#if rachel can have multiple solos in an episode so can my boy

[addictsitter]

on the list of songs i wish we got actual studio copies of and didn’t, one that is actually at the top of the list is when kurt did “pink houses” because chris actually sounded GOOD doing mellencamp but nooooooo

[belleandkurtbastian]

here’s a completely random question: what’s your fav song and your least fav song from each of the o.g. glee club members

Now, when you say "OG", do you mean "original 5", "original 6" or "original 12"?

Rachel Barbra Berry

Okay, I like when Rachel goes OTT but in an ACTING way, rather than her "I'm just too emotional, I have to let it build inside me" way... So to that end, I like songs like "Hello Twelve"; "Run Joey Run"; "Ding-Dong"; "Paradise by the Dashboard Light"; "Kiki/TLT"...

I'm picking "Hello Twelve, Hello Thirteen, Hello Love" as my favourite. This is a song that LITERALLY ELEVEN YEARS LATER, I am STILL pissed off that they cut. This song ESTABLISHES St Berry so well, and I didn't *GET* it until I saw it.

Least favourite? There's a song that comes to mind but I want to save it in case you send a second ask in this vain (hint hint).. So I think "Roots Before Branches". I told you, I really don't like Rachel over-emotionally singing, and this song really plays into that with the vocals AND I just don't like the song. I think this was, bar none, the WORST final number of a season.

Kurt Elizabeth Hummel

I find Kurt REALLY hard to pick for... I think Kurt is one of the characters that I have the BROADEST opinion of in terms of music. I can't pinpoint exactly what I do and don't like in his numbers, beyond "I hate when they force him to go WAY too high and it throws off the balance of the song". And I like when they let him PLAY with a song, rather than singing it straight.

So, candidates include: "Defying Gravity"; "Rose's Turn"; "4 Minutes"; "Bad Romance"; "Pure Imagination"; "NTBND"; "Being Alive"; "Kiki/TLT"...

Yeah, okay, I did actually know which song I was going to pick from the start. I have no choice.

It's "Not the Boy Next Door".

Now, least favourite? This is TOUGH. "Animal" bugs me because of the sheer AMOUNT of processing on that song. "Candles" has the "making Kurt go too high and throwing off the balance" issue.

Yeah, I think "Animal". I don't like Candles, but I REALLY hate Animal.

Mercedes Jones

Let's speed this up a little... Candidates include "4 Minutes"; "The Boy is Mine"; "Beautiful"; "And I am Telling You"; "River Deep"; "Dog Days Are Over"; "Human Nature"; "I'll Stand By You"...

Oof, this IS tough... I think it's "Beautiful"... Yeah, that's the number that comes to mind the most often when I think of Mercedes.

Least Favourite? "I Look To You"? I dunno, I think episode context is why for that one. She doesn't REALLY have a dud number that I can think of.

Tina Cohen-Chang

Hoo boy. First of all... Girl, you were SHAFTED by the producers. Only Original 6 member to have under 100 songs. Only one solo in S1.

Anyway, I like "True Colors"; "I Follow Rivers"; "Dog Days"; "Hung Up"; "3"; "I Kissed a Girl"...

I am fully aware I just named more than half of her solos and duets...

I think it's "True Colors"... or "I Kissed a Girl"... Let's go for True Colors

As for least favourite... is "My Funny Valentine" too obvious a pick? Because it's "My Funny Valentine". (Yes, I like "Gangnam Style". It's awful, but I like it.)

Arthur Abrams

Candidates: "Dancing With Myself"; "Safety Dance"; "Dream a Little Dream"; "Never Going Back Again"... Huh, I think that's all of the ones that stand out to me.

So, yes. I think it's "Dancing With Myself". That's two in a row where I've picked the OG solo...

Least favourite? No contest. "Boys/Boyfriend"... though "Scream" and "Feliz Navidad" get special mentions because I *HATE* "Artie walks!" dream sequences.

Finn Christopher Hudson

I already know my favourite Finn song. I have said it MULTIPLE times, and I stand by it.

My favourite Finn song is, no contest, "Paradise By the Dashboard Light". In fact, I think it's not only Finn's best song, but the best New Directions competition performance.

Now, least favourite? "Girls Just Want To Have Fun".

Wow, Finn was easy.

Lucy Quinn Fabray

Ah, Quinnie...

Candidates: "Papa Don't Preach"; "It's a Man's World"; "Lucky"; "Time of My Life"; "Pretty/Unpretty"; "I Don't Want to Know" (yes, I just listed ALL FOUR of her S2 leads...)... And then that's it??!? Wow, she got shafted after S2, huh?!

Yeah, I think it's "I Feel Pretty/Unpretty". What a surprise. A Faberry song.

As for least favourite? "Up Up Up", I think.

Santana Diabla Lopez

... This is tough. "Science Fiction, Double Feature"; "Valerie"; "Songbird"; "Back to Black"; "River Deep"; "Smooth Criminal"; "Girl on Fire"; "If I Die Young"; "Here Comes the Sun"; "Brave"; "Hand in My Pocket/I Feel the Earth Move"...

I *THINK* I have to go for "Songbird", actually...

Now, least favourite? Does Santana have a dud number? At least, one that's her fault? Okay, I don't like "Take My Breath Away".

Brittany Susan Pierce

There are precisely TWO Brittany songs I will listen to on their own. Those are "My Cup" and "Hand In my Pocket/I Feel the Earth Move".

So yes, it's HIMP/IFTEM.

As for least favourite... "Something Stupid". NOT because it's a Bram song. I actually don't have an issue with Bram, per se... But I just feel like it's bland and doesn't add anything to the show, and doesn't really stand on its own.

Noah Puckerman

"Lady Is a Tramp"; "Mean"; "Glory Days"; "No Surrender"...

I think it's "Lady is a Tramp".

As for least favourite... "I Wanna Sex You Up"... is an Acafellas number cheating? If not, then... No, it has to be "I Wanna Sex You Up", sorry.

Michael Robert Chang, Jr.

This was mean of me to include... "ABC" is my favourite, I guess? And... yeah, "Scream" has to be my least favourite.

Matt Rutherford

My favourite AND least favourite Matt Rutherford song is [THIS SPACE LEFT INTENTIONALLY BLANK]

Jesse St. James

There's no point doing the original 12 and ignoring my boy.

Favourite: "Bohemian Rhapsody"...

Least favourite: "Like a Virgin", I guess... He doesn't ACTUALLY have a dud number.

[girls-scenarios]

Lesser-Known Girl Groups You Should Check Out

1. GIRLKIND

First on the list is GIRLKIND! This is a four member girl group that all the admins really like. They come from a poor company, which unfortunately has made some people send them hate, but every single one of these girls is so talented and they do their best with what they have. They do a lot of dance covers, like their recent relay dance of girl group songs from 2010, as well as vocal and dance covers! They tend to reply to comments and interact with fans as well! Medic Jin has such an incredible voice and every single member can dance. It’s sad that they don’t have the funds to show their talent to the world, because they genuinely have so much potential. Their most recent comeback is “Future” and it’s one of my favorites by them, go check it out!

2. Saturday

Second on the list we have Saturday! Saturday is a (now) five member girl group under SD Entertainment. For this group, their songs definitely aren’t for everyone: they’re a mix of cute and silly, but it’s a sound that I personally love! My favorite song by them is “Wifi,” it’s just so catchy and it makes me smile every time I listen to it! They recently posted a dance cover of “Kissing You” with their lightstick that was so adorable, and Haneul, who is all around talented AF, posted a short NCT 127 “Kick It” dance Cover! You can learn more about them by watching them on Fact iN Star. Their last comeback was with “BByong” and it looks like we’ll be getting a comeback soon as some of the girls have changed their hair colors!

3. Nature

Third we have one of my current favorite groups, Nature! Nature is a nine member girl group under N.CH World. They’ve had a couple lineup changes and, most recently, added Sohee, who some of you might recognize from Produce 101! This group is known for their kind of weird, unique yet catchy songs, like “Some (You’ll Be Mine)” and my personal favorite, “I’m So Pretty.” This group has some dancing machines and they post a lot of dance covers, Haru in particular. She just recently posted a dance cover of MC Hammer’s “It’s All Good,” and a dance practice all my friends love is Saebom, Aurora, and Haru’s cover of “Chun-Li.” You can watch them on Weekly Idol, Fact iN Star, KBS’s Try Not To Sing Challenge, Pops In Seoul, Car Talk, and Idol League. They had a reality show with Mnet, but I cannot for the life of me find where to watch it. They upload a lot of short videos to their YouTube channel, some with subs and others without. They also had a pop cover project pre-debut that is incredible! Their latest Korean comeback was with “Oopsie! My Bad” and “Bing Bing,” a side track the promoted! They’re a really amazing group that I’ve totally fallen for!

4. Elris

This next group is an older group, as Elris debuted under Hunus Entertainment in 2017. They recently added two members, Chaejeong (who you might recognize from Produce 48) and EJ, making them a seven member girl group. They debuted with a rather cute concept that they changed up a bit with their last comeback. Sohee, the leader, is probably the most known member of the group. You might know her from her solo song “Hurry Up” with BOL4, she also did some solo things pre-debut. They post both dance and vocal covers on their YouTube channel, as well as vlogs from the members. You can learn more about them by watching Pops in Seoul, Fact iN Star, Broken Karaoke, After School Club, their Weekly Idol episode with Golden Child, and this actually helpful (un)helpful guide to Elris. They also recently appeared on dancing idol! Their most recent comeback was with “Jackpot” and it was really good, be sure to give them a listen! 

5. 3YE

Next is 3YE (pronounced third eye) and, even though I think they’re really gaining in popularity especially overseas, I still wanted to include them. 3YE is a three member girl group under GH Entertainment with a criminal concept! Their dances really make them stand out because of the cheer power, and their music would appeal to anyone who likes more hard-hitting music or a typical boy group sound. On their YouTube, you can find Q&A videos (subbed!) and lots of covers! Unfortunately they haven’t had the chance to be on many shows yet, but you can learn more about them through this interview, this (un)helpful guide to 3YE, and this Pop in Seoul video. They have three songs, the most recent being “Queen” as well as “OOMM (Out Of My Mind)” and “DMT (Do My Thing)”.

6. ANS

Next we have ANS, an eight member girl group under ANS Entertainment that debuted in 2019. It’s a bit of a joke in the fandom that they add members every comeback, because, well, it’s kind of true so far. They gained a lot of attention after their comeback “Say My Name” in January, although some people were accusing them of copying Everglow. Thankfully, most of the attention that came from this was positive. This is another group under a poor company trying their best, especially because a lot of the girls have tried to debut before, but I think they did amazing with their last comeback and I’m really hoping their career is able to take off. Also, their dance skills are GREAT. They have so many members who excel in dancing and even choreograph themselves, please watch Bian, Dalyn, and Raon’s “I Like It” choreo and be blessed. They also post vocal covers through their cover project and their dance practice in hanbok was ADORABLE. They went to Fact iN Star during their debut, so you can learn about the members other than J and Haena there. This (un)helpful guide to ANS is really great as well! These girls are incredibly talented, check out both “Boom Boom” and “Say My Name” live stages to see what I mean!

