing like a goofball and taking himself to Church.

 

This song wasn’t a mode of escape so much as it was just a fun number that the New Directions had a fun time singing and dancing along to. It was entertainment for entertainment’s sake and not any sort of plot-driving device.

 

 

Come What May – Blaine and Kurt

 

I was ready for the song itself, but not the three little flashbacks that were woven into Blaine’s part at the beginning of the song. (I might have muttered “Oh My God” as I clutched my Batman Buddy while watching the song unfold…)

 

Knowing this was Kurt’s dream going into watching the performance was one thing, but finding out that it was a daydream (as in, Kurt was watching Moulin Rouge – at HIS suggestion – with Adam, Santana and Rachel and his mind wandered), put a whole other spin on it.

 

I’ll start from the end and work our way back with this one… AFTER the song, Kurt snaps back to reality and is crying. Adam and Rachel question him and he blames it on something in his contacts. Rachel counters that he doesn’t wear them and Adam digs around in his bag for eye solution. Santana sees right through his words and comments that he and Blaine used to dream about singing that song to each other at their wedding and that singing that song with someone is a more intimate act than having sex.

 

That sentence in itself is a whole lot of plot summarized into a few words.

 

Kurt dreaming about Blaine and himself singing that song together shows that Kurt is thinking about Blaine in an intimate/romantic way. (It’s a romantic song… so that’s obvious.) BUT, it’s Kurt thinking about Blaine in how they used to think about each other while singing the song.

 

See… if you watched the song without knowing it’s Kurt’s dreams, you think those flashbacks are Blaine’s because Blaine is the one on screen. They’re not – they are Kurt’s flashbacks (mutual flashbacks at best… but definitely Kurt’s). “Never knew I could feel like this.” They then flashed to Kurt and Blaine’s first meeting on the Dalton steps. No matter how many times we’ve seen this clip, there are obvious feelings upon first glance at the other boy. It might not have been love, but it was definitely interest. They also flashed a clip of Kurt and Blaine lying on Blaine’s bed, as well as their fingertips intertwining – both scenes from their first time together. This was a HUGE moment in Kurt’s life, as well as in his relationship with Blaine.

 

So, watching the song and knowing it’s from Kurt’s point of view is completely heartbreaking. Blaine is the one who starts singing, because he is the one between the two of them who already knows what his feelings are. Blaine is 100% committed to reuniting with Kurt and has said so in previous episodes. Kurt is not so sure. He joins in the duet because it’s what he’s supposed to do – it’s a song for two people, so he must sing. His actions seemed forced, as if he was going through the motions of a routine he was supposed to do as opposed to something he wanted to do.

 

At one point, his hands slide into Blaine’s and they slow dance for a few beats. Neither boy looks happy, but both sway together because that’s expected of them. Kurt quickly breaks out of hold and walks away. Blaine follows, but doesn’t initiate any sort of touching because Kurt has to be the one to take the next step. (Blaine lost power in their relationship when he cheated on Kurt. As soon as that trust was broken, Blaine could no longer set the pace for any sort of reconciliation.)

 

They sing together some more, and for the first time on the show, Kurt says “I love you” first before it is echoed by Blaine. HOWEVER, his lyric is “But, I love you.”

 

The BUT is extremely telling of their situation. It’s a simple (but powerful) way to address the fact that Kurt loves Blaine in spite of what was done. It’s like he’s saying to Blaine, “You did this, this and this and that broke me, but I love you.” (Until my dying day/until the end of time.)

 

Toward the very end of the song, Kurt reaches for Blaine once more and allows himself to hold Blaine and be held by Blaine. Kurt’s eyes are shut tight as he rests his head on Blaine’s shoulder and we watch Blaine’s hands move tenderly over his back. It’s painful to watch, but hopeful at the same time. Obviously Kurt is torn with his own emotions – he still is not over Blaine cheating on him, but at the same time he loves Blaine (and has made love to him recently). He’s dealing with a lot of shit and it’s a lot to take in.

