Day 28: Never Been Kissed

Two words: Darren Criss. When I heard they were going to cast a significant other/ mentor/ whatever the heck he is for Kurt, my initial thought was, 'Good luck'. Because as far as I could imagine, no one would ever be a worthy match for the charming and perpetually adorable Chris Colfer. You know what they say about lightning never striking twice? It's bunk.

Two more words: Coach Bieste. I am madly in love with this woman. So sweet and vulnerable, yet absolutely terrifying when she gets fired up. She's got a hard shell with a nougat-y center.

A few more word pairs, for good measure:
Kurt confronts
Karofsky snaps
Buzzkill works
Bieste cries
Will kisses
Teenage Dream
Kurt smiles
Puck waffles
Artie pays
Boys apologize
All forgiven

Summary complete.


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Day 27: The Rocky Horror Glee Show

I was scared to death of this episode. And not in a cool, shivery haunted house way, either. After the Britney/Brittany debacle, I figured this would be yet another excuse to push the boundaries of decency and good taste. I confess I am not a huge "Rocky Horror" fan.  I've only seen the show once in its entirety, and that was probably 20 years ago. Since then, I've never felt the desire to revisit Dr. Frank-N-Furter and his band of merry--whatever they ares. I remember the basic premise and watched a few clips on YouTube to refresh my memory in preparation for this episode, but that's about it. It's not really my thing, but to each his own.

You will be surprised to learn that I actually like this episode. Probably no more surprised that I was, though! The music and costumes are fun and a departure from the regular Glee fare. Finn is an utterly adorkable Brad. "Dammit, Janet" is pure delight. His awkward physicality actually worked to his advantage for a change! Kurt's Riff Raff is somehow both cute and creepy. And I thought Mercedes made a fantastic Frank-N-Furter. Yes, that choice raised some eyebrows, but it works for me.

What doesn't work for me is the continuation of manipulative Will. You're a teacher, man! Pull yourself together! Now, we all know he isn't above a bit of treachery to get what he wants. I mean, back in the day, he planted drugs on a student and then proceeded to blackmail said student into joining glee. He's certainly no saint, but using his students and endangering the club ON MULTIPLE OCCASIONS to aid  his romantic pursuits seems over the top. Which is really saying something.

Personally, I think it's hilarious that every time an interviewer asks Chris about coming up with the idea of doing a Rocky Horror tribute episode, he says something along the lines of, "Well, I wanted to do 'The Time Warp' ",  like he doesn't really want to take responsibility for the whole thing. I guess I don't blame him. The material here is risque, and honestly, not really suited for an early, primetime show. The source is a controversial, R-rated movie that is steeped in sex and reeks of fetish from beginning to end. It was sort of a bizarre choice, actually, because it pretty much guaranteed that hardly anyone would really be satisfied with it. The purists would be infuriated by heavy content editing, and the general non-Rocky public would be severely offended at worst and at best, terribly confused. I guess I'm somewhere in the middle: aware of the show but not a fan. The potential for disaster was pretty high from the outset.

The whole thing might have bothered me more had it not been for the brilliant "Sue's Corner" near the end of the episode. Here's a portion of that scene:

Well said, Sue.

I'm both encouraged and confused by this speech. On one hand, I think, whew--Ryan Murphy and Co. actually do understand that they have a responsibility to the viewing audience. That pushing the boundaries of decency just because the network will allow it isn't a good enough excuse, and that kids find plenty of questionable material all by themselves without adults handing it to them. I want to believe that this is an apology of sorts for previous missteps and an assurance that we will never again be subjected to students publicly pleasuring themselves or references to scissoring. This is not to say I want the writers to eliminate all potentially objectionable material. Glee is what it is because of the boundary-skirting issues and dialog. What I would like to see is "pushing with a purpose": pushing done thoughtfully, with an actual goal in mind, rather than pushing for its own sake or for shock value.

On the other hand, I get a little nervous when Sue emerges as the voice of reason. Do the writers intend for her to sound reasonable, or do they think she's being stodgy and ridiculous? Are we meant to watch her little speech and reel in horror at the suggestion of censorship in any form, or the idea that adults are actually doing a disservice to kids by not monitoring their media exposure?

I'd like to say the first case is more likely, but I'm honestly not sure. I suppose time will tell. Or not. It's awfully hard to know with these guys.



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Day 26: Duets

By and large, I like "Duets". After my last traumatic post, this, at least, doesn't feel quite as personal. It's a step in the right direction, anyway.

There are lots of great performances, in particular Mike and Tina performing "Sing!", which is probably one of the cutest things I've ever seen, and Kurt's "Le Jazz Hot". I'm dying to know if Chris did that glissando all by himself or if he had digital assistance. It sounds amazing! Also, I pray he never decides to grow a mustache.

I love Sam as this moment. I think it's darling that he does impressions and speaks Na'vi. It makes me sad that he subsequently loses these quirks, or at least they fade back behind the "jock" persona. Which is a shame, because the show could benefit from a good sci-fi/ pop culture nerd. One would think the writers would be all over that. Imagine the wealth of comic gold available from such rich sources as Star Trek, Star Wars, DC and Marvel Comics...the mind boggles at the possibilities. Sam has the potential to be a fun, unique character, and I hope someday he gets that chance.

I do not love Artie at this moment. Within a matter of moments, he goes from mooning over Tina to hitting the sheets with Brittany? Seriously? Not even a second thought, huh? And then he suddenly turns all self-righteous on her and sends her on a guilt trip because she took advantage. I don't recall hearing any protest on his end! And he obviously knew Brittany's reputation and her intelligence level. This whole thing was completely out of left field, and I HATE THAT! I can't really blame Artie for this lapse in judgment, though. The blame lies with the writers, who, once again, commit character homicide. This is not the Artie I know. And this turn of events is not cool.

I do appreciate the growing understanding between Kurt and Rachel. Despite Kurt's wishes to the contrary, they actually have a lot in common. I think it's sweet that Rachel manages to step out of herself for a moment, notice that he's hurting, and offer a hand to hold. Maybe she isn't a very nice person in practice, but she's capable when she puts her heart in to it. Hopefully, she'll start to figure out that building her friends up doesn't necessarily come at an expense to herself. That building another person up actually makes her stronger. And sometimes, it can even lead to a killer duet.