7. Cignature

Okay so Cignature has actually been getting quite a lot of attention since their debut this year, but I couldn’t help but to add them here. Cignature is a seven member girl group under J9 Entertainment. Five of the members were in the girl group Good Day and appeared on The Unit, so you might see some familiar faces! I feel like a broken record, but I’m serious when I once again say that the members are SO TALENTED. They sing live for every performance and even during some dance challenges! On their YouTube, they do a lot of dance covers and they have a lot of short videos called Cignature Piece that are, unfortunately, not subbed but are still fun to watch! You can learn more about them through After School Club, this complimenting challenge, this newsaid interview, this skylife series, Broken Karaoke, and Fact iN Star released a dance video, so they might be appearing there soon as well! They came back with a second debut single ASSA after Nun Nu Nan Na, which is about not caring if you’re an outsider and being yourself!

8. April

April is another group that falls into the area of known, but kind of underrated. They’re a six member girl group under DSP Entertainment that debuted in 2015, and although they had some lineup changes early on (KARD’s Somin used to be in the group) they’ve stayed six members for a while. You probably know Naeun, even if you don’t know that you know her: she’s acted in “A-Teen” and “Extraordinary You” as well as been MC for multiple music shows. The members have also done OST’s and have been in commercials. Somehow, though, Apink still manages to fall under the radar. Their last comeback, Oh! My Mistake was their most popular song (and their best mini album, in my opinion), but then they disappeared for a while. Their songs like April Story and The Blue Bird had more of a soft, dreamy concept and, in my opinion, should have gotten them some wins. Their reality show Here Goes April right after their debut (before Rachel and Chaekyung joined and Somin and Hyunjoo left) does have English subs, but unfortunately most of the short videos they upload now do not. You can learn more about April through their Celuv TV appearance, A Song For You, and their Pops in Seoul interview. Since they aren’t super popular overseas, it is hard to find English subs for them, but Chaewon does have her own YouTube where she posts covers and a few vlog-type videos, and Naeun has appeared on a lot of shows on her own! April will finally be making a comeback this month on the 22nd with their mini album Da Capo, so keep an eye out and please give them lots of support!

There are so many other groups that I love, like Favorite, PinkFantasy, PurpleBeck, ShaFLA, Sunny Hill, PLAYBACK, Sonamoo, NeonPunch, DreamNote, Ariaz, Limesoda, Laboum, Hashtag, and H.U.B! There also groups like gugudan, GWSN, and DIA who are known but need more recognition. If you guys find this helpful, I’d love to do another list to bring light to my girls! - Admin Kiwi

[spaceorphan18]

Kurt Duets Ranked

Part 2 of my Kurt Performances series, we move onto duets -- which will probably the least exciting of conversations, because this isn’t going to be much different than my Klaine Duets rankings.  I didn’t go check that, however, so we’ll see how I feel about them now that more time has passed.  

Meanwhile, the thing about the duets section is that while there are a ton of great songs in this one, it feels limited.  Glee didn’t like to stray from what it knew worked, and therefore, we get Kurt having only a handful of duet partners, and only two of them make up a majority of the songs.  It’s unfortunate that we didn’t get more Kurt and Mercedes duets, but even more unfortunate that Kurt didn’t sing with a larger variety of people.  I mean, could you imagine a season 4 Kurt/Santana duet? Or something season 1 or 2 with Kurt/Quinn?  Lots of possibilities, little room for experimentation.  

That said - I do enjoy a vast majority of these songs, and like the solos, most of them complement Kurt’s story nicely.  

Kurt Duets Ranked:

27. Candles (Original Song, 2x16)

You guys can’t seriously be surprised by this, right? As with all of these numbers, I went back to listen to see if I’ve changed my mind.  Nope.  And here’s the funny part - I actually do like this song.  But the arrangement, production, and context of this number is terrible.   My theory is that Original Song had so many songs in it that they were rushed to get this one done.  Coupled with the fact that that the arrangement was redone (by Darren? - idk, Darren’s usually better than this.) and probably rushed means that it was just sloppy by the time they got to production.  

From a music point of view, the arrangement is not complementary to either of their voices, and both of them clash on harmonies and go out of tune multiple times throughout the song.  On top of that, the emotion of the song is completely off.  It’s a break up song -- purposely more tailored for the Finchel story line at the time -- but doesn’t mesh well with Klaine’s getting together story.  It feels awkward and out of place, and one of those times where I think who ever picked this song made a bad choice.  

I know there are those out there who like it -- and that’s great! Don’t let me slow you down.  But it will remain a weak link in an otherwise solid discography.  

26. Get Back (Tina in the Sky with Diamonds, 5x02)

While this is way, way better than Candles, I do think it’s a weaker number for Kurt, and Kurt/Rachel, seeing that you’ll see they have some fantastic numbers coming up on this list.  Not a favorite Beatles song of mine in the first place, not helping is the fact that this song should have a grittier and harsher sound than either of these relatively more classically trained vocalists can give it.  

There is some fun with the choreography (weird NYADA piano tuning thing aside - that’s not how you tune pianos...), and Kurt and Rachel’s voices mesh just fine, but the rest of songs on the list just offer a bit more.

25. Memory (Old Dogs, New Tricks, 5x19)

This one is... rough.  And it makes me sad to say that about a song picked specifically by Chris Colfer.  For Kurt’s part, it’s a perfectly adequate rendition of Memory, though I think it lacks any of the deeper emotion that Kurt normally brings to his solos.  But marring it further is the addition of June Squibb (who doesn’t have the same caliber of voice) and the fact that the scene itself is a bit of forced sentimentality.  I get what Chris was going for in the script, but we’ve barely met these people, and they’re not memorable enough for us to get a tug on the heartstrings that this song wants us to have.  The scene just kinda falls flat. (I’m sorry Chris!)

24. Lucky Star (Old Dogs, New Tricks, 5x19)

I promise, I’m not picking on Chris, even if the two songs he specifically wrote for himself are down here at the bottom.  At least this one has more entertainment value even if I think it’s not a great performance.  Kurt flying around as Peter Pan is super cute, and the song choice works relatively well with the scene.  Once again, though, June Squibb’s Maggie is not a vocalist (And that’s fine - she’s a super cute old person), as well as this is bogged down in that weird sentimentality Memory was going for.  It’s not really good, but at least it’s entertaining.

23. Story of My Life (The Back Up Plan, 5x18)

On a list featuring the what works and doesn��t for Kurt’s performances, this one just... oy.  First of all, technically, the boys sound fine.  Their voices mesh just fine, as usual, though Blaine’s voice is better suited for these slightly melodramatic boy band numbers.  It’s a fine song to listen to in the car.  Watching the performance, though, is rough.  It’s done that way intentionally, to fit the context of the story -- and while it’s supposed to be comedic, to me it comes off as awkward and cringeworthy.  Kurt has some odd performance choices, but normally a good performer, and this makes him kind of a bumbling idiot for the sake of the story, to the point where I rarely ever watch this one.  I get what they were going for, and enjoy the song as just a song, but am not really a fan of the actual performance.

22. It’s Too Late (Jagged Little Tapestry, 6x03)

This one I definitely have some mixed feelings about.  The song is fine, albeit a little on the pop-y side, though that’s intentional for the theme of the episode.  And it’s the first time one of these songs directly commentating on the story that’s actually going on with Kurt.  On the one hand, the angst of the scene is played well, and these boys pining for each other works for this part of the story.  On the other, the vocals are a tad on the generic side (though these boys always sound great each other), and I’m still not sure I understand what was going on with the fantasy element during the middle of the song.  Still, it accomplish the feel the story needed, which is why it gets bumped up here.  

21. I Am Changing (New Directions, 5x13)

We only get two Kurtcedes duets on this show, which is a damn travesty.  But what makes it harder is this one is, well, a little one sided.  Mercedes freakin’ brings the house down with her half of the song -- clearly Amber Riley deserves all the credit she got for doing Dream Girls.  Kurt, on the other hand, sounds a little rough here.  I’m not sure if it’s because Chris’s voice changed during the show, and it actually got deeper, or if it’s due to the weird production values of season 5, but Kurt’s solo verse is a bit harsh and unrefined, and not in a good way.  Mercedes saves it and steals the show, and when the two come together they sound fantastic, but this one gets dropped a little further down because it’s just not a strong one for Kurt.  Add to that the fact that they’re trying to make Rachel and Santana be friends again, and the song is unfortunately a weaker one.

20. I Believe In A Thing Called Love (Frenemies, 5x09)

Look, I love Elliott, and I love that Adam Lambert came onto the show.  He and Chris had some great chemistry, which actually does show through this performance.  It’s fun and crazy and a bit out of Kurt’s normal repertoire, but that’s okay, because Kurt lets loose a little, and it’s really fun to watch.  No - Kurt can’t match Elliott when it comes to the heavier rock material -- this is much better suited for Lambert than it is for Colfer, and there are times when Kurt kind of gets overshadowed and out performed, but that’s fine.  We get to see Kurt pole dance - I think that’s justification enough to have it where it is on the list.

19. White Christmas (Glee, Actually, 4x10)

Believe it or not, out of the three Christmas duets Kurt and Blaine have, this is my favorite to listen to.  I love this song, and I love this arrangement.  They sound gorgeous on it as it highlights the strengths of their voices when singing together.  My biggest issue is, really, with the scene overall.  Look - it’s not easy choreographing people who aren’t used to doing routines on ice skates, and I get that.  But due to that fact, the performance ends up being a lot of shots of people who aren’t Kurt and Blaine, and that’s a shame.  The other two Christmas duets are much more in sync than this one, and this one is really being held back by the technical difficulty.  Still - I like the song, and the context that it’s in, which is why it’s as high as it is.  

18. Let it Snow (Extraordinary Merry Christmas, 3x09)

While lower than it perhaps deserves, upon watching it again, I know I’m placing it higher on the list of Klaine duets.  It’s an incredibly hard number to do with all the dance steps and vocal runs, and the two of them nail it while being in character as their characters and as the Christmas special characters.  I’m kind of in awe at the technical ability of this one, and it’s a shame the writers didn’t always play to Kurt and Blaine’s (and Chris and Darren’s) strengths.  It’s not a personal favorite of mine, nor does the song hold much weight with their story, but it’s an incredible embodiment of what makes Klaine - Klaine, and showcases how well they can work together when given really good material.  

17. You Make Me Feel So Young (New, New York, 5x14)

This is one of those songs that I go back and forth on, and really could write a dissertation on it, because I think there are a lot of elements both internal and external going on, which makes the onscreen performance... weird.  But I feel like that would get way too long for the likes of this already too long post.  So, I’ll say this.  Vocally, they sound fantastic together, which is why I think it deserves to be up there on the list.  It’s also one of the few times that we get to see genuine domestic Klaine being themselves with each other, which is also very cool.  My issues with the acting and directing of the scene are very nitpicky, and it all lines up with my growing consensus that one of the weaker elements of season 5 were the musical numbers, but if y’all want more, I’ll do another post on just this song specifically.  For now, I’ll just say that I enjoy the good things about the song, even if some of it leaves an awkward taste in my mouth.

16. Animal (Sexy, 2x15)

Animal is one of the few truly comedic performances Kurt gets to do.  Between the silly sexy faces, euphemistic foam, and overkill addition of plastic balls, it’s hard to take this one very seriously, but that is the point.  Both boys sound great on it, and it’s a lot of fun to watch -- being cringy in a good way.  I really don’t have any criticisms of it besides I just prefer the others on the list just a bit more.  But we’re getting into that territory where I think all of these songs are solidly good, and on any given day, I could rearrange the whole list.  

15. 4 Minutes (The Power of Madonna, 1x15)

The second, and original, of the Kurtcedes duets, this is the first time in the show that Kurt gets to turn his sexy on, and it’s really awesome that they give him the chance to shine in such a way.  Despite the fact that Kurt is doing the occasional weird hand gesture and choreography in this one, he and Mercedes play off each other incredibly well, and it’s a shame they never let these two really get to do anything once the juggernaut of Hummelberry came along.  No, the song isn’t the best for Kurt’s voice, but sometimes it’s the spectacle of what’s going on during the number rather than how it sounds.  