 

(An alternate and even more depressing take on this is that Kurt is dreaming about his and Blaine’s wedding, with a healthy dose of Moulin Rouge set because he’s watching that movie as he dreams and it’s easy to put himself in its sets because it’s one of the last things on his mind. So, maybe he’s dreaming about him and Blaine singing this at their wedding, as they are both in tuxes, but he’s just not as into it as he should be because Blaine broke his promise. Sure, Blaine did not stop loving Kurt, but he broke Kurt’s trust and their relationship *didn’t* last until the end of time because it ended for a period of time. How is Kurt supposed to really put himself 100% into their “secret song” if Blaine can’t live up to the lyrics?)

 

So, when Kurt cries after he snaps himself back to reality, it’s a release. He’s obviously hurt and stressed out by his feelings, but he refuses to voice his problems aloud.

 

Later in the episode, Adam finds Kurt in the dance studio. (He was at Kurt’s b/c they were snowed in for a couple days… I’m guessing he slept on the couch because there was no sort of evidence or dialogue that indicated he and Kurt slept together.) Anyway, Kurt said it was nice to hang out and watch the movie. Adam asks Kurt if he and Blaine used to sing “Come What May” together (probably to see if Santana was telling the truth or not) and Kurt says, “Yeah, but it feels like a lifetime ago.” Adam asks Kurt if Kurt still loves Blaine, but Kurt doesn’t answer. (We know Kurt still loves Blaine, but we don’t know if he’s still “in love” with Blaine…) Adam then asks if he’s a rebound. Kurt says No to this and then goes one step further and says he wants to be over Blaine. (Note how he says he wants to be over Blaine as opposed to saying “I want to be with you.”) Adam then asks Kurt out to a movie right then and there and then proposes that they find the sappiest romance movie out there and then that will be their movie. He then reaches out and takes Kurt’s hand and Kurt barely latches on to his.

 

This hand grab can be read two ways. 1. Adam grabbed Kurt’s hand and Kurt was not enthusiastic about grabbing it back. It was something that he had to go along with in the moment because Adam was basically saying “come with me, we’re going to go find our own movie so you can forget about your ex-boyfriend who cheated on you and move on with me.” In this version, Adam was forcing Kurt to move forward.  2. Adam grabbed Kurt’s hand and Kurt was hesitant to take it. The last boy he held hands with (and fell in love with and gave his everything to) broke his heart and his trust. Kurt doesn’t feel ready to put that much trust in anyone yet because he knows what can happen. It’s not that Kurt didn’t want to go with Adam; it’s just that he’s scared of going through another emotional rollercoaster again.

 

I hope with every fiber of my being that the hand grab was version #1. I really don’t see Adam as anything more than a friend and support system. A Y chromosome among the Xs he is constantly surrounded by. Adam seems to like Kurt, but he hasn’t offered anything more than a laugh yet. He has no substance because we don’t know much about him. He sings with a bunch of misfits and is from England. He’s older than Kurt and has a cute accent, but we don’t know what he has to offer (if anything). Why should we trust him? Why should Kurt trust him?  If/when Kurt and Adam do officially become Kadam; I don’t see it lasting very long. (And that’s not because I’m a Klainer… it’s because Adam literally has nothing going for him at this point. He likes Kurt, but Romantic Kadam is still less intimate and romantic than Platonic Klaine… even Platonic Klaine from Season 2.)

 

 

 

Danger Zone/Old Time Rock n Roll – New Directions Boys

 

For their glee assignment, the New Directions boys tackled some songs from “macho” Tom Cruise movies. It was significant that Blaine, Artie and Joe were in flight gear from Top Gun and Sam, Jake and Ryder were in their underwear from Risky Business.

 

Though they just appeared in a Men of McKinley calendar, Blaine, Artie and Joe are all much more conscious of their body and/or appearance. Joe is religious, and though he has showed off his body on more than one occasion, it made more sense for him to be with Blaine and Artie. Artie is in a wheelchair, and would be unable to do the famous sock-slide across the floor. Blaine has said before that using sex for attention is cheap and that his body is not for sale. Though these three boys were covered head-to-toe in their flight gear, helmets and Aviators, their half of the mashup was kinda sexy BECAUSE they were covered up. (Men in uniform get extra sexy points… that is factual information.) Sam, Jake and Ryder are all very proud of their bodies and have put themselves on display several times throughout the show. OF COURSE they were going to take advantage of the mashup to strut (well, slide) their stuff.