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Day 24: Britney/Brittany/ Day 25: Grilled Cheesus


Yes, I'm behind on my posts. A computer glitch left me stymied Thursday night. Then last night, a friend called, wanting to hang out and watch a movie or something. "Something" turned out to be a double feature of "Britney/Brittany" and "Grilled Cheesus". My friend has seen Season 1(at my behest), but not Season 2, probably due at least in part to my obvious dismay about the direction the show was taking.  My vision was that I would watch with my friend, follow up the viewing with a lively, enlightening discussion and I would then blog about it. Sort of a fun deviation from the norm, right? Well, what ended up happening is we watched, had a discussion, and then I came home and sat up all night wondering what the heck is wrong with me for being so committed to something that invoked both shock and horror in someone I care about and admire. I considered ditching this project, but I'm going to try and finish for myself. I say for myself, because I have no idea what is going to come out, and whatever it is, it probably won't be popular.

I'm not going to do proper write-ups of these episodes at this moment in time. I just don't have it in me. What I will say is that these two episodes caused feelings in me I'd never experienced before while watching Glee. More firsts, but this time, not the good kind.  These episodes marked the first  time I was actually embarrassed to call myself a Gleek. The first time I felt the need to apologize to my friends for inviting them over to watch. The first time I felt insulted by the writers; that they deliberately opted for shock value vulgarity over clever writing. This was the first time I felt violated; that watching left me feeling cheap and tawdry. And the first time I realized, through the haze of adoration, that the show was not actually plot or character-driven at all, but rather, whim-driven. Why else would they change history and characters more often than Kurt changes clothes? Did they think I was stupid and wouldn't remember? Emma didn't dump Will because he was boring! She dumped him because he CHEATED ON HER. And the sweet, dynamic kids we met last season? Where did they go? I hardly recognized them anymore, and it hurt my heart.

This was also the first time the creators took something sacred to me and made it an hour-long joke. And to what end? No apparent character evolution took place. No one was really any better off. Along with Finn, my faith was shaken. Not my faith in the divine, but my faith in the OTHER creators. The creators who gave us the world of Glee. And in the absence of faith, there is fear. Suddenly, for the first time, I was afraid. Had I been wrong to believe? What would happen next? Was this world I'd grown fond of and comfortable in slipping away?

Now, from its inception, this world was never perfect. Far from it, in fact. The environment was not safe for everyone, and discretion was necessary, but it made a great number of people very happy. I spent time with several thousand of these contended residents when I attended Glee Live in May. There were people old and young, male and female, from all walks of life. I remember in particular a grandmother there with her granddaughter, who looked to be about 10. And I thought how great it was to be part of something that brought generations together, opening hearts and minds through shared music and laughter. Seeing these episodes for the first time, I thought of those two people again, of them watching together. And I couldn't picture it.

Here's the thing about faith, and even if Finn doesn't get it, I do. Faith isn't about instant gratification. It's about sticking with something you believe in even when it gets hard. Even when things don't go the way you want them to. Faith is about believing that eventually, things will work out for the best, whatever the 'best' might be. My faith has been shaken, and a degree of trust has been lost. But I'm not ready to give up yet.


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Day 23: Audition

Season 2! After a hideously long hiatus, I was all geared up for more Glee. As I'm sure all of you were! My expectations were hazardously high. The writers hinted at more "intimate", fleshed-out storylines. There would be fewer production numbers to allow time for richer plot. Most intriguingly, new members would be coming in to the fold. I was a tad leery of the promised new characters. Would they be any good? How could they possibly measure up to the established characters I already loved? Was there room in my heart for an expanded glee club? 

When "Audition" aired at long last, I was thrilled. I was surprised and delighted to find myself instantly taken in by Sam, Coach Bieste, and Sunshine. Even better, several promising storylines were introduced. What follows is a rough approximation of my thoughts both during and immediately following the episode:

Sweet Sam-- the comic book-loving new kid worried about fitting in. He's also dyslexic. Those are issues lots of kids deal with. Definitely some usable material there...

Sunshine emerges as yet another tiny diva with a big voice. The perfect foil for the crazy-competitive Rachel! Imagine the hurt feelings and cat fights that will ensue...

Mike and Tina are dating? Hmmm. Okay...well, there must be more to it than Mike's abs and being Asian. I'm sure we'll find out more later...

Poor Artie! He obviously still cares about Tina. I can't wait to see what he'll do to win her back. Watch out, Mike--Artie knows what he wants and he won't give up until he gets it...

Quinn supplants Santana as captain of the Cheerios? That will cause some tension! I wonder how Babygate has affected Quinn's competitive nature. Will she let Santana push her around? How far will Santana go to regain her position? This will be an epic showdown...

Wow... Santana clearly has some serious self-esteem issues. Those issues probably fuel her promiscuous behavior. Many girls feel badly about themselves, so it will be interesting to see how Santana progresses. The boob job must be a set-up for the exploration of those issues...

I am completely in love with Bieste. She's perfectly heartbreaking and adorable and intimidating.

Well, one out of seven ain't bad. I guess.

Like I said, my expectations were hazardously high. Even more so after "Audition". Which is why, thus far, season two makes me want to tear my hair out! I'm not saying I've absolutely hated it. In typical Glee fashion, there have been many, many great moments. What eats at me, though, are all of the wasted opportunities for character and plot development. ALL of the characters could have sustainable, substantial story arcs. Some of them (particularly Quinn, Sam, and Santana) have the potential to make a significant impact. Maybe even save lives. For a show that prides itself on inclusion, the writers are surprisingly choosy about what issues warrant attention.  I just can't wrap my head around it. Glee has the power to reach out and inspire kids of all ages and backgrounds to embrace themselves and their differences. So the big question of this season is, why won't the writers actually do it?

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Day 22: Journey

I can't believe we made it to sectionals! I feel a genuine kinship with our intrepid glee clubbers today. Season 1 has been an epic uphill battle, fraught with frustration, heartache, tears, and the occasional errant slushie. And that's just me blogging about it! It's been WAY worse for the kids. Thankfully, we've all had enough good times to balance out the bad: plenty of laughs, loads of music, and a surprising amount of self-discovery to boot.

One of the (many) things I find intriguing about Glee is that even in the best episodes, the writing is a bit daft. This tendency possibly stems from the fact that the three writers are men, all of which are unmarried and childless. Case in point, I can tell you with surety that a gal can't just walk in to a hospital on a whim, sign a paper, and walk out with a baby. And yet, in the wacky context of Glee, it works! It's a tremendous testament to the power of the show that intelligent, rational people are by and large willing to overlook these bouts of crazy and just go along with whatever happens.

And there is a LOT happening here! Finn declares his love for Rachel, Matt speaks AGAIN (and delivers his line admirably, which is good considering it's more or less his swan song), and Quinn's mother resurfaces.  Will lays all his cards out with Emma. Josh Groban and Olivia Newton John boldly commit character assassination against themselves. Kurt, bless his heart, manages to act deadly serious while dressed as the Cracker Jack mascot. And all the tears! Is there anyone who doesn't cry in this episode? Even SUE tears up, for heaven's sake!  I must confess, I get a little weepy myself, especially during the Bohemian Rhapsody/childbirth montage. It's remarkable to me the way the two scenes feed off of each other, yet neither is diminished in intensity by sharing the same space. Beautiful. On a side note, I just have to say, Zach Woodlee is a gift to mankind. Since most of the performances on the show call for "dumbed down" choreography, numbers like this are a rare, savory treat. I love you, Zach!