14. Love is a Battlefield (Tested, 5x16)

Showing that not all Season 5′s numbers were, well, not up to par as everything else, we’ve got this Klaine duet, which might be one of my favorite pieces of choreography and showmanship on the show.  I really don’t like the song, at all, which I know goes against the grain of a lot of you, but it’s a testament to how powerful this number is visually that I’ve ranked it so high. (It’s about anger sex guys, and more sexual than the scarcely few sexy time-ish scenes we actually got.)  The boys sound great on it, and the layered acting in it is pitch perfect.  I love this duet, even if I’m not a fan of the song.

13. Ding, Dong, The Witch is Dead (The Purple Piano Project, 3x01)

Well, there is a reason Hummelberry was what it became, and this showcases that to perfection. The song isn’t worth much story wise, but it does show just how wonderfully these two play against each other, as well as sounding great together.  This song is playful and light and the perfect showcase for what real talents they both are.  I have my issues with Hummelberry (really, I do) but I can’t deny that they’re standout performers together, and everything about this number comes together to show that off.  

12. Perfect (I Kissed a Girl, 3x07)

Look, this list is subjective.  Yes, there are a few that stand over the rest and a few that are really not that great, but most of Kurt’s duets, like his solos, are really all solid performances.  And I just happen to really love this song.  I’m not going to defend Blaine’s questionable rapping or the context this song is performed in the episode.  But what I will say is that I love what the lyrics have to say about Klaine’s relationship at the time, and the fact that they both (but especially Kurt) sound so great here.  Plus, I enjoy jamming out to this one in my car.

11. Daydream Believer (Dreams Come True, 6x13)

This just happens to be one of my favorite songs ever, and I’m so glad this got to be the last Klaine duet.  I have no issues about how well they sound together.  As cute as they are dancing with the kids, I do wish the context would have been totally different -- I wish that they were singing this to each other -- or their own child.  But I still think it’s a pretty meaningful song, and I love it, so here we are.  

10. Just Can’t Get Enough (I Do, 4x14)

I unabashedly love this song.  Sure the song is rather repetitive and is going on during other people’s plot lines, but every time I hear this one, I just want to get up and dance along with it.  The boys sound great on it, and they get to be rather flirty in the moments that the camera is actually on them.  If only the had more screen time, I probably put this one higher near the top.  

9. Somebody Loves You (Transitioning, 6x07)

A lot like Just Can’t Get Enough, this duet is flirty and adorable and I love everything about it. They sound great together and, as usual, play off each other well.  On top of that, the song itself plays nicely into the Klaine story of the moment, which I appreciate.  It’s not a perfect performance, but an incredibly enjoyable one, and that’s what matters.

8. American Boy (The Untitled Rachel Berry Project, 5x20)

Are either Kurt or Blaine suite for Rap and R&B? No, not really, but do I care? No.  As you’ve probably noticed, I love these flirty duets, this is one of the best ones.  Sure, they don’t really capture the style or tone of the original very well.  But they’re having a lot of fun out there and being adorable while doing it.  And Kurt simulates having sex.  I mean, do I really need to say more?  But really - I actually enjoy this song a lot, so there we go.

7. Popular (2009, 6x12)

This is easily the best performance of Kurt’s limited performances in season 6.  Kurt and Rachel haven’t head a duet together since Season Five’s Get Back (interesting right?) but they’re able to turn right back on the magic that was going on in the earlier seasons.  This song is near perfection -- the acting is solid, the performance is layered -- being both comedic and a commentary about the both of them, and they sound wonderful together.  This is truly a treat for the end of the series, and I’m a little sad the rest of the season didn’t put as much effort into its musical numbers.

6. Come What May (Girls and Boys on Film, 4x15)

The thing about Come What May, for me, is that it’s deeply a romantic song - and shot (intentionally) in a very movie-like way.  I love so much about this, from the staging, to the bit of flashbacks setting the tone at the beginning, to the misdirect and reveal that it’s really Kurt’s fantasy and not Blaine’s.  Vocally, there are a few weaker spots towards the beginning, but that can be overlooked when visually and lyrically there is so much wonderful things going on here.  I love when a performance can have layers to it -- and this one say so much about Kurt as a character and the head space that he’s in, while being deeply romantic without being vulgar, that it firmly takes a spot near the top of the list.  

5. Got to Get You Into My Life (Love, Love, Love, 5x01)

The thing that’s so great about good Klaine duets is their push and pull of each other.  This duet has a ton of that -- each of them playing against each other in such a flirty way.  They sound great, they look great, the number has a ton of energy, and the bright tone is a nice change from all the somberness that came along with season 4.  It’s a visual treat as well as a aural one, and nearly flawless in execution, which is why it’s ranked so high on the list.  

4. Rockstar (New, New York, 5x14)

Is this really one of Kurt’s best duets? Technically, probably not.  I don’t really care - I. Love. This. Song. Really, I listen to it all the time, and it’s just a song I never tire of.  It’s really Adam Lambert’s show, and Kurt is kind of dancing around like the littler brother of the rockstar that is Elliot ‘Starchild’ Gilbert.  And I do think Kurt and Elliot’s voices mesh rather well -- even if Kurt’s overshadowed a bit here.  But that’s all fine - because this song makes me happy for no other reason that it does, and that’s a fine reason to be near the top of the list.  

3. Baby, It’s Cold Outside (A Very Glee Christmas, 2x10)

I keep trying to think of reasons not to put this as the number one Klaine duets.  I keep looking at the list thinking that something else about one of the other duets will stand out more, and I just can’t.  This scene and this performance is damn near flawless.  I’ve already talked about this scene at length, and I really don’t have anything new to add, but here’s the thing -- this song sounds wonderful, the game of cat and mouse they play with each other is one of the best scenes on the entire show, and I can’t say enough at how brilliant and layered and amazing this scene is.  Hands down, best Klaine duet, and one of the best overall duets on the show.  

2. Happy Days Are Here Again/Get Happy (Duets, 2x04)

The thing is, about this duet, is that it’s iconic.  Just hands down iconic.  Not only were they able to take an old school mash-up done by Babs and Judy and make it their own, but they gave it the same amount of power and emotion the original had as well. I don’t think it’s easy to sit on a stool and make any kind of song engaging but these two are able to do it.  They sound flawless on a technically difficult song.  There’s subtly and nuance in the performance.  There’s balance and give and take. And contextually, it fits in nicely with where each of the characters are at.  On top of that, it’s a really great arrangement of these two songs in the first place.  I have nothing but good things to say about one of my favorite songs and favorite performances on the show.  And while Hummelberry has so, so many issues as a friendship -- their ability to make amazing performances together was not one of them.

1. For Good (New York, 2x22)

I went back and forth on what the order of the top three would be -- they could easily be interchangeable they’re all so good.  But here’s the thing about this one.  I feel like this one just takes an extra step up in, well, everything -- the performance level, the context, the layers of emotion woven through this song, it just hangs itself up a little higher than the rest of them.  Yes, Kurt and Rachel sound as good as they ever do -- playing off each other and meshing with each other brilliantly.  But this song is a grand musical theater piece that they pull off masterfully.

But on top of that... The weight this song has is given is higher than pretty much any other song on this list.  it’s a perfect fitting song that punctuates their paralleling journey throughout the season.  This song is a final statement and thesis of everything that became before it, and because of that, I’m ranking it as the best of Kurt’s duets.  

[genderless-consul]

Top 5 Glee characters

Ooh, this is tricky, because it can fluctuate so wildly depending on who’s writing and what season it is, but if I’m judging based on a combination of their best material and how much the actors elevated their worst material, this is probably what I’ve got.

1): Santana - her early seasons arc was arguably the best thing to come out of Glee, period. And even when her character lost some coherency late in the game it was transparently because the writers were using the same “Naya’s our best actor, just use her for everything even if it doesn’t make sense” strategy that they once reserved for Jane Lynch. And the fact that she got married on screen, whatever else you can say about The Wedding as an episode, is one of the few genuine bright spots of what were an otherwise pretty mean-spirited final couple seasons. Oh, and the best voice on the show, easy. Valerie, Songbird, and Mine are all Hall-of-Fame solos, and any character that got to have a duet with her was having a great episode by default .

2): Kurt - another early Glee character arc that genuinely mattered in a way that far outstrips the rest of the show, and the fact that Chris Colfer was able to steal the show like he did at 19 will always blow my mind. He’s one of the best actors ever to only have one major credit, and even in Season 6 when the writers are treating him with complete contempt and he has every reason to be checked out, he’s still giving it 150%. He had so many different compelling relationships and elevated all of them- the magical romance (and later jaded cohabitation) with Blaine, becoming a family with Finn, the friendship with Rachel that developed over nearly all 121 episodes - and of course any scene with Kurt and Burt was a guaranteed tearjerker. And yes, having a countertenor in the main cast made the music so much more interesting and is one of my favorite things about the entire show - I still can’t believe the Glee versions of I Want to Hold Your Hand, For Good, and Not the Boy Next Door exist but I’m so glad they do.  

3): Quinn -multiple times the victim of some of the absolute worst writing in all of Glee, which is saying something, but when it was good, it was great. Basically carried all of Season 1 on her back in a really heavy storyline that shouldn’t work nearly as well as it does (I still don’t know they managed to make that Bohemian Rhapsody work, but they did). But Season 2 Quinn is probably my favorite stretch of any Glee character, because when she got the chance to be in control of a scene, Dianna Agron could knock “bittersweet Glee about teenagers who know this might be it” out of the park like nobody else. She was butchered in the Season 3 Shelby arc, she never got a proper ending in the later seasons, and the final shot of On My Way still shows up in my nightmares sometimes, but all of that only hurts so much because we saw what could have been. Oh, and I Feel Pretty/Unpretty is the best mashup.

4): Brittany - yes, the entire Unholy Trinity made it on here. Like Kurt and Santana, another case of the writers realizing “wait a minute, this person is ridiculously talented, let’s do something with that.” Probably the best manifestation of Glee’s deeply strange tonal tightrope, which would so often tip over into too saccharine or too acidic in other characters, and Heather Morris was the master at delivering the Ian Brennan one-liners that were actually funny (to be clear, Jane Lynch had plenty of those too, but she also got a few too many of the ones that were unfunny to outright offensive). And what makes it work for me was really that Brittany still got to have a character with legitimate development and sincere emotional reactions - some of my favorite line deliveries on the entire show (”aren’t you paying? ‘cause I ordered shrimp,” “clearly you don’t love you as much as I do or you would put the shirt on and you would dance with me,”  “can I hug?”) are Brittany lines without really being Brittany-isms at all. Oh, and as much as Heather’s dancing speaks for itself, I’ll also go to bat for I Wanna Dance With Somebody (Who Loves Me) as a seriously underrated, all time great vocal performance.