 

 

 

Diamonds are a Girl’s Best Friend/Material Girl – New Directions Girls

 

Our second Moulin Rouge song from the night… the girls (including Unique) looked beautiful in their pink dresses with black feather fans.

 

Right before they went on, the girls were getting ready in the bathroom and Marley confessed to Kitty that Ryder kissed her. (Marley asked Kitty not to tell anyone, and Kitty said she wouldn’t but crossed her fingers, so you would have thought that would have come back into play at some point in the episode, but it didn’t.) Kitty said that Marley was not a slut at all and that boys are like diamonds and that you should collect as many as you can.

 

My one qualm with this year’s boys vs. girls competition was that there was no question that Unique would perform with the girls. I know that Wade identifies as female, and wears women’s clothing when he is Unique, so it would make sense for him to perform with the girls if that’s where he felt most comfortable. But, isn’t it a little retroactively unfair that Kurt wasn’t allowed to perform with them too? Granted, Kurt does not identify as female, so if you were going on what you identify with, then he would be stuck on the boy’s team. However, Kurt was always lumped in with the girls for other things (in the “Summer Nights” number, he was with the girls before Rachel’s wedding plans at City Hall, he helped them with their prom dresses in S2…), so why wouldn’t Mr. Schue let him sing with the girls during previous competitions? I just think that is something to think about. (Or, maybe this is yet another example of Kurt forever getting the short end of the stick.)

 

Regardless, the number was fun and everyone looked amazing. I love Unique and Marley together as friends – they are adorable.

 

 

In Your Eyes – Will (with backing harmonies by the New Directions)

 

Will was kind of mopey at the beginning of the episode, but Finn encouraged him to go find Emma. Since he wouldn’t, Finn and Artie took it upon themselves to find them. (Finn asked Sue – no luck. Artie and Finn then pretended to be gingers to talk with her parents, but they saw through their disguises.)

 

Knowing where Emma is, Will drives up to the driveway, gets out of his car and starts singing “In Your Eyes.” The New Directions kids walk up, harmonizing, and Blainers has got a boom box, so you know Will’s going to go full-Say Anything… (for the record, getting Say Anything-ed is totally on my Bucket List).

 

I love this song (Say Anything is my jam, and this song is so iconic) and I actually didn’t mind Will singing it because he sounded good and it was totally appropriate for his story. I liked how they positioned Emma on her bed, just like the girl in the movie. The boom box part was corny and didn’t have the same effect as when Cusack did it in the movie (no one can top a young John Cusack… no one), but it was still effective.

 

I had listened to the song a few times before watching the episode, so I was like “Ohhhhhhhh” when Unique started singing some of the vocal runs. I would have sworn it was Santana, but Unique makes much more sense.

 

After he’s done singing, Will asks Emma to come down so they can talk. He dismisses the kids (Blainers takes the boom box back) and then Will and Emma have a heart to heart. She finally confesses that she was scared she didn’t know Will anymore when he got back from DC and he asks why they didn’t talk about it. (Don’t you know, Will? Characters on Glee rarely get a chance to talk it out…) They decide to start their relationship from scratch and he asks her to a movie for Friday night.

 

Later on, Finn talks to Will in the hallway again and asks if Emma said anything about him. He finally tells Will that he (Finn) kissed Emma, but that he didn’t mean to. Finn blames himself for Will and Emma’s problems and offers himself up to be punched. Will looks epically pissed, but then just walks away. (However, in the promo for next week’s episode, Will looks like he tackles Finn after their NSYNC/BSB number… oh snap. Attack of the boy bands.)

 

 

Unchained Melody – Jake/Ryder and Marley

 

Listening to just the song gives the crack Jake/Ryder shippers something to cling onto. But, the actual scene didn’t play out that way.

 

Jake invites Marley to the pottery room to reenact a scene from her second favorite romantic movie. (Marley’s first favorite romantic movie is The Hunger Games… that is actually wrong on a lot of levels, seeing as she is recovering from an eating disorder.) Jake confesses that he lied on Valentine’s Day and that Ryder was the one who came up with all that romantic stuff he did. He said he was nervous and was just trying to impress her.