"Journey", to me, is classic Glee. It has just the right mix of sweetness, suspense, comedy, melancholy, and music. If the writers could bottle that magic elixir and take a big swig every time they start a new script, they would never flounder again. Going a step further, why not market it globally, alongside all those tee shirts and soundtracks? Who wouldn't like to buy their own supply of vintage Glee? Light and bubbly with subtle, dramatic undertones. Sweet top notes. A bit of a bite, but smooth going down. And oh--it would make you feel so good! Giddy and satisfied, and a little nostalgic. I bet they could sell it by the box.


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Day 21: Funk

Well, if I had to pick my least favorite episode of Season 1, "Funk" would be the one.  It bears the unfortunate distinction of being the only episode with musical numbers that I actually skip. Other than that, there's really no specific reason for my distaste. It just doesn't ignite anything in me, you know? I've come to accept that not every episode is going to be amazing, and none of them will be perfect. That simply isn't how the writers roll. And that's okay. It doesn't make me any less of a fan if I feel ambivalent toward certain episodes. Apparently, the theme for this post is "Episodes"...

It's like this. I love my kids and I love my cat, and nothing they ever do will change how I feel. Even if they break my heart (kids), tear up the couch (cat), or barf on my carpet (could go either way), I will forgive their mistakes and go right on loving them. Glee is a bit like that for me. I don't always enjoy what's going on. The writers have made (and continue to make) some choices that infuriate and frustrate me. Still, I dearly love those glee clubbers. It's a good thing they're so cute--it makes forgiving the writers' folly that much easier.  :)

So, I'm curious. Are there any episodes that leave you cold?


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Day 20: Theatricality

I certainly appreciate the value of self-expression. In fact, I'm wearing 10-inch heels with my lady demon clothes right now. No, not really. I'm actually a pretty reserved person. I know--hard to believe, since I'm such a wild animal ON MY BLOG.

There's a lot of good stuff here. A little Gaga, a little Kiss...some mama drama...and spandex! Tina is brilliant. Why does she not get more to do? Rachel's critter dress is somehow a simultaneous win/ fail. And, in the spirit of ultimate self-expression--Matt SPEAKS.

The big moment in "Theatricality", of course, is the infamous basement blowout. My take is that no one in that situation is completely right or completely wrong. Ryan Murphy wrote this script, and I gather, based on Papa Bear Burt's lengthy speech, that he wants to cast Finn as the bad guy who is completely out of line. Here's the thing. Finn, like Kurt, is a teenager. A teenager who has been cornered, quite literally, into an awkward situation he has no idea how to deal with. He has already tried ignoring Kurt's advances, to no effect. Kurt persists. Now, I don't fault Kurt, either. He's in new territory as well. Finn is ridiculously cute, and nicer than most of the other boys. And, well, you can't always choose who you fall in love with, particularly if your options are limited and think there is even a remote possibility of success. So, Kurt pushes, and Finn freaks. Could he have been nicer about it? Sure. But, in that moment, he is done with subtlety. A huge, theatrical meltdown results. At the end of the day, though, they are both good guys, and neither of them really meant any harm.

It's freeing to be a little theatrical. We all have a bit of an inner diva, just dying to make a splash. We aren't soulless automatons. We're individuals! And that's a wonderful thing. Along with that delicious individuality, though, comes a degree of responsibility. I fervently believe that people should be free to express themselves, but only to the extent that it is respectful of others.  Okay, that sounds stodgy, but what I mean is that if people try to consider not only their own rights as individuals, but society as a whole while expressing themselves, I think there would be a whole lot more acceptance and patience in the world. Honestly? Extremes are threatening. So are Loud, Pushy, Condescending, Condemning, and a whole slew of others. They make people feel defensive. It's the whole "I'll do/ say/ wear whatever I please and screw you if you don't like it" attitude that causes so much grief.

So, back to Finn and Kurt. Kurt has the right to be who he is, no question. Finn has the same right, though. If Kurt had been paying attention, he might have noticed that Finn felt uncomfortable. He might have backed off a bit. Finn had something important to express, and was entirely within his rights to do so, but rather than thinking how hurtful his outburst might be, he allowed himself to lose control. In this case, a little mutual respect and consideration could have saved a whole load of turmoil.

That's just one example, and yes, I realize it's fictional. I also realize that the world is far from perfect, and therefore people will continue to behave badly. Still, wouldn't it be cool to live in a world where we could all appreciate each others' inner divas? Where I would cheerfully respect your right to express yourself because I would know that you likewise respected mine? A happy middle ground where 'I' and 'we' could coexist peacefully. Wii? Dang...already taken.


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Day 19: Dream On

"A dream is something that fills up the emptiness inside. The one thing that you know if it came true, all the hurt would go away."  Jesse St. James

I could, and probably should, leave it at that, buuuuut I won't. Because, darn it, there is food for thought here. If not a buffet, at least a soft pretzel's worth. On today's menu: dreams.

The lights in the WMHS auditorium don't run on dreams, but the souls in that auditorium sure do. Some precious dreams will bear fruit. Those are the ones that give confidence, fortification, and the desire to move forward and set new goals. Others are so lofty, they may never be fully realized. That's okay, though, because it's those really lofty dreams that make a person reach.

Artie steals the show, here. "The Safety Dance" easily makes my mental list of top ten Glee moments ever. Probably top five. In those two minutes of joyful movement, he makes it known that although his body is tied down, his heart certainly isn't. I love Tina for supporting and fueling his dream, no matter how far-fetched it might be. We all need a Tina; someone to tell us there's hope and that we aren't being completely ridiculous (even if we are being completely ridiculous).

Artie ultimately concludes that he needs to focus on dreams he can actually achieve. Realistic dreams are safe. We have some control over them. They aren't as likely to hurt us. There is nothing wrong with that. There's a certain wisdom in accepting one's limitations (I'm talking to you, first round American Idol contestants). The trick is balancing what truly is with what might be. Even if what might be seems like the proverbial impossible dream. So, maybe Artie never will dunk a basketball or kill a lion. But you know what? I hope he keeps those tap shoes.


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Fluff Post!

Believe it or not, when I launched the retrospective project, I intended for it to be fun and fluffy. I'd sit down, watch an episode, and then just write whatever thoughts came to me. Comedy assured, right? Well, it transpires that my spontaneous brain does not do 'fluffy'. On the other hand, who knew watching Glee could actually be an intensely philosophical and existential experience?  Color me surprised!