5): Sebastian - Glee was always hurting for non-Sue Sylvester villains who could present more personal challenges to the kids, and while Season 1 Jesse was arguably the most successful version of that, Season 3 Seb will always be the best for me; Grant Gustin knew exactly what kind of show he was in and he absolutely radiates screen presence the whole time. His sheer level of petty dickishness is a great corrective to the slightly unreal nature of Dalton as a tolerance paradise in Season 2, and the rock-salt slushie is rivaled only by the Jesse St. James egg scene as the greatest “OH, YOU BASTARD!” moment in Glee history. He was kneecapped by an inexplicable face turn, and sadly had to be unceremoniously written out so Grant could go on to co-headline a generation defining adaptation of the DC Universe with Melissa Benoist (which, by the way - who saw THAT coming when Marley Rose was introduced in the fall of 2012?), but when he was here, Glee was an absolute joy to watch. The use of A Boy Like That as his de facto villain song is my favorite use of editing in the entire show, and of course it all built to Smooth Criminal, where Grant matching Naya’s energy produced the number that would probably win a ranked-choice straw poll for the best Glee song of all time. 

[alphabees-writes]

Glee - S1 E1 (Pilot)

Is it a smart idea to rewatch glee again? No.

Am I going to do it anyway? You bet your sweet bippy I am!

Am I going to liveblog my garbage monkey brain thoughts along the way even though nobody asked for it? Hell yeah.

Here goes!

Wow. The first frame of this entire show is literally of a woman who looks like she’s about 10 years above the natural lifespan of a Cheerio. Then again, I’m sure Sue’s not above holding back her best recruits for multiple years because Ohio high schools are apparently just Like That™

I also never notice this opening song was a remix of Keep Me Hangin On, wow. That’s actually kind of interesting foreshadowing of sorts, like, kind of smart. I’m glad I’m watching the part of Glee that was kind of smart.

This scene also doesn’t feature any of the Unholy Trinity as far as I can see. Are they a JV squad? Am I putting too much thought into this?

Sign #1 That Mr Schuester Is An Asshole: Really, my guy? Driving around with your muffler dragging on the ground so bad it’s making sparks? That’s not very Road Safety of you. Fuck off. 

Sign #2 That Mr Schuester Is An Asshole: Wow, there’s going to be a lot of these, huh? Anyway, anybody with working eyes would clearly see how scared Kurt is right now. “Making some new friends Kurt?” Fuck off. 

KURT. FIRST SIGHTING OF THE BOY. What a delight. But also, not a delight, because he’s being bullied and he deserves better. Look at his outfit. Iconic from day fucking one. 

Finn, you’re a himbo. What’re you doing with these assholes?

Puck’s first line in the whole series is “It’s hammer time!” What a fucking dork? Who made this boy popular. 

DO MORE THAN TAKE HIS COAT, FINN. LET HIM GOOOOO!!!

I paused while they were tossing Kurt in the dumpster and, wow, got the most hilarious frame where the guy who isn’t Puck is getting a meticulously polished boot to the face. Netflix let me take screenshots, you coward.

The first shot of Quinn... My wlw bones are shaking.

Why would they use that photo for Lillian Adler...? WHO WAS BORN IN 1937, MIGHT I ADD. THAT’S NOT A REAL YEAR. 

It’s weird to see Mr Schue actually speaking competent Spanish. Why did they veto that later? The ONE likeable thing about him was his competence as a school teacher, and they really threw it out the window huh?

WHAT THE FUCK HAPPENED TO THE MEMBERS OF SANDY RYERSON’S GLEE CLUB??? This kid seems to really like singing. Also, welcome to the beginning of Ryerson being annoying as all hell.

Oh my gosh, the background choir stuff. This show really had style back in the day!!!

R A C H E L B E R R Y Y O U R M A K E U P ! ! !

Ken Tanaka walked so incels could run.

Jane Lynch you beauty. You absolutely impeccable beauty. 

“Since when are cheerleaders performers?” Uh... Emma...? I get that Sue’s going ham on her budget but, like, be nice to the students? They perform their butts off!

Sue really just BRAGGED about having an iPhone. I was 9 when this came out. Why do I feel old...

Sign #3 That Mr Schuester Is An Asshole: He hears his coworker, presumably of several years, just got fired and doesn’t even ask why. He just jumps on the glee club like a frog on hot asphalt. 

He really wants to Make The Glee Club Great Again, huh? 

MySpace was really a thing, huh? And why does this grown-ass male teacher know so much about the students having them?

I know nothing about actual American schools, but I do know that they sure as shit don’t work like this. Why does a club have to win EVERY competition to be considered an asset?

Mr Shoe really lying awake at night half-naked next to his wife thinking about the glee club already? Yeah sounds about right. Also, of course you’d think up Nude Erections for a name, you asshole. Put some clothes on.

R E S P E C T MERCEDES YES!!!

Brad the piano player was really here from day ONE... Icon.

Cellophane, Mr Cellophane... Yes Kurt bby you killed it. 

Chris Colfer looks so YOUNG here!!! 

The hair fix... I C O N I C !

Tina really wrote her stutter down, huh? And nobody ever saw through it? Amazing. 

The goth Tina look, too... Perfect... Never change...

Say what you want about Rachel Berry being generally insufferable, but I really fucking feel it when she sings On My Own. The monologue kind of kills The Drama of it, but they really solidly established her character by layering them. She really is a gold star right now.

The first-ever on-screen slushie!

The way she walks down that hall. My God you can just see how terrible she is to be around.

Never forget Rachel staring at photos of her with two men who turned out to not be her dads. Who are they? What are their stories? We’ll never know.

God, I love this stupid scene of Quinn, Santana, and a bunch of Cheerios cartoonishly typing hate comments on Rachel’s MySpace video and laughing like knock-off Disney villains. 

I like watching season 1 Artie because season 1 Artie was a good character. Mostly. And he KILLED Sit Down, You’re Rocking The Boat. Rachel wasn’t asking for a male lead who could keep up with her vocally, she was being straight up ableist and that’s a fact. I love Cory, but Kevin McHale was always a better singer.

Mercedes picking up and spinning Rachel for this little routine is something I never really appreciated before, it’s cute even though they don’t like each other yet!

I really don’t get why Rachel says they suck. Yeah, sure, she’s gunning for a solo, but the vocals were solid there. The choreo was just a little janky, possibly because it’s their first EVER rehearsal?

“There is NOTHING ironic about show choir!” Incredible.

How long did it take Mr Shoe to find Rachel out on the bleachers? Did he search the whole school first?

ARTIE! CAN! KEEP! UP! WITH! YOU! VOCALLY!

I never understood Rachel quitting so soon. How long was she in the old glee club for? Surely they were never popular either?

Ah, the first “My hands are tied” for the series. Mr Figgins is a garbage principal. 

Not going to advise the principal against referring to Artie as a cripple, William Shoestir? Alright. 

How did the Schuester marriage last as long as it has? Do Will and Terri’s insufferable personalities just cancel one another out?

Sandy Ryerson really just openly brags about cheating the system for medical marijuana and dealing it? 

Matt Morrison 100% has lip fillers. Nobody’s smile curls like that naturally.

“Terri and I are trying to get pregnant” What a weird way to phrase it. What is it, a race? Who’s going to get knocked up first!

A FIFTH OF BEETHOVEN, HOW I’VE MISSED YOU... The sound design of this show at this point is just... *Chef hand kiss*

“What you’re doing right now is called blurring the lines” Oh just wait until season 4, Sue... Just you wait.

WHY is Mr Schuester so ridiculously sweaty? I didn’t need to think about that?

EVERYONE on the football team is 30.

William Schuester you can’t just watCH TEENAGE STUDENTS SING IN THE SHOWER YOU ARE A TEACHER WHERE DID YOU GET YOUR LICENSE?! 

Hearing Cory sing this always makes me emotional. What a talent!

Sign #4 That Mr Schuester Is An Asshole: I don’t think I need to say why using the weed to blackmail Finn is a shitty thing to do, do I?

“I’ll pee in a cup! ...I’ll pee...” I love Cory’s delivery. 

PRIORITY #1: HELP THE KIDS Oh season 1... I love you so.

Mr Schue you WISH you were anything like Finn Hudson. You never will be.

Ah... Finn’s first monologue. He’s such a sweetheart. AND SO IS CAROLE. Carole is a queen I will stan forever. YOU THROW THAT MILK BB!!!

All Finn wants to do is make his mom proud. What a sweetheart. Mr Schue you do NOT deserve him.

These POV shots really enhance things, why the fuck did they stop using them?

Subtly having Kurt look at Finn in the same shot as Rachel was a nice touch indeed!

RACHEL WAS REALLY DOWN WITH ROLLING ARTIE RIGHT OFF THE STAGE HUH?

Terri’s a straight up hoarder, huh? Like a raccoon but instead of collecting edible garbage, it’s monogrammed garbage.

Surely you can’t just... BECOME an accountant, right? You need some serious qualifications for that right?

Also say what you want about how insufferable Terri is but her actress is ridiculously talented and absolutely steals every scene she’s in.

Now the background choir is doing Soul Bossa Nova and I am L I V I N G why didn’t they keep that motif!!! It was so ICONIC!

I don’t need my prostate removed. RIP Carole Hudson but I’m different :/

NO MEANS NO, KEN! TAKE THE L AND MOVE ON! Way to take out the fact that a girl won’t date you on everybody else around you! Toxic bastard. The absolute stench of melodrama on this bastard is noxious.

I was going to ask why Rachel didn’t know about Finn and Quinn if they’d already been together for 4 months, but then I remembered gossiping requires friends...

“Terri rides me. Hard. And I’ve always appreciated it!” Why don’t we talk about how this line sounds more. Why doesn’t Emma bat an eye at it oh my god

HERE COMES VOCAL ADRENALINE!!! And Jesse St. James is nowhere to be seen. How convenient. Also, they’re all 30. I’m sensing a pattern.

Sorry VA, all songs popularised my Amy Winehouse legally belong to Santana Lopez

Puck, if you were stupid enough to fall for the prostate excuse, that’s on you. Or maybe it’s on the education system...

You can do better that Mr Schue, kids. Don’t mourn him.

Ok, what the fuck is this scene where he’s filling out the job app to become an accountant? There’s a dude in the row in front off him just throwing crisps around? What is this place?? Why are you here sir??? 

“Accounting is sexy” shut up you horrible married man

The Cheerios sure did have straight ponytails for like, one episode, huh?

Finn is such a good boy. He doesn’t know it yet, but he is, and saving Artie from that portapotty is his first step to figuring it out.

This shot of Finn just wheeling Artie out of there... Ugh. My HEART.

KURT WHAT ARE THOSE LAYERS? SWEATER SHIRT SWEATER? HELLO???

Pee balloons. Nailing the lawn furniture to the roof. Finn, you’re better than that!!! Stop your dudebros. 

They really had Artie be a guitar player, and a pretty good one at that, but they never mentioned it again? Artie had such potential SMH. (Also, Netflix subtitles are telling me it’s Arty, but I categorically refuse to spell it that way.)

Whyyyyy didn’t he go to KURT for the costumes as well? Look at his outfit, Finn. He clearly wants in on that job. 

Will Schuester really is just desperately clinging to his glory days in high school. I’d feel bad for him if he wasn’t such a creep about it. 

Emma, meaningfully: Do you know who that is? That’s you, Will... [FRANTIC DISCO MUSIC IN THE BACKGROUND]

I find it hilarious how the audio of Don’t Stop Believin’ just DOES NOT match the characters except for the solos... Also wow, autotune city. Am I awful for genuinely not liking this cover? 

I like watching them perform it though. Kurt’s adorable little shimmy... Rachel and Tina smiling at each other like that... Everybody having a blast... I’m here for it

LOOK AT MY BABIES TILTING THOSE MIC STANDS...

Ok the way Rachel and Finn look at each other here is making me FEEL

I know Puck’s about to join anyway but WHY is he there watching... Just to have a mysterious bad boy moment? Lol you dramatic bastard

Please let them win nationals without you, Will.