 

So, they go sit down by the clay and he starts singing to her and it’s really sweet. I like Jake’s voice when he’s not reaching for higher notes and the actors have good chemistry. BUT, part way through the song, Marley imagines she is watching Ryder sing this to her. She’s so conflicted because she obviously likes both boys, but she imagines kissing Ryder again and she pulls away when Jake actually tries to kiss her. Marley tells Jake that she lied too about Valentine’s Day and that she knew Ryder was the one who did all those things. She said it was sweet and that Ryder kissed her, and that she let him. Jake gets pissed and walks out before they can talk anymore about it. (See, no talking… because why should the audience ever get any sort of realistic resolution? Oy.)

 

 

Footloose – New Directions

 

Will announces that everyone won the boys vs. girls mashup competition (to which Blaine rolled his eyes with disgust). The prize was going to be starring in Artie’s senior film project, so then EVERYBODY gets to be in the film, “Hollywood Hootenanny.” (Really, Artie?)

 

So, the whole of New Directions is on the stage in the auditorium and they do a dance/choreo-heavy version of the title track to “Footloose.” (Let us all have a moment of silence for Mike Chang… Mike Chang who was missing from one of the biggest dance numbers in cinematic history.) All the kids were dressed in black and wearing black Chucks.

 

I love big group numbers like this because everyone looked like they were having fun. (Well, everyone but Jake… he was shooting daggers with his eyes toward Ryder. I hope these BFFs have a talk during the next episode. But, seeing how next week is “Feuds,” I doubt they’ll just talk nicely… or at all. #Glee)

 

 

So, that’s it for the songs.

 

The biggest non-singing related plot line was Santana and her epic dislike of Brody and her knowledge of Rachel Berry’s pregnancy test. (She also asks Kurt – in front of Adam – if Kurt and Blaine are dating because they were together at the wedding. Rachel wants her to move out after Santana keeps suggesting they watch movies with the word “baby” in the title.)

 

Santana dug through all of Kurt, Rachel and Brody’s stuff and found a giant wad of cash and a pager. She says that means that he is a drug dealer. (I’m still thinking he’s a male prostitute. While equally as gross as being a drug dealer, it’s more probably for the script since we’ve seen him have sex and be sexy with people, whereas we haven’t seen him handling drugs of any kind.) She also questions why Brody wasn’t home with them during the snowstorm. Rachel calls him to prove a point that he was stuck at a friend’s place, but even she didn’t seem convinced when they hung up. (I love that Kurt is siding with Santana in this, btw.)

 

Later, in probably one of the more poignant scenes in the episode, Santana comes back to the apartment and Brody is in the shower and Rachel is in the living room. Santana says she’s found her people in NYC, and also that she found Rachel’s pregnancy test. Rachel starts crying and in an instant, Santana goes into protective friend-mode and comforts the other girl. She says repeatedly that it will be okay, and knowing Glee, Rachel’s probably not actually pregnant, but the thought of being pregnant when her whole life/career were ahead of her is a scary situation. I hope we get more Rachel/Santana scenes because Santana offers both tough love and genuine concern.

 

 

And that was the episode. We had a few little cliffhangers, but nothing entirely daunting. Sure, we don’t know where Kurt and Adam stand, but we got to see Blaine and Kurt sing “Come What May,” so I’m good for awhile.

 

The promo for Feuds shows that Santana and Brody will square off, Will and Finn will fight, and Blaine goes head-to-head with Sue. (He even asks her, “Are you threatening me?” Pretty sure she’s blackmailing him or threatening to blackmail him. Remember when Blainers was on the Cheerios for an episode… well, looks like he’s going to get back in that uniform. Spoiler pictures have already shown him in his Cheerios uniform for 4.17, so we’ll see how long the poor boy is stuck in that awful poly-blend instead of his cute little sweaters and ties.)

 

So, yeah. It was a pretty decent episode (at least by this season’s standards…).

 

Thoughts?  Favorite song?

 

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