Anyway, in an effort to lighten things up a bit (and hopefully avoid scaring off the few readers I have), I'm doing a "fluff" post today. Literally. I thought I'd share a few more of my BABW creations, because they are "so fluffy I could die"! I put all blame for this project on Build a Bear Workshop and their ridiculously good coupon offers and generous reward program. Also ebay. Aaaand my bizarre urge to create Glee character effigies. I seriously couldn't help myself.

 This is Arfie Abrams. Doesn't he sort of look like Kevin?

 Here's my take on Finn. Can you guess his name? It's Finn...wait for it...CUDson!

 Can't decide if I want this guy to be Puckzilla or Pucksaurus. Either way, he's pretty cute.

And by "cute",  I mean "totally badass".

Because he's adorable, here's Kurt Hoomel again. Just in case you missed him the first time. 

I made his costume myself! He's probably my favorite.

I have several of the girls in progress...they're waiting for jewelry, costume revisions, and what not.  I'm really excited about the cute shoes I found for Moocedes! I'll try to get them in here at some point in the not too distant future.

Well, hope you enjoyed this little fluff piece! I'll be back tonight with Day...uh, whatever I'm on now. 18? 19? Anyway, I'll be back. See you later!


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Day 18: Laryngitis

It's fitting that this happens to be the episode of the day, as I currently find myself on the verge of a minor identity crisis. Bad news, glee clubbers: personal identity isn't a "one shot and done" proposition. You develop yourself over time. And, like most worthwhile pursuits in life, it takes concerted effort in combination with prolonged introspection. Although, it's entirely possible I'm  doing it wrong.  That would actually explain a lot.

In "Laryngitis", the glee kids face their own identity issues. What makes them tick? What makes them unique? And what happens when those qualities are lost (or ignored)? Although this episode is rather heavy-handed in spots, the intent hits home. The kids discover they are not simply the sum of their parts, and adding or subtracting a piece or two doesn't ultimately change who they are inside. Rachel is more than a voice; Puck is not just a mohawk. And Kurt will always be Kurt. No amount of flannel can change that.

The issues explored are relevant to every person walking the Earth.  Because who doesn't define herself by what she can do, or how she looks, or what she's accomplished? Everyone does that to some extent. The problem with hanging your identity on those things is that life loves a good joke. Not a good "ha ha" belly laugh kind of joke, either. Life jokes are usually the ironic kind that leave you feeling kind of had, and like you maybe should have seen it coming. Be that as it may, the entity known as 'you' can change in a flash. Then what? How will you find your voice? If you figure it out, let me know.


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Day 17: Bad Reputation

"Bad Reputation" is one of my favorite Back 9 offerings. It is totally ridiculous, the plot line makes even less sense than usual, and there are lots of men in singlets (no offense, just not my thing). Despite these strikes against it, I can't help but love the whole mess.

I could watch the "U Can't Touch This" sequence for hours. Come to think of it, I probably have watched it for hours, collectively speaking.  This is undoubtedly the "wishful thinking mom" part of me talking, but it delights me to no end that the most scandalous idea these guys could come up with was "getting their glee on in the stacks". Also, glee club must have a doozy of a costume closet! The cute little librarian slays me. Do you suppose they ever actually performed for the Sunday service?

Of the two music videos, only one of them does anything for me. "Run, Joey, Run" is, as Rachel would say, "Fantastically terrible". The melodramatic song combined with the cheesy editing (love the kaleidoscope effect) and over-the-top acting make for what I consider one of Glee's classic moments. I don't think Mark Salling is a particularly strong actor, but he's absolutely perfect here, right down to the anguished looks and heaving chest. The cameo by Sandy Ryerson is one for the ages--even in a bit roll he plays it for all it's worth.

"Physical" is just...no. And not solely because of the singlets situation. It felt completely unnecessary-- stunt casting for the sake of stunt casting, which is never a good thing. This was just too much, especially on the heels of "Vogue" in the last episode. I guess I sort of understand what they were trying for, tossing Sue on the reputation bandwagon. I still don't like it, though.

Aside from "Run, Joey, Run" (which I had never heard before), all of the songs featured in this episode were already on my ipod. Yes, even "Ice Ice Baby". I'm not sure what this says about me or my taste in music, but whatever it means, I'm fairly certain "nerdy" is in there somewhere. Also, old. "Bad Reputation" makes me feel enormously nostalgic, actually. I was in high school when most of these songs were popular, in particular "U Can't Touch This". I remember everyone comparing notes on how to successfully perform "the running man". I'm sad to report that I never did get the hang of it. The cabbage patch, on the other hand...


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FreePavarotti

I don't know why I'm so delighted about this, but I got retweeted by the entity known as "FreePavarotti" on twitter. I'm wildly curious about who actually runs the account! Who could it be?

Anyway, thought it was cute and wanted to share. The socks, obviously, are from Forever 21, which I find terribly overwhelming in general. I venture in there once in awhile because they have cute socks for $0.95.  :)


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Day 16: Home


Of all the days to promise a light entry! This isn't exactly an episode that lends itself to levity, but I'll try not to be as big a drag as yesterday. Here goes nothing...

So, "Home" is a very different-feeling episode. The frenetic pacing normally associated with Glee takes a day off in favor of a purposeful, yet fortifying stroll.  It feels...chewy? Sort of like eating a piece of taffy; you have to chew slowly as it dissolves in your mouth.  You can't rush "Home" any more than you can rush that big wad of delicious candy.

As a general rule, the episodes written by Brad Falchuk are my favorites. If Ian Brennan is the snark, then Brad is the heart. He comes through here in a big, Burt Bacharach kind of way, as various characters explore the meaning of 'home'. The usually self-confident Mercedes struggles to feel at home in her body. Finn feels that his home is being yanked out from under him, while Kurt fears that his position in his home is being usurped. The grown-ups are having a rough go of it as well. They've been bearing up admirably under difficult circumstances, but they now realize that their homes, while functional, are lacking. They are particularly compelling, probably because up until now, these folks have been essentially flat background characters. Finally, April, Carole, and Burt emerge as actual people and not just as "adults". Will, too, to some extent. We get intimate glimpses into their lives and hearts, and man, there is a lot of stuff going on in there! It turns out they are every bit as flawed and vulnerable as the kids, and have exactly the same desires; to love and to be loved, to belong, to feel at home in the world and with themselves.