So, yeah! There’s that! Those are my thoughts and feelings, basic though they may be. Episode one is fantastic, the kids are fantastic, and William Schuester can suck a toe. 

[gleeandintersectionality]

         Intersectionality was first defined by scholar Kimberle Krenshaw and was described as a ‘but for’ analysis- I would have received that job ‘but for’ my race, I would have gotten that promotion ‘but for’ my gender” (Molina-Guzman and Cacho 72). Intersectionality “challenges predominant understandings of race and gender as discrete social identities shaped by and formative of distinct social experiences” (Molina-Guzman and Cacho 72). Intersectionality is ultimately the overlapping of different identities like race, gender, and sexual orientation that make an individual’s life more challenging as they identify with multiple minorities. For example, Krenshaw specifically addresses how black women can experience sex and race discrimination (Molina-Guzman and Cacho 72). Intersectionality can be found in the characters on FOX’s teen comedy-drama, Glee. This blog will focus on mainly on Mercedes, a black woman, Santana, a Latina lesbian, and Unique, a black trans woman. 

         On Glee, there is constant competition between the two arguably strongest female singers of the club: Rachel Berry and Mercedes Jones. Rachel is Jewish, but light skinned and Mercedes is black. Throughout the series, Rachel receives many solo numbers, while Mercedes is denied the same opportunity. Dubrofsky explains how Mercedes is seen only performing music by black artists and being denied solos because of her attitude: “If Mercedes is presented as having the talent and appropriate voice for a solo, she is portrayed as lacking the drive or the ability to tame her emotions to claim center stage, reproducing stereotypes of the angry black woman” (91). While Rachel has the right voice for every genre of music, Mercedes is pegged by her race. To make sure audiences don’t call Glee racist, they act as if it is Mercedes’ lack of ambition and drive that denies her solos. When auditioning for the school musical, West Side Story, Rachel and Mercedes both audition for the role of Maria. The play directors are impressed and shocked with Mercedes’ audition expressing how they have “never seen Mercedes so ‘glamorous’” (Dubrofsky 96). This could be seen as whitening Mercedes into an elegant, classy performer igniting a reaction and performance typical of Rachel. However, after Mercedes’ stunning performance, the play directors are still torn about who to cast: “Rachel appears not only the safer choice, but the obvious one—seamlessly, unquestionably having what it takes to play the role, while Mercedes is an assumed risk. Why Rachel possesses what it takes, and what the doubts are about Mercedes, are never specified” (Dubrofsky 97). While neither girl fits the role of Maria who is Puerto Rican, it is never explained why Mercedes would be the riskier choice or why Rachel is the stronger performer. Dubrofsky explains show Glee shows “whiteness as an undefined but everpresent and desirable quality” (97). This scene shows that if you want to be leading lady material you have to be white or light skinned. 

          The person who mostly gets blamed for selecting solo performances is Mr. Schuester, the white and male Glee club teacher who gives Rachel a plethora of solos. It is not until season three that Mercedes calls out Mr. Schuester on his biased attitude: “You give that skinny Garanimals-wearing ass-kisser everything. For two years I took it. Not anymore” (Futterman par. 5). For two years, Mercedes has accepted her lack of solos, but in season three, Mercedes becomes outspoken and confronts the situation head on. She knows she is a star and will no longer play second fiddle to Rachel. The episode ends with Mercedes joining a new glee club. Because of Mercedes’ race she works twice as hard as Rachel and the other white glee members to be seen as talented and multi dimensional. Mercedes wants to be more than a stereotype and show that she can sing all genres of music and display a range of emotions. This shows intersectionality as Mercedes being a black woman has to work twice as hard against the light skinned Rachel to get what she wants. 

        The next character I will be discussing is Santana Lopez. Santana applies to intersectionality because she is a woman, Latina, and a lesbian. When discovering her sexuality, Jacobs explains how compared to Kurt, a white male gay student, Santana’s coming out is even more challenging as she is isolated from other gay women and particularly gay women of color (339). Besides her sexuality, Santana's ethnicity marks her even more as an outcast as she identifies with two minorities and therefore lacks people similar to her within her small town and high school. Jacobs also discusses the rejection Santana faces from her grandmother when she comes out to her. Jacobs explains how it is not shocking that the “only overtly homophobic adult is an old, Catholic Hispanic woman, aligning phobia with a benighted, ethnic/ racial religiosity” (342). This shows how age, religion, and ethnicity affect how one responds to gay people. Since Santana’s family is Latin, they are strongly religious and therefore do not accept homosexuality. In comparison to Kurt Hummel whose father immediately accepts him, Santana faces rejection because of her family’s ethnicity and religion. 

          Villagomez also discusses the pivotal moment of Santana’s coming out to her abuela. The rejection Santana experiences after coming out “not only showed the rejection LGBT’s face (or fear facing) when coming out, but the rejection Latinos specifically encounter which, usually, can be related to strong religious and cultural beliefs” (Villagomez 1). This shows that although all LGBT teens may fear coming out, many Latinos have it harder because of their family’s strong religious beliefs that go against homosexuality. This is the case with Santana’s abuela as she says that Santana has committed a sin (Villagomez 2). Villagomez further explains how Santana’s rejection shows how emotional and complicated coming out can be. Santana was also the only gay character on Glee to face rejection and ultimately showed LGBT teens that it may be better “to leave the negative people out of their life, especially after you’ve given the relationship and seach for acceptance your all” (Villagomez 2). 

         In the series, Santana forms a relationship with Brittany who is white. Through their relationship, they experience unfair treatment compared to the straight couples at school. Gilchrist touches upon this when Principal Figgins finds Santana and Brittany leaning in for a kiss and interrupts them. Santana interjects “This is such bullcrap! Why can’t Brittany and I kiss in public? Because we’re two girls” (Gilchrist 2). Figgins explains how the high school does not allow any types of PDA between any couples, but alas, he has been receiving complaints about Brittany and Santana’s relationship. Santana asks if any complaints have been made about Finn and Rachel who are publicly making out in the hallway. As a new religion club has began at the high school, Figgins is attempting to stop Brittany and Santana from kissing to make those who are religious feel comfortable. Santana clearly upset says, “All I want to do is be able to kiss my girlfriend but I guess no one can see that because there’s such an insane double standard at this school” (Gilchrist 2). Referring to how Finn and Rachel and other straight couples get away with kissing in the hallways, Santana is frustrated because she is denied this right because she is gay. As the religion club sends singing Valentine grams for straight couples, Santana requests one for Brittany. After praying about it and having a long discussion, the club decides to sing for Brittany and Santana. This shows how Brittany and Santana are not given the same privileges as their straight couples at school and must hide their relationship to make their straight peers feel more comfortable. 

         Snarker focuses more on Brittany and Santana’s relationship by discussing how media does not highlight their relationship and oftentimes focuses more on the gay men in relationships. In an article by EW, they claimed: “Kurt is the most important character on television right now” (Snarker par. 13). Snarker explains that although the way Kurt deals with being gay in a disapproving world is inspiring, she wishes more people would focus on Brittany and Santana’s relationship, saying, “For gay women, Brittana is every bit as engaging, albeit on a smaller scale, than Kurt is for gay men. Their legitimate, if unlabeled, relationships matter to us. We’d like it if it mattered to you, too” (par. 15). Snarker also points out that when the media does address Brittany, they address her relationship with Artie, a boy, rather than with Santana as Brittany is sexually fluid within the series (par. 10). Just like being white was preferred for Mercedes, being straight is seen as the preferred norm on Glee. Brittany and Santana align with intersectionality as they get outcasted within their school and get ignored by the media. 

        I will now be moving on to Unique Adams, an African American trans woman. When Unique first joins the glee club, she wants to perform in women's clothes. Mercedes and Kurt, both fear the reaction Unique will receive with Kurt saying, “ ‘I’ve worn some flamboyant outfits, but I’ve never dressed up as a woman.’ To which Unique replies ‘That’s because you identify yourself as a man. I thought you of all people would understand’ ” (Kane par. 4). This shows how even members of the LGBT community like Kurt still misunderstand transgender individuals and label them inaccurately. 

        One of Unique's biggest plot lines in Glee is when she catfishes Ryder Lynn, a heterosexual white male, as a girl named “Katie.” As Sandercock explains Unique takes on an identity unlike her own: “Unique portrays herself online as a thin, white, blonde, cisgender woman – a hegemonic ideal of beauty – an identity and embodiment that exists in opposition to her as a large, black, trans woman” (442). Sandercock further explains, “This highlights the intersectional nature of gender, race and beauty ideals that impact on the marginalisation of trans women of colour. Her avatar reveals beliefs about what is most beautiful and desirable, and her fears of embodying none of these ideals” (442). Unique knows that as a black trans woman she does not embody the standard of beauty which is white, thin, and cisgendered. Through becoming Katie, she is trying to disown her intersectionality and become the image that is desired most in society. Ryder is mean and lashes out at Unique in real life for not understanding her gender identity. Unique tells him that she is a “proud black woman” (Sandercock 442). He decides to mention Unique and how he feels about her to Katie. Katie replies, “This Wade/ Unique guy believes he is a girl. He doesn’t need any proof. It’s his truth. And like what you said, what’s true is true” (Sandercock 443). After this, Ryder changes his point of view about Unique, however Unique has already told Ryder that she is a woman, yet he only believes it when it comes from Katie. Sandercock explains how “this highlights the role of race but also the economy of desire whereby ‘loving’ Unique becomes crucial to winning the affection of ‘Katie’ who intersectionally embodies normative femininity, whiteness and cisness” (443). This scenario shows that trans people and people of color know they are not the image of ideal beauty, and therefore, are insecure about the way they are seen and if they will find romantic love. This scene also shows that white, cisgender and heterosexual people may only accept and believe in those who are trans, gay or black only when it is explained and accepted by someone similar to them. 

          Glee portrays a vast range of races, genders, and sexualities through their characters. Intersectional characters teach audiences the difficulties of being a part of multiple minorities and how it affects their lives. Although Glee can be controversial in its representations, it ultimately shows that those applying to intersectionality experience specific hardships that white, straight, and cisgendered individuals do not understand.

[miasswier]

miasswier’s ultimate glee ranking: no 32

32: Michael

Written by: Ryan Murphy Directed by: Alfonso Gomez-Rejon

Overall Thoughts: Usually I hate episodes like this, where there’s more singing than plot. There’s basically a song for every scene in this episode, but somehow, it works? I think part of it is because most of the songs aren’t just everyone sitting in the choir room singing to each other. Whatever it is, it’s awesome, and I love it.

What I Like:

Seriously, all the music in this episode kicks ass.

Sam putting Mercedes name up in lights and talking about what a big star she’s going to be and how much he believes in her and then singing their duet together and that KISS. Ugh. Have I mentioned I love Samcedes? Because I fucking love Samcedes.

Burt coming to the school to tell Kurt about his NYADA letter, and then being so fucking excited when he finds out Kurt is a finalist. Also, “Whose gonna tell Blaine? You gotta let me do it!”

That whole scene with Sebastian at the Lima Bean is pure gold like oh my god, but my fave moments are:

“Hey, Blaine. Hello everyone else”

Rachel’s face when Sebastian tells him Blaine told him about them doing MJ

“Does he live here or something? Seriously, you are always here.”

“Oh hey there Kurt, I didn’t recognize you. You are wearing boy clothes for once!”