Part of me wonders if the pacing was intentional. That this episode was meant to feel like a slow march rather than a sprint to the finish. Because the 'home' referred to here is not a physical destination. This kind of home is a lifetime pursuit. I don't think anyone ever actually gets there, at least not permanently. Life brings change, people grow, priorities shift. It's that yearning, though, that keeps us moving and makes us (hopefully) try a little harder to find our place. That being the case, the real goal is making the  most of the march. Bring the people you love best, breathe deeply, appreciate the view. A great soundtrack doesn't hurt either.


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Day 15: The Power of Madonna

Confession: I love this episode, simply by virtue of the music. I grew up on Madonna's early hits, so the whole thing felt a bit like old home week. Considering the huge number of featured songs, I think the writers did a pretty sweet job of shoehorning a storyline in as well. Everything served some purpose and didn't feel as gratuitous as it might have. I certainly wouldn't want a big production like this every week, but I think it's okay once in awhile.

Best moments:

• The entire "Open Your Heart/Borderline" sequence. Not only are those two of my favorite Madge songs, but it also featured what amounted to the history of Madonna as Finn and Rachel made their way down the hall. What a hoot trying to pick out all the different looks and reminiscing about the videos! I thought it was a really special touch, and a nod to fans both young and old(er).
• Will's attack on Sue's hair. The "Flowbee" shout-out pretty much made the scene for me. I actually knew someone who owned one of those things! It worked about as well as you'd imagine.
• Sue Sylvester's "Vogue", just for the sheer absurdity of it. This was the first time we heard Sue sing, and I think she did great!
•  Kurt and Mercedes as Cheerios. These two were so sassy and cute...I'm actually very sad that storyline didn't last longer. 4 Minutes is one of the two songs I wasn't previously familiar with (the other being "What it Feels Like for a Girl), and I love the marching band treatment! 
• "Please stop talking. You're grossing out my baby." Ha!
• The look of perplexed concentration on Mercedes' face as she was calculating Sue's age. If this wasn't Glee, I'd be incredulous that a kid her age would know what year "True Blue" came out. Since it is Glee, I'm willing to suspend my disbelief in favor of a good chuckle.

Now for a few(?) words on a more serious note. As a show that deals extensively with teen sexuality, I sometimes get a little nervous about how casual it all seems, and the implication that there's some sort of race or deadline. This is not because I'm prudish or naive about hormones+teenagers. I'm an adult, I WAS a teenager, and I speak from a place of humble perspective. That said, I do appreciate that for the characters who are "active", the outcomes have been portrayed more or less realistically. Quinn and Puck are dealing with a pregnancy. Finn rashly threw away his first time. He thinks he feels bad now, but he'll feel even worse later when Rachel finds out. Santana plays fast and loose, but I get the impression that she isn't that way because she particularly enjoys it. Maybe we'll find out what's really going on with her at some point. 

The media tends to give kids a very romanticized, glamorized version of sex, often with no repercussions, which then leads to unrealistic expectations. It's important for young people to see that waiting is perfectly okay, and that there are consequences for rushing things. The writers did an admirable job with that here, so good on them! I know this isn't a popular point of view these days, but there it is. *steps down from soap box*

Tomorrow, I shall attempt to keep it light.  :)

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Day 14: Hell-O

I'm determined to keep on schedule with this project, despite still reeling slightly from last night's Golden Globes show. Seriously, I haven't shrieked like that in ages! Then watching all of the fun backstage stuff and cute interviews today...it's like a happy bomb detonated.  :)

Today, I venture into the infamous "Back 9".  Infamous because, for good or ill, the final nine episodes of season one set Glee's precedence for change.  After a long, agonizing hiatus, "Hell-O" was designed to introduce fans to the new and improved (?) Glee. A Glee that we were promised would be "bigger and better". More music, more showbiz, MORE EVERYTHING. During the hiatus, I think many fans were excited about that idea. Myself included! There was such a hunger for new material that MORE sounded like a fantastic idea at the time.

It's not that I don't like "Hell-O" or the back 9 in general, because I actually really do. What I'm saying is they feel different from the first 13. It's sort of like installing a system upgrade on your computer: it takes some time to adjust because the old one was so comfortable and familiar. After that adjustment period, you might still find yourself longing for the ease and carefree interface of the old system, even if the new one is perfectly fine. Now, if these episodes had comprised the first part of the season, I would have still glommed on to the show. Would I have fallen hopelessly in love with both the show and the characters? It's hard to say. For me, all the MORE occasionally eclipsed the little things that made Glee so special to begin with. More songs left less time for story, less story meant less character development.  It suddenly felt more commercial and less intimate.  I enjoyed these later episodes overall, but for very different reasons than I enjoyed the earlier ones. I think they are perfectly fine, but I sometimes miss the old system!

That being said, I love all the music here. The Doors, Lionel Richie, and The Beatles all in one episode? Yes, please! I notice that thus far, season two has skewed younger music-wise.  I hope this will not always be the case, 'cus I love my classics! The setup for the major second act storylines is also well done--a tantalizing promise of more messy drama to come.

Mmmmm...messy drama! Stay tuned...

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Golden Globes, Golden Moments

 Well, my lucky Glee pants certainly worked their magic last night. You're welcome, Glee cast! Seriously, though, what a night. And it didn't have anything to do with luck OR my pants.

With well-deserved awards for Jane, Chris, and the show, I was positively giddy. Admittedly, I don't always agree with the directions the show goes in, but there is no denying this is the hardest working cast in the business. They earned those awards with blood, sweat, and tears. Sometimes literally. Congratulations, all! We love you dearly and appreciate the sacrifices you make to keep us laughing, crying, singing, and most of all, thinking.

Chris pretty much owned the night, though, didn't he? I went back and watched the presenters announce his name over and over last night. The look on his face--the very definition of shell shocked! It just never gets old. For a minute there, I was concerned he wasn't going to make it to the stage at all--he looked awfully unsteady! Then to give that beautiful speech, which somehow simultaneously conveyed both humility and pride...just--wow. What a spectacular moment for a lovely, remarkable guy.

In a few succinct words, Chris managed to sum up the power and appeal of Glee. At its heart, the show celebrates kids and differences. The harsh reality is that being different makes kids vulnerable. Whether they be shy, overweight, mentally or physically impaired, gay, exceptionally bright, taller or shorter than average, a racial minority, or simply perceived as weird, a kid that won't (or can't) conform is probably going to get picked on. So many kids are told "no" by their situations, the people around them, and very often, by themselves.  No single group has a corner on the bully and discouragement market. Glee encourages people of all kinds to throw off the "victim" label and take control. It has the power to give kids hope for a better future, but, perhaps even more importantly, gives them wings to rise above adversity in the meantime.

This is why we love Kurt, Tina, Mercedes, Artie, Becky, Rachel, and all the others. For these kids, "no" has just become another, more scenic, route to "yes". That's not to say they won't continue to struggle, but they are learning and growing from their experiences, and discovering inner strength they didn't even know they had. Isn't that what we want for the rising generation? Really, isn't that what we ALL want in life?

Bravo, Glee. Let's keep on keepin' on!

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Day 13: Sectionals

Hooray! We made it to "Sectionals"! Our little band of ragtag misfits manage to pull themselves together at last and take the victory, just like we hoped they would. Throw in some of the best music of the series to date, a last minute crisis, a midnight reprieve, and a generous dose of comeuppance and BAM--instant classic television.

Even if the series had ended after this episode, it would have been deeply satisfying. Heartbreaking, but satisfying. Loose ends tied up, major plot lines resolved, the future of the glee club secure, the villain vanquished, the possibility of love, at last, requited. It would have been a terrible loss to fans and television alike, but the show certainly would have lived on in legend, a beloved little gem to cherish.

As the writers and cast have said, the first 13 episodes were produced in a relative vacuum. Before the Gleeks, critics, awards, fame, and pressure to please, there was just a group of relative unknowns pouring their hearts into a project they loved and believed in. With no assurance of success, they crafted these first episodes. For all anyone knew, "Sectionals" could well have been the end. How I love everyone involved for having the humility to realize that and wrap things up so beautifully; a delicious package of quirk, joy, snark, and wit, all held together with song and dance.

"My Life Would Suck Without You" is the bow on top.  It felt like a gift in itself--a sweet memento of the time we spent watching and growing to love these kids: Remember? This is where we've been together. See how far we've come? Thank you for joining us...it's been a crazy ride!

The perfect curtain call to a stellar first act.

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Day 12: Mattress

Smile though your heart is aching
Smile even though it's breaking
When there are clouds in the sky
You'll get by
If you Smile through your pain and sorrow
Smile and maybe tomorrow
You'll see the sun come shining through
For you

Light up your face with gladness
Hide every trace of sadness
Although a tear may be ever so near
That's the time you must keep on trying
Smile- What's the use of crying
You'll find that life is still worthwhile
If you just smile.

-Charlie Chaplin

Dear Glee Clubbers,

Sometimes life stinks. Sometimes, jerks draw buck teeth or Hitler mustaches on your yearbook picture. That stinks. Someone you trust bailed at the last minute? Stinks. You got your teacher banned from competition over a delightful, yet ill-advised local commercial? Stinks. Your wife concocted an elaborate pregnancy hoax? REALLY stinks. The point is, stuff happens.  Much of that stuff is beyond your control. Especially the reactions of other people. Some folks will always be morons, and others will let you down. There just aren't enough showtunes and ballads in the world to change that.

Don't despair! You have each other. You have your music. You have Sectionals coming up! And you can choose to smile, even when stinky stuff happens. Life can take a lot out of you, but don't let it take your smiles. :)

Love,
Me

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Day 11: Hairography

Catching up today. I attended my monthly book club meeting last night, and an abundance of tasty victuals and stimulating conversation led to my, well, distraction.

So, "Hairography". This episode is notable for two things: the epic upside-down butt shaking move in Jane Adams Academy's "Bootylicious" number (I KNOW you know exactly what I'm referring to) and the abuse of the word 'distract' in its various forms.

The writers are big on having a theme for every episode, and I fully support that. The theme (usually) helps things stay on track within each installment, and I imagine having a main focus streamlines the script writing process to some degree. That being said, the whole "theme" theme has notoriously gone awry on several occasions. "Hairography" is the prime example. The theme of 'distractions' is laid out very clearly in the first scene. Then, during the course of the episode, different characters say the words 'distract', 'distraction', or 'distracted' no fewer than 18 times. I know, because I counted. I may have even missed a couple because it didn't occur to me to keep track until several minutes into the first act. It's to the point that the theme is a distraction in and of itself.

I have a theory on this. Ian Brennan wrote the script for this episode. We know he's a free-thinker and a bit of a card. I suspect he also enjoys messing with people. Part of me thinks he purposely stuffed the script full of 'distractions' in order to be ironically distracting. Doesn't that seem like something he would do? I certainly prefer this hypothesis to the (rather insulting) alternative, which is that either a. the writing is just incredibly sloppy here or b. Ian felt the audience was too dense to glom on to the theme without repeating it ad nauseam. I'm going to give Mr. Brennan the benefit of the doubt and go with "ironically distracting". I honestly can't believe this hasn't dawned on me before now. I was obviously distracted.

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Day 10: Ballad

Awkward moments abound in "Ballad", to the point that the first few viewings caused actual physical discomfort. Naturally, being a glutton for punishment, I kept watching anyway. I can now honestly say this episode is quite dear to me, angst and all.

The opening scene where Will and Rachel sing "Endless Love" is one of my all time favorites. To this day, I cannot figure out why Matt Morrison didn't submit this episode for awards consideration, because some of his finest work is found here. The look on his face coupled with the hysterical voice-overs--absolute gold.

The acting here is spot on. There are a lot of voice-overs and reaction shots, which, in less capable hands, could have easily fallen flat. Thankfully, that did not happen! Next time you watch, really concentrate on the actors' faces. There are so many moments that are literally raw with emotion, yet not a word is spoken. Other times, what is said does not sync with what the characters are obviously feeling. Look at Finn's face when Mr. Fabray is making his toast, and at Quinn's mother in the moment her mild entertainment at Finn's song morphs into stunned realization. Watch Carole as she comforts her son--her voice says "It'll be okay", though her expression speaks of absolute heartbreak. The interactions between Kurt and Finn are both

achingly painful and beautifully executed. For an episode about expressing feelings, there is an awful lot that, for good or ill, goes unsaid.

Hats off to Brad Falchuk, who both wrote and directed, and to the cast, who were obviously in rare form that week. And no, there's no duck in the hat.

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Day 9: Wheels

"Wheels" IS one of my favorite episodes. Definitely top 5, and I'm talking about the entire series here. In terms of character development, this one is pivotal.

The theme is differences and acceptance. Everyone wants to be accepted by their peers; Artie in his wheelchair, shy Tina, pregnant Quinn, gay Kurt, etc. Like every other person alive, they are awkward and self-conscious about the qualities or circumstances that make them different. They all feel isolated on some level, and their struggles are both relatable and moving. By the end of this episode, our kids are at least beginning to come to terms with their issues. The real message here is acceptance of oneself, warts and all.

This episode also proves that Glee is capable of more than just fluff. True, there had been a few more serious moments previously, most notably with Kurt and his dad. Here, though, the writers tackle several hot button subjects and handle them respectfully while still maintaining an overall upbeat vibe. Disability is a very sensitive issue, and the introduction of two characters with Down Syndrome is a pretty bold move.