Santana calling Sebastian a twink

Although it does kind of come out of nowhere, I do always love when students tirade against Will and basically tell him to go fuck himself so you know, I’m all about Artie mouthing off. I also particularly love the line “I don’t want it to get better, I want it to be better, like right now”

Everyone being so worried about Blaine

Santana helping Kurt plot against Sebastian

Kurt fucking dressing like Blaine while Blaine is in the hospital

Blaine being high as a fucking kite when Kurt, Finn, and Rachel go visit him.

“This isn’t violent, this is clever, I taped it to my underboob”

“Wait, if Kurt had taped this to his junk I never would have heard the end of it! We would have had a whole week of songs about it!” “True”

Everyone being so proud of Quinn for getting into Yale!! My girl <3

I do talk about this in the negative section too, but I think Rachel’s little breakdown to Kurt is so well acted, and, much like Finn’s scene in “The First Time” feels so fucking real. Just this manifestation of the teenage doubt and having all this pressure put on you to know what you’re going to do for the rest of your life when you’re literally seventeen.

What I Don’t Like:

Listen, this Finchel wedding was ridiculous and a fucking waste of time and literally just meant to pull viewers in for sweeps in “Yes/No”. This is already such a jam-packed episode, so having multiple scenes about just this felt unnecessary.

The fact that Rachel only agrees to marry Finn because she literally thinks she has nothing else. That is a really bad reason to get married.

While I do think it was well-acted, raw, and emotional, it does bother me that Kurt was so excited to show Rachel his NYADA letter and was so pumped he was a finalist, but as soon as he asks what Rachel’s letter said she turns it into a pity party and Kurt is not allowed to be excited anymore because now he has to feel sorry for Rachel. I just wish that Kurt was actually allowed to celebrate every now and then?

Speaking of which, Kurt should not fucking feel guilty about his boyfriend congratulating him for getting an audition for his dream school just because Rachel supposedly didn’t get one like fuck right off.

Going off of that, why the hell were Finn and Rachel in that scene at Blaine’s house? Why were they singing what should have been a Kurt solo? They already had a shit ton of scenes, we couldn’t just have a Klaine scene? Apparently not.

Tina kind of disappears halfway through this episode?

Songs:

Wanna be Starting Something: An awesome and fun number to start off the episode! I love all the awesome Michael outfits (tho my personal fave is Finn’s, which is literally just his jersey but bedazzled)

Bad: This performance is amazing, but as a Blaine fan it makes me so fucking sad. My poor boy. These are supposed to be his friends, and now they’re his enemies and contributing to his assault (which was supposed to be for his boyfriend, who was also a Warbler and therefore also their friend)

Scream: I fucking love this song and I fucking love this performance. It’s a highlight of the episode for me.

Never Can Say Goodbye: I remember the first time I saw this I almost passed out when Quinn started dancing with Puck because I was so starved for positive Puck/Quinn interaction. I like this song, but I love the performance. Quinn looks amazing, and I love how, even though she’s singing about how she can never say goodbye, that’s essentially what she’s doing.

Human Nature: Um, I obviously love this. It’s the only official Samcedes duet we ever got (“Summer Nights” was technically a group number) which is a fucking crime if you ask me. They sound amazing together, and have so much chemistry. Even though it’s cheating and I shouldn’t endorse it, I can’t help but squeal when they kiss.

Ben: Should have been a Kurt solo, seriously, why the fuck are Finn and Rachel in this

Smooth Criminal: This is one of my all time favourite Glee covers ever. It’s so goddamn amazing. Like, seriously amazing. I love it. I just fucking love it. I listen to this song all the time and watch the video all the time (although somehow it literally only just dawned on me how absurd it is that there are these grown ass cello players just hanging around an all boy’s private school, like they aren’t wearing Dalton uniforms so they obviously aren’t students what the fuck are they even doing there).

I Just Can’t Stop Loving You: This performance is like twenty minutes long for some reason and literally feels like it’s never going to end. You guys already stole Kurt’s solo to Blaine, you shouldn’t also get a super long romantic duet on top of that.

Black or White: A fun number to end the episode with! I love the part where they recreate the video, and also when the Warblers all start jumping on stage!

Final Thoughts: When they first released all the songs for this episode, I thought it was going to be a disaster. Turns out, they actually made it work! They managed to cram about a thousand plots into this one episode (or, actually, only really two, but it feels like a thousand because so much happens) and gave almost everyone a chance to shine (except Tina, like where the hell did Tina go, I swear she was in the beginning of this episode and then just disappeared?!). It’s a fun episode with awesome music, and even though I do think there’s too much Finchel, it still manages not to totally take over the episode like will happen in basically every other episode remaining of this season. Just, a really good, balanced episode.

[reactingtosomething]

Solo Reaction to Orphan Black Episode 510: “To Right the Wrongs of Many”

Well Done, Show.

The Setup: This is it, Clone Club. The final ride has ended, and I for one loved the hell out of it. Check below for my final Orphan Black solo reaction. Spoilers for the last five years, basically.

SARAH: Art knows what they need and is not the one who is Helena’s twin, clearly she should go be with Helena and he should get the medical supplies. I mean I know it had to be Sarah vs. “PT” at the end, obviously. But in-universe I’m right about that logic. But yeah, Sarah killing him with very little ceremony and none of his acolytes to watch was pretty appropriate.

OH GOD they pulled no punches with that suffocation visual.

This is EVOLUTION. More on that later.

The Sarah/Mrs. S parallels during the births, though. Sarah (and all the clones) are moving out from under the control of their lives and destinies. They are not S’s to watch over or Neolution’s to control. They are the adults. They’re raising each other and their kids.

Sarah and Helena’s joyful laugh/cries after the birth(s) are just lovely.

Is Sarah getting her GED?? I’m so proud! She’s turning into such a grownup, but is also still herself. Well done, show.

Honestly I do think that Sarah should sell the house. She needs to become her own version of an adult, not just step into S’s shoes entirely. Like, don’t move away to wander the earth apart from the whole support system, but get an apartment instead maybe.

Sarah. Get your ass back in there and take the GED test!

“I don’t know how to be happy. There’s no one left to fight and I’m still a shit mum.” There is SO MUCH here. For one thing that language is super telling—Sarah may not always be good at being a mother, but she’s far from a shit one compared to Coady, the other person who’s been described as such. There’s no question about Sarah being wrong here. (Admittedly she has not always been a good mother but she has been improving and she does always have Kira’s best interests at heart.) For another thing, this is very important and realistic. Ending an all-consuming battle and returning to normal life is never simple. Sarah was good at guerrilla warfare, essentially. Those skills don’t immediately translate to healthy coping mechanisms or finding a day job. Sarah is still Sarah. They’re all still the people they were before and during this shitshow. Alison is still the woman who sold drugs and hot glue gunned her husband. They’re all still just people and they can’t go from living one life to living a totally different one with no bumps, even a normal/“easier” one. Just because Sarah can’t do it immediately doesn’t mean she can’t do it at all.

None of them are perfect and they’re all in it together and it’s the most mellow but effective multi-clone season ender ever. No one look at me.

HELENA: This is basically a nightmare birth situation and I am NOT a fan.

Helena is preparing for vengeance even while ACTIVELY CONTRACTING and all I can say is damn, woman. Props.

OH MY GOD Art and Helena are such a good team! That was highly effective tag team murder.

It’s a boy. Of course they’re boys. Kira was (nearly) exploited the way Kendall and the Ledas' birth mothers were. Kira and Charlotte are the intermediates, the ones who are part of the Leda story but won’t grow up entirely within it, but these boys are the true next generation. They’re not just repeating the script over again, they’re a departure from the Neo controlled past.

That is the cutest and creepiest mobile ever.

Orange and Purple!! Ok, but babies lose their socks ALL THE TIME. This is an imperfect method.

“Always when I eat, he poops.”

Super into her Hawaiian shirt over overalls look.

“Where does this sand come from?”

They’re still not going to explain the black part of Orphan Black, are they?

I’m touched by the significance of naming the boys after Donnie and Art, but doesn’t that get confusing? Sure, call the baby Arthur instead of Art, but there’s nothing that far away from “Donnie,” sound-wise. And at least for now they live on the same property. (The one bit of Judaism that has managed to enter my psyche the most is the custom of not naming kids after living relatives, so I’m a little weird about this kind of thing.)

RACHEL: Is Rachel coming? Is that the secret person Felix is expecting? Yesssss. Even if she can’t be a part of the happy family, she is still a part of this and the show/Felix acknowledges it.

So we’re just straight up discussing this in front of the uber driver?

She gave them the list of Ledas. Rachel’s final redemptive act saves the rest of the clones she helped to subjugate, and is a final screw you to the people who made her do it for so long.

General Rachel thought: Rachel needed redemption. She was cruel and a part of the structure that controlled and killed a lot of people. She was a product of a deeply abusive situation that made her that way, but she still was that way. She still stomped on the potential cure, she still ordered the deaths of clones and others. In a way she and Helena are a better “two sides to the same coin” comparison than Helena and Sarah are. Both were raised largely without love or proper socialization. Both were made “self aware” while fairly young. Both are taught that they are the special one, and can only continue to do they terrible things they do by believing that fact. Both self-harm. Both learn that their extremely black and white world views are limited primarily by being exposed to the family of their clones, primarily Kira. Helena made the change much more quickly, but they are both on that arc.

ALISON: “I was a drug dealer for Pete’s sake” is peak Alison Hendrix.

The Hendrixes have joy and laughter as a part of their sex lives and I am happy about this.

I know this is not from this episode, but it’s amazing

COSIMA: Cosima is curing the Ledas!! She is doing it! And of course she feels like it’s not enough because she’s Cosima, but she’s doing it!

Science monkey! I love this.

Cos, you don’t have to be good with kids if you don’t want to be. Although she actually is excellent with kids, just not babies. So I guess the point is you don’t have to be maternal if you don’t want to be. You can love the children in your life without wanting your own. And if you do want children, being scared doesn’t mean you can’t do it.

Cosima is coming so close to meeting all of these women, but not quite. That’s beautiful and sad in its own way. She’s always been the one to embrace sisterhood the quickest, so I imagine she loves each of these sisters a little bit. But she’s not destroying their lives by telling them about all of this when there’s no need to. There is an argument to be made about not making the decision for them by keeping the info from them, but telling them would also be making that decision for them. I’m going to choose to believe that they leave a semi-conspicuous web trail so that any Ledas who start to become self aware can find clone club if they’re looking.

Also, can we talk about how gorgeous this artwork is and how I’m now obsessed with it? Please illustrate all of their adventures around the world.

TONY!!!! Guys, Tony has at least been acknowledged again! He and Krystal are cured and that is good.

EVERYONE ELSE: Goddammit Coady why are you so resilient?

“PT” (AKA JOHN) losing his grip is both terrifying and delicious. I was honestly hoping he would die of a heart attack—none of his cruelty or his science could save him from a simple failure of the body. But again, it being Sarah’s action was probably necessary.

Honestly, this was an underuse of Enger after they set her up to be such an interesting character in such small moments earlier. Clearly the focus here is on the Ledas more than their subjugators, but come on. I wonder if she had anything that ended up being cut for time? I’m excited to follow the actor’s career.

I know I already used this one, and it wasn’t from this episode. But look at how compelling she is! And this ^ isn’t even as good as the toothbrush scene!

There really is a kill them in the throat theme this season.

Art calling people sestra is adorable!

274??? Living or total ever? That’s so many!

I’ve done a lot of discussing parenthood as a sign of adulthood, and I certainly don’t want to say it’s a 1:1 situation. I think it has come up a lot this season especially because the show is a discussion of both family and evolution. It’s hard to have evolution without future generations, so there is a lot of kid focus. I don’t think the show goes to far in the direction of accidentally suggesting that motherhood is essential for adult womanhood—that’s the beauty of having a lot of women in your show. You can tell multiple stories, and multiple versions of the same story without suggesting that it is The Story.