Two scenes in particular make this episode shine for me, and I'm guessing I'm not alone (for once) in my opinion. Sue with her sister absolutely melts me. I can't get over how her whole demeanor changes when she's with Jean. Her eyes go all soft and she has such a beautiful smile. I'm so happy that the writers gave her a soul, but then opted to conceal her humanity from the rest of the characters. Will and the glee kids might still be terrified of her, but WE know she's secretly a big softy.

The other "big money" scene is obviously the diva-off. The first time I watched that performance, I remember being blown away by Kurt. This was his first solo, and holy moly--boyfriend went for it! I was absolutely crushed when he flubbed his audition, but when he explained his reason, everything came clear. "Defying Gravity" is certainly one of the most apropos song selections of the whole series, in relation to storyline. Kurt could have easily withdrawn from the competition. It certainly would have saved face, and no one would have thought less of him. But his carrying on despite knowing what the outcome would be was a statement as powerful as the lyrics of the song. If he was going down, it would be on his own terms. It was his choice, and no one could take that from him. That was the moment, for me, that Kurt became the standard bearer for glee club. That moment was for everyone in that group, whether they realized it or not. Up until then, the club had been fettered by a general lack of confidence and low expectations, not only from outsiders, but from themselves. Then came the clarion battle cry: I'm through accepting limits...Some things I cannot change, but 'til I try, I'll never know... I think I'll try defying gravity, and you won't bring me down!

Okay, so their issues aren't all magically resolved after that final note, but what would be the fun in that? The fire has been lit, though. Just give it time.

Day 8: Mash-Up

Okay, so "Mash-Up" isn't my favorite episode either. Like "Throwdown", it seems to lack in the "sparkle" department. Again, this is not because the writing is bad or the storyline is boring. Just seeing Sue in a zoot suit is worth the price of admission! There are some hilarious moments here. Plus, Puck looks delicious (I don't know if it's the lighting or what, but hubba-hubba)! It's a good, solid episode. I just happen to like the others more. It's like a magnificent buffet; I will cheerfully devour corn and potatoes and pizza, but if I have to choose one, it's always going to be pizza. That's how I feel about the first 13 episodes--I like them all, but this one is the corn. :)

"Mash-Up" bends the rules by combining things (and people) that don't seem to go together. Sometimes the results are better than expected. Like chocolate and bacon, it turns out that football and glee club are an awesome combination. Occasionally, the results are inconclusive or require further experimentation. Puckleberry, anyone? Once in awhile, though, a Dr. Moreau situation arises and the experiment spirals out of control. Sorry, "Thong Song", you're better off alone. Ken and Emma fall in this category as well. Not to mention Sue and apparently any person she attempts to be friendly with.

What sums everything up for me is the concluding conversation between Will and Emma. Will admits that he's failed to produce a suitable wedding song mash-up. He just can't get those songs to go together. Not because the songs are bad, but because they are incompatible. That realization applies to every combination. The parts have merit individually, but a good mix isn't guaranteed unless it's the RIGHT mix. So don't lose hope, Will and Emma. Or Rachel, who may or may not end up being the perfect compliment to Puckzilla. Heck, even Sue could eventually find her perfect match.

I don't have much hope for "The Thong Song", though...

Day 7: Throwdown

"Throwdown" is not my favorite episode. In fact, I'd go so far as saying that this is one of my two least favorite offerings from the first 13. It just doesn't appeal to me, or move me, like some of the others.

It's not because this is a bad or poorly written episode. To me, that's the beauty of the original 13 installments. Looking back, the writing seemed tighter, the dialog richer, and the continuity more cohesive. This is really saying something, since Glee, for all its wonders, has never been known for impeccable continuity. Even in episodes I don't particularly enjoy as a whole, there are memorable moments galore; quotes, references, songs, or simple facial expressions that have me watching again and again. Here, we get Finn's adorable enthusiasm over making up "the best baby name ever", a cheerleader who answers questions with sombreros (and "TO GAME"), Sue throwing students ("Not the children"!), the infectiously non-autotuned "Ride Wit' Me", Kurt's polar bear sweater, and a healthy (?) dose of Kendra.

Honestly, the only thing I REALLY don't like about "Throwdown" is the music. You may not share my sentiments, and that's fine. Isn't that the glory of Glee? Not everything appeals to everyone all the time, which is how it manages to captivate such a diverse audience. It just so happens that I personally don't care for "Hate on Me" or "No Air", and unlike other Glee covers that have grown on me over time, these haven't. Again, this is really saying something about the quality of the earlier episodes. If my biggest complaint is that I didn't like the songs in one (or two) episodes, well, I can live with that.

Day 6: Vitamin D

In this episode, we are introduced to two of Glee's beloved conventions: the mash-up and Sue's journal. I'm not really one for gimmicks, but since I've ended up liking most of the mash-ups the show has produced, I'm more than happy to let this recurring schtick slide. And Sue's journal segments actually top Sue's Corner for me, because it's Sue with even less of a filter than normal. Even in private, Sue is Sue. As twisted as she is sometimes, in some ways I appreciate that everything she says and does is in complete earnest, without a trace of irony.

Story-wise, competition is ramping up between--well, everyone. We have Terri v. Emma, Ken v. Will, Sue v. Will (as usual), Quinn v. Rachel, and, of course, boys v. girls. Some compelling ideas are explored here: how far is too far when the stakes are high, and does the end justify the means? If victory comes at the expense of integrity, is it truly a victory?

I can't stop thinking about Emma, here. She puts up a valiant fight, but ultimately admits defeat. Personally, I think that was the right thing for her to do. At this stage in the game, she thinks Terri is pregnant with Will's baby, and much as she dislikes Terri, Emma is an honorable person. HOWEVER, there is a valuable lesson here in how NOT to handle a tough loss. It hurts, and it sucks, but behaving rashly in the aftermath of a crushing defeat is not a very constructive way to deal with the pain. Dear, sweet Emma--you should know better, being a guidance counselor and all! It's okay to concede, but don't give up your self-respect in the process. Just call it free advice from one neurotic gal to another. :)

Day 5: The Rhodes Not Taken

I have a thing for tiny people with big voices. I don't really know why. Maybe because I'm a tiny person with a tiny voice. Voice envy ? Maybe. If I had a therapist, I'd probably talk to her about it.

As I was saying, tiny people, big voices. This is why I am fascinated by Lea and why I ADORE Kristin Chenoweth. Could they be any cuter or more remarkable? I love how they dance around each other in this episode. Two tiny divas, sparring for the spotlight. Truly a thing of beauty.

My favorite moment has to be when Kurt delivers his "Bambi" line and upchucks on Emma's shoes. The look on his face when he hones in on her--priceless. It kills me every time! Also, when April sticks that head of lettuce between her thighs, Tina's reaction is hysterical. She looks subtly appalled, which can't be easy to pull off.