I have no idea how intentionally Fawcett and Manson created this discussion of feminism and bodily autonomy. I think the later was the main intent and the feminism came out of the realization/acceptance of what they were already in the midst of creating. By making the lead a woman, they made most of the leads women, who all had to be different from each other. They couldn’t fall into the tropes many writers do when it comes to female characters. And when they began discussing This may be wrong and ungenerous of me—they may have had exactly this intent from the beginning!—but two things: 1) I think if they had a huge focus on feminism from the beginning there would have been more than one director who was a woman in the entire run (Helen Shaver, 3 episodes) and 2) Honestly, them learning the lesson as they went and freaking going for it is kind of great. Without meaning to (from the beginning—I’m not suggesting they were totally unaware this whole time!) these guys made a show that is all about women reclaiming their bodily autonomy from a big-for-tv version of forces that are very real in our lives. Realizing that that was the story and leaning into it effectively and without becoming a morality play is impressive and it gave us the show we have known and loved.

Ok, “this is evolution.” So true, on the science side and the personal side. Sarah and Helena have always been the outliers. It was a quirk of biology that lead to twins. And then their birth mother was willing and able to keep them safely away from Neolution. And they are actually able to conceive. None of these facts were intended or planned for. Evolution comes from gene mutations. Sometimes mutations are harmful, but sometimes they’re beneficial or neutral, and they get passed on and help the species become something new. If that happens enough times, you get a whole new species. There’s nothing intentional or graceful about it. You can’t plan for it, and you can’t do much to control it. “PT” tried to, and it never worked out for him. There were always other changes, or not enough change, or the small detail of people being people and thus not entirely controllable. He was beaten by the results of the uncontrollable parts of evolution, an unexpected twin who unexpectedly became a mother. And Sarah has evolved as a person because of both of those things, as well as everything else. In killing “PT" she completes the final step of not just no longer running from her problems, but truly stepping out from underneath them.

Finally, let’s talk happy ending. Finishing this was hard—I’ve had trouble taking a long view of anything this weekend, in light of the events in Charlottesville, VA. This is the first time I’ve sat entirely still in at least a day. It’s made me even more glad that this show, which has always contained darkness and some shocking violence, let the “core four” of clones and most of their nearest and dearest survive. There were deaths along the way, and a shit ton of suffering, but they could have gone much darker about the ending for the sake of Realism and I’m damn glad they didn’t. The show was about finding the light and hope and family amidst all of this darkness. Sarah has been trying to be allowed/allow herself to be a part of her family since she got on that train. It doesn’t look like what she thought it would, but neither does she anymore. This is the version of family that works for this version of Sarah, and it works for the show too. Everything’s not perfect. S is dead, Rachel will never be a part of the family. They’ve all suffered massively. But they made it, and they have each other for support moving forward. Bad things can end. Good things can endure. That hasn’t always been an explicit message of the show, but it is the one they chose to build to.

That’s all, folks. For more weekly reactions, check out Kris’s GoT series. For more ass-kicking genre women, check out Wynonna Earp. For more of Miri have a lot of feeling, check out The Bold Type (and I guess this blog in general).

[miasswier]

miasswier’s ultimate glee ranking: no 23

23: Girls (and Boys) on Film

Written by: Micheal Hitchcock Directed by: Ian Brennan

Overall thoughts: This is legitimately one of the funniest episodes of Glee to ever air. Every time I watch I just die of laughter. And it’s awesome because there’s so many amazing one-liners that I always forget one or two and get to experience them all over again with every re-watch. Aside from that, it’s a solid episode. It’s got quite a few things that a like, including the only Marley/Jake/Ryder scene I not only can stand, but actually enjoy watching.

What I Like:

I can’t even list all of the amazing one-liners in this episode because this review would be like ten pages long, but here are my favourites:

“Ain’t nobody got time for that”

“Ryder kissed me” “Was he any good or did his enormous donkey teeth bite into your lips?”

“Is that a garage door opener?”

“What about Brody’s vote? Or, do drug dealers not get to vote?”

“She was going all ACDC”

“Oh, okay, I like how guys pretend to be all accepting about everything, but when your friend suddenly shows up in your home, moves in, and goes through all your stuff, you’re offended?!”

“If I were you I would forget the hair and lead with the wheelchair thing.”

“Aw, not even She’s Having a Baby? Because you always cry at the end when Elizabeth McGovern has the baby.”

“We should do The Artist so we don’t have to sing.”

For once an episode that has a main Will Schuester storyline that doesn’t make me want to die. Because it feels right that he would have a lot of screen time in this episode. Thankfully it doesn’t do what “I Do” and “Yes/No” does, and sideline him in his own fucking plot.

The “Unchained Melody” scene. It’s so goddamn clever.

Santana is so fucking funny in this episode. BUT, she also manages to be really sweet to Rachel when Rachel starts crying (even if you can tell on her face that she has no idea what to do about a sobbing Rachel Berry falling into her arms).

We finally get to see how Kurt is feeling about his break-up with Blaine. It’s actually kind of refreshing that we get his perspective after the events of “I Do”, since all season long he’s been sidelined while Blaine’s feelings get explored deeply. It makes me so happy to see Kurt get a nice little storyline relating to his feelings for Blaine vs his relationship with Adam.

I’ve always found it hilarious that Adam is more upset about the fact that Kurt used to sing “Come What May” with Blaine than he is about Kurt and Blaine hooking up at the wedding (which he very clearly is aware of).

I always did think Kurt and Adam are cute, so it’s nice we at least got one episode exploring how they are together before Glee flushed Adam and Kadam down the toilet.

The little detail about the boombox being Blaine’s. Because of course he’d have a boombox.

What I Don’t Like:

Finn still acting like Will and Emma’s relationship fell apart because of him, when it’s very clear that him kissing her is so far from Emma’s mind. Like, chill, dude. Stop trying to make everything about you.

Santana making a joke about Rachel becoming bulimic. It feels especially awful considering Glee is just coming out of a multiple episode long arc about a girl dealing with bulimia.

The show is still trying to sell a Kitty/Marley frenemy deal, when at this point it should just be going for the friendship angle. I don’t know why they kept trying to make Kitty seem conniving for so long? She never tells anyone about Marley and Ryder, so what was the point of making it clear she’s just there for the gossip and not because she cares about Marley? It just makes her seem unnecessarily mean, and Marley unnecessarily dumb.

Songs:

You’re All the World to Me: As a song, I’m not a fan, but I do think the performance is really cool. They did a good job with it.

Shout: I don’t care for this song. The more times I watch this episode, the more it feels like they only added this number in so that the 500th number wouldn’t be “Come What May” because they wanted to avoid shipper bullshit (which was already going on since quite a few Finchel fans were mad that their couple didn’t get to sing “Come What May”). Like, seriously, what does this number add to the episode? Nothing, is the answer.

Come What May: I have a love-hate relationship with this cover. Moulin Rouge is one of my all time favourite movies, and I’ve always loved “Come What May”. When they announced Klaine would be singing it, I basically lost my shit. And then they released the audio and… they cut half the fucking song. Seriously. It went from an almost five-minute long song to three and a half minutes. My favourite parts got cut. I seriously don’t understand why they fucking did that. I bet you anything that if Finn and Rachel or literally any straight couple had sang this song that they wouldn’t have cut it. I DO NOT UNDERSTAND. But all that being said, I really love the in-episode performance. It’s like they knew we’d be pissed they cut out half the song so they threw us a bone by letting them perform the whole recorded version in the episode. It’s an awesomely emotional scene, especially when it pans out and you see that it’s Kurt’s fantasy, not Blaine’s. But, ugh. I’m still mad that they cut half the fucking song.

Old Time Rock and Roll/Danger Zone: I like this one! It’s fun and they did a good job of mashing these songs up.

Diamonds Are a Girl’s Best Friend/Material Girl: Like, honestly, they didn’t even try. They ripped this right out of Moulin Rouge. They literally kept the line “Talk to me Harry Zidler,” instead of changing it to the original “Talk to me Harry Winston”. There’s obviously a few other moments that are very obviously from the movie, but that’s the most obvious one to me. I wouldn’t have minded if they’d just done this as a musical performance, but they did it as an assignment for mash-up week, which implies they had to make their own mash-ups, which implies that the girls mashed up these two songs on their own. This has always annoyed me so much.

In Your Eyes: This is one of two Will Schuester solos that I actually really like (the other being “Sway”). It always makes me tear up, and I think he sounds fantastic.

Unchained Melody: I LOVE THIS SONG. Like I said earlier, I think the whole scene is so goddamn clever. Having Marley come out of the scene and watch herself with both guys, especially knowing the Ryder stuff is all in her head. It shows her conflict so fucking well, and is just really cool. I love this cover, and I love this scene. Basically the only scene that involves all that nonsense that I actually appreciate.

Footloose: This is a good song, but it feels like one song too many. We’re at eight, now. Oh my god. Stop singing. Just let it end, for the love of god. ALSO this falls into the same trap that “Anything Can Happen” did: it’s so fucking upbeat, but we left off on a really intense note with Will and Finn. Feels like way too much a shift in tone.

Final Thoughts: God, this episode makes me laugh. I named a few of my favourite lines earlier, but seriously, there’s so many. Santana especially kills it in this episode, although Sugar has some pretty funny lines too. For once I don’t feel like the Will/Emma story is being forced, which makes me able to enjoy it. Plus, we finally get to see a bit of Kurt’s side of the break up, which was way too long coming. Overall just a really fantastic episode, with honestly very few things that annoy me.

[miasswier]

miasswier’s ultimate glee ranking: no 28

28: Thanksgiving

Written by:  Russel Friend and Garret Lerner. Directed by:  Bradley Buecker

Overall Thoughts: Remember when Glee did a Thanksgiving episode that could have aired on Thanksgiving but instead they aired it the week after? That was great. I mean, I’m Canadian, so Thanksgiving was way over for me, but you know. I know this sounds snarky, but I really love this episode. It’s great to have so many of the original cast members bac k together, while Kurt and Rachel continue to thrive in New York. We finally get a bit of closure on the Klaine break-up, and Isabelle Wright aka the love of my life is back to bestow upon Kurt wisdom and upon me her amazing hair and amazing personality. Honestly, even the newbie storyline doesn’t annoy me as much as it could, because they manage to include a lot of the original ND members in said storyline, making it far more bearable.

What I Like:

QUINN IS BACK

I love the opening scene of this episode. It’s so wonderful and emotional and UGH when Finn fucking joins in I always cry it’s so goddamn amazing.

Everyone going out to Breadstix and catching up like the adorable best friends that they are.

Rachel and Kurt both look so good in that scene where they’re walking around NYC, and Rachel’s excitement about New York and their future is so invigorating.

ISABELLE IS BACK! I lover her so fucking much why wasn’t she in every episode o this season?!

It’s so nice to see an adult giving a young adult actual adult advice about how to move on from a very painful experience. Isabelle clearly has experience with this thing, and she is so genuine in her desire for Kurt to at least accept Blaine’s apology, even if that doesn’t mean getting back together. Seriously, I love her so much.

While I found it frustrating back in “Special Education” that what Rachel was really angry about was that Finn slept with Santana, not that he lied about being a virgin, in this situation I think it makes sense for her to be angry about the fact that Brody slept with Cassie, not just that he slept with someone else. And I think Rachel makes it really clear that that’s what she’s upset about. I’m totally on her side here.

When Brody is making the turkey and he goes “but no singing!” and Kurt looks so affronted and Rachel’s annoyed, “What?!” and pointing the peas at him.

I do appreciate the sentiment of Jake letting Ryder get the dance solo, even if the reason behind it kind of frustrates me (more on that later), and I also like how Ryder tells Jake to take the dance solo after all.

Marley saying she specifically doesn’t want to disappoint Jake and Ryder, hi, hello Glee, why weren’t they in a poly relationship?

Santana looking out for Marley, even if it was in that unique Santana way of hers.

The way Kurt flirts so easily and casually with Brody during “Let’s Have a Kiki” like Lima!Kurt would NEVER feel that comfortable being so casually flirty with a straight boy it makes me so happy to see

Emma being so excited to see Will back and Sue just deadpanning “America is thrilled” I love Sue so much

Kurt and Blaine’s conversation! Gosh, it puts me through so many emotions. The way Blaine just bursts into tears when Kurt admits he misses him, the way he can’t help but laugh when Kurt makes the quip about the mouse (he always seems to be the only one who really appreciates how hilarious Kurt is), the way he can’t stop himself from telling Kurt he loves him, and how he has to hang up right away as soon as Kurt says he loves him back because he obviously doesn’t want Kurt to hear him continuing to cry. And Kurt putting himself out there, admitting he’s not ready to forgive Blaine, but he misses him so much. The fact that he actually lets himself tell Blaine he loves him back. GOD THAT SCENE KILLS ME. It’s probably one of my favourite Klaine scenes ever.

I really like how they showed us what Marely was going through in her eyes, how disoriented she was becoming, etc. It makes for an even stronger “shock” (I mean, we all knew this was coming) when she passes out.

When they’re trying to figure out who should be the male dance lead and Sam goes “Hello? White Chocolate?” and starts dancing and Mercedes just goes “Oh, no, no, no, no”

What I Don’t Like:

I don’t know why Glee always insists on putting so much goddamn pressure on one single character to lead everybody to victory. Tina has more of a solo than Marley, so why do they all depend on Marley to be her best to win? Why is it on Marley’s shoulders? I get her feeling that way in her own head, but like, there are multiple mentions throughout the episode that they won’t win unless Marley is in peak performing condition. I don’t know if this was meant to be foreshadowing, or what, but it’s seriously frustrating.

It does frustrate me that Jake and Ryder continue to act like Marley has no agency in which one of them they date. The fact that Ryder basically says “Nah, it’s cool, you can date her, just give me the dance solo” as if Marley doesn’t get a choice is really annoying.

Kurt and Rachel continuously referring to their Thanksgiving as an “Orphans Thanksgiving” like you two made the decision not to come home? What are you doing.

Rachel forgives Brody WAY too quickly, and honestly, he basically shames her into doing it. He claims she isn’t being an adult or whatever, because apparently adults aren’t allowed to be angry when someone does something that hurts them? He also makes a super mysoginistic comment about how she’s being “that crazy girl who expects people to read her mind” when she’s literally mad because he slept with someone he knows hates her and she hates back. You don’t have to be a mind reader to know that she would be angry about that? Honestly, I wish they’d pulled the plug on Brody/Rachel here instead of having them suddenly jump into a super intense relationship. They could have made really good friends, maybe casual friends with benefits? I don’t know, I just really wish she’d stayed angry at him longer.

WHY IS KITTY SO GODDAMN MEAN WHAT IS HER MOTIVATION I DON’T UNDERSTAND WHY SHE HATES MARLEY SO MUCH.

Songs:

Home/Homeward Bound: I love this song so much. It’s so gorgeous and so sweetly nostalgic, and such a beautiful blend of the best voices in the club. Absolutely gorgeous.

Come See About Me: Not really a fan of this one, but more-so because the song isn’t really my style. The performance is fun, though, and it’s really nice to see Quinn, Santana, and Brittany performing together again.

Whistle: I actually really like this cover a lot. They managed to have a white guy covering a rap without actually having him rap? Or, at least not really rapping? It sounds good, I don’t know. That being said, I do find it ridiculous that they would perform this song at a high school glee club competition. I don’t think so.

Live While We’re Young: I love this song, mainly because I love Sebastian so much! Although I will say, I’m not even a Seblaine shipper but it’s always felt there should have been a shot of Blaine in the audience while Sebastian is singing.

Let’s Have a Kiki/Turkey Lurkey Time: Would have preferred this not be a mash-up, but still a decent song, and a really fun performance.

Gagnam Style: Whose idea was this and why was this allowed to happen? I feel so bad for Tina because she finally has a solo in a competition, and it’s this. Seriously, I don’t get why so much pressure was on Marley. Tina is out here singing a song in Korean. Christ. They would have lost even if Marley hadn’t passed out, because this is just… Yikes.

Final Thoughts: This is an awesome, sweet, well-balanced episode. Obviously there’s stuff I don’t like, but it’s overshadowed by all the stuff I love. It’s just the right balance of nostalgia and new. Also, Quinn is back. I missed Quinn.

[miasswier]

miasswier’s ultimate glee ranking: no 60

60: Bash

Written by: Ian Brennan Directed by: Bradley Buecker

Overall Thoughts: I have mixed feelings about this episode. I like it, don’t get me wrong, otherwise it wouldn’t be so high on the list, but it also feels odd. The pacing is weird, and a lot of focus goes to the wrong issues. Almost all the music is slower, so the whole episode has a lowkey feel that always weirds me out a bit. I don’t know. I’ll try and untangle my mixed emotions throughout this review.

What I Like:

I will talk about this in the negative section too, but I do like that Samcedes is the A plot and that they actually dealt with the fact that they are an interracial couple, and one that will soon be in the spotlight. As you will see in the negative aspect, they didn’t go into it as much as I would have liked, but they did touch on it, and they did focus an entire episode on that aspect of their relationship. I appreciate that.

When Sam throws quarters at that woman who’s like “you can’t just throw things in the river”

That they dealt with gay bashing, and particularly that they dealt with it happening in New York, which is seen as a “gay utopia” of sorts.

I also really appreciated that they gave this story to Kurt instead of Blaine. It feels more in line with his journey, and plus, knowing Blaine had been gay bashed twice would just be a bit too much for me.

Watching this episode now, you can see how deeply Finn’s death is affecting Rachel. It’s not explicit, but  you can tell that so much of what she’s doing – the show and NYADA and the diner – is to lose herself in her work and her success. These last few episodes especially, Rachel begins behaving more and more erratically, which we know will ultimately culminate in her leaving her show to be on a terrible TV show. Now, to be fair, I could be giving the writers way too much credit, and this could just be a downward spiral that they decided to throw Rachel down for no reason other than The Drama, but I like to think that it’s all related to Finn’s death, and her coping mechanisms. Plus, it’s got to be hard to see your roommate engaged to his high school sweetheart, you ex get together with his high school sweetheart, and then your other best friend get back together with her high school sweetheart, all the while you know you will never be able to rekindle your relationship with your high school sweetheart. I feel for Rachel, here. More than I did the first time I watched this episode. I really do.

The scene with everyone in the hospital.

I also really appreciate that they decided to have Blaine sing “Not While I’m Around” as a solo instead of making it a group number. It was more intimate, and honestly, more effective. The moment when he climbs into the bed with Kurt and curls into him always makes me tear up. It almost feels too intimate to be witnessing.

The scene with Kurt and Burt, and how Burt sticks around and watches Kurt’s performance! Oh, I missed Burt.

What I Don’t Like:

The pacing in this episode is a BIG issue for me. We have three stories happening: Sam and Mercedes, Rachel and NYADA, and Kurt and the gay bashing. Sam and Mercedes’s story takes up at least 50% of the episode, leaving very little for anything else. And while I think it was an important story to tell, the gay bashing story was important too, and yet it got about 25% of the episode instead of the 33% it should have gotten. Even Rachel and NYADA feels like it got shunted a bit, and again, I think that the Sam and Mercedes story was important to tell, but it makes for a very strange feeling episode. Also, there are literally six main characters being focused on on the show right now, and yet Artie had zippo to do. He’s in like four scenes. What the hell?

I also have mixed feelings about the Sam and Mercedes story in general. As I’ve already said multiple times, I’m glad they touched on race, and on the issues that Mercedes is going to face as a black woman going into the industry, but I felt like a lot of stuff they just barely scraped the surface (ironic since they gave this story such a huge part of the episode). Yes, they touch on the fact that Mercedes may alienate her black audience by dating a white man, but they then say that “white people don’t notice this stuff”, which is wholly untrue. They completely bypass the reason why Mercedes doesn’t want to alienate her black audience – because, as a black woman, it’s going to be harder for her to even get a white audience. Straight, cis, white people still see people like them as the norm, and everything else as “niche”, and therefore only for the people like the creator. Mercedes Jones, as a black woman, is an artist for black people, and a lot of racist people are going to think that no matter what. Also, racist people will notice that she’s dating a white man and they will make a stink about it (though they will be on Sam’s side, despite not knowing him). Also, in general, this whole story gives off too much of a “poor Sam” vibe. It’s like the racism is affecting him because he can’t date the girl he likes, whereas for Mercedes its so much more complicated than that, but that seems to just be swept under the rug. I don’t know. I’m going to leave it here because otherwise I’ll get my head in a knot, but yeah. There’s a lot of aspects of this story I’m very unsure about.

The way that Carmen basically tells Rachel “you’re not special” despite the fact that she spent all of last season beating her over the head with the idea that she was in fact special. Also, in general, I don’t get why it isn’t an option for Rachel to take a sabbatical from NYADA in order to focus on Funny Girl. I get why Rachel wouldn’t take it (see above), but it surprises me that it doesn’t even seem to be an option.

Also, I’m tired of Rachel telling people she’s being an adult when she’s acting like a brat. Dear god.

Songs:

No One Is Alone: I don’t really get why Rachel has such a huge part in this song, and why it’s only Rachel, Kurt, and Blaine. It would make more sense to me if it were just Kurt and Blaine, or a group number with everybody. It’s a good song, but I’ve never understood their reasoning for the lyrical distribution.

You Make Me Feel Like a Natural Woman: I like this one a lot. And the whole carousel idea is so cool and aesthetically pleasing.

Broadway Baby: A more upbeat song, which is a nice change from the slow, lowkey pace of the episode. I grow to enjoy this song and this performance more and more each time I see it.

Not While I’m Around: Not a big fan of the recording, but I really like the episode solo version, and the performance is so raw and emotional. I like it.

Colorblind: This is a gorgeous song, but the scene is way too long and honestly pretty boring. She’s literally just recording the song. They couldn’t have had some other scenes playing while doing this? Also, why did they have her perform the whole damn song. I love Mercedes Jones, but I also love to be entertained, and as much as my ears enjoy this, my eyes drift pretty damn fast.

I’m Still Here: Kurt’s last official solo! It’s fantastic, and so well performed, and honestly I’m glad it’s a bit more upbeat, since, like I said, most of the songs here are pretty slow.

Final Thoughts: Pacing is a huge problem in this episode, as is the fact that they spent a lot of time on an issue that they didn’t even fully dive into. Black women are made to look like big bad meanies to the poor white boy who just wants to date their friend, and we’re supposed to feel bad for him, even though he says some pretty offensive things to them. They also tried to shove two PSA style stories into this one single episode, which ended in them greatly neglecting a really important story (the gay bashing) because there simply wasn’t time. It’s a good episode, and one I do enjoy, but despite it’s high ranking, it’s not an episode I would purposefully watch just cause.