I'm trying to pinpoint the theme here. Truth be told, I didn't even realize there was supposed to be a theme to every episode until later in the season when they started making it more obvious. So I'm not sure what the theme is supposed to be. Second chances? Honesty? Integrity? Don't take horse tranquilizers? I guess it doesn't really matter. I think this is a nearly pitch-perfect installment even without a specific message.

Sing!

Had a group of my gleek gals over last night to take Karaoke Revolution: Glee Edition (and my new cupcake maker) for a spin. Frivolity ensued! I'm not much of a performer, so this was about my speed. :)

I've never played a karaoke video game before, so I really have nothing to compare it to. I know some people don't like that you can't turn off the background vocals, but since most of my friends aren't terribly confident vocalists, not having to perform completely solo was actually rather reassuring. The drawback of a "sing-along" format is not being able to adjust key within the game. There are only a few songs that aren't totally out of my range, because I am neither a man nor a soprano! Fortunately, I was playing with a non-judgmental crowd. Most of the time we all just sang along anyway.

My biggest beef is the song selection. I don't know how or why they decided on particular songs, but I have to question some of the choices. Is it really necessary to have "Bust a Move", "Push It", AND "Gold Digger"? None of them even involve singing! Meanwhile, "Dancing With Myself", "Bust Your Windows", and "Jump" are noticeably missing. And what about the famous girls vs. boys mash-ups?! It can't be prejudice against mash-ups, because both "Hair/Crazy in Love" and "Young Girl/Don't Stand So Close to Me" are included. A nice option might have been to offer additional songs for download. Take note, video game-making people!

Overall, though, it's pretty entertaining and easy to play. And, hey, any excuse for a party, right?

Make-your-own cupcake bar...mmmm.

Karaoke cookies!

Hiatus from Hiatus Relief

I'm taking today and tomorrow off from my retrospective project...wanted to watch the babies on People's Choice tonight. Tomorrow, I'm hosting a Glee "Karaoke & Cupcakes" extravaganza, so watch for pictures of that. I'll be back Friday with day 5: The Rhoades Not Taken.

Love,
me

Day 4: Preggers

I couldn't resist making a Single Ladies costume for my BABW owl. His name is Kurt Hoomel. :)
Heehee! Anyhoo...

Hands down, "Preggers" is my favorite episode ever. This was the game changer; the one that sealed my fate as a gleek. The moment that camera panned up the dancing Kurt, I knew I was in for the long haul.

I feel so affectionately toward this episode that I'm not even sure what to say about it! I kind of just want to give one of Mr. Schuester's infamous slow claps for a job well done. And then hug everyone.

What's not to love here? Kurt in a unitard, giggling awkwardly; the introduction of Burt, with his busted knee and fondness for "Deadliest Catch"; Kendra uttering the term "boy-howdy"; A pro-littering stance; Dancing jocks; A very short robe coupled with creepy dolls. Also, blackmail. Total win.

The theme builds on that of "Acafellas". Once you build up enough nerve, it's time to break out of your box.

Day 3: Acafellas

"Acafellas" is full of guts. Which, in this case, is a very good thing.

I adore the delicious dark humor in this episode. Henri with that "Two Thumbs Up" cake just kills me every time. Creepy Josh Groban is another favorite. It's very cool that he would play himself like that, especially knowing how protective fans can be of their idols. I imagine this portrayal resulted in at least a few exploding heads. "Acafellas" also gifted us with Sue's immortal "Smell of Failure" speech, which I can tell you I've used on my own children on several occasions. Oh, come on--they know it's out of love!

This has always been a very poignant episode for me, perhaps because I'm old enough to have major regrets. Everybody dreams, but the realization of those dreams depend on many variables; circumstance, timing, finances, determination, love, courage, faith. Will and his father let their youthful dreams give way to other worthy pursuits. There is no shame in that. Still, I'm so glad they found belated opportunities to take their dreams for a spin.

Meanwhile, most of our intrepid glee members find themselves at crossroads. As a group, they ultimately come together to work on their dream of winning sectionals. A few well-placed jabs from woodland creature Dakota Stanley helped them realize that being themselves trumped being anyone else.

As individuals, the kids are struggling. Finn can't work up the nerve to admit that he and Rachel have a connection at the possible risk of his reputation. Puck is positively swimming in guts, but he isn't exactly parlaying them into glory. Looking for love, Mercedes goes for broke and ends up with a broken heart. Kurt has his window broken, but it gives him the push he needs to reach deep and take hold of the courage he's been suppressing. Sometimes I feel like an anxious mama watching them! I'm not too old to remember how intense things feel as a teenager--like life itself hinges on every look, every word, every moment. Those feelings affect everyone differently. Some react recklessly; others become fearful. Finding the balance is key. At this moment in time, Finn is afraid. Fear leads to regret. Puck, on the other hand, is the poster child for reckless behavior. Future Puck will pay for his mistakes. Mercedes and Kurt, though, are tentatively moving toward balance.

Hurt and embarrassment and putting your heart on the line are scary things, but dreams don't just "come true". Risk is part of the bargain, and these babies are taking their first steps. They'll figure it out eventually.

Day 2: Showmance

I caught the first several episodes of Glee on hulu, and through user error, I accidentally watched "Showmance" before ever seeing the pilot. They sort of reintroduced everyone in the opening sequence, so I didn't notice anything was amiss until I had actually watched both and noticed lead-ins from the first episode to the second. My bad.

A couple of significant developments here, starting with the Finn/Rachel storyline. Finn is so cute here, and I love that even though he's BMOC, he still comes across as insecure and awkward. I've always found that kind of leading man much more relatable than the suave, confident variety. We also get the introduction of Finn's "problem" as well as his unconventional solution. Now that I think about it, his method doesn't actually seem to work all that well. Can anyone remember a time it actually DID work?

This episode also introduces the "Fake Baby" arc. I'm probably one of the only people who actually liked this storyline. I saw it as a commentary on Will and Terri's relationship and how distant they had become as a couple. They were starting to realize how tenuous their marriage was, so they began tip-toeing around each other, just trying not to rock the boat. As horrified as I was about Terri lying to Will, I sympathized on some level. Fear and desperation lead people to do some pretty crazy things. It's not unusual for couples in crisis to stop touching or communicating. Living in denial might seem preferable to facing the truth. Was the storyline a little far-fetched? Sure. Unrealistic? In some ways. Totally implausible? Maybe not.

The major theme here is teen sexuality. While it is fairly blatant, there is an honesty about it I appreciate. Kids have so many issues to deal with, and presenting them in lighter ways that perhaps open up opportunities for discussion is good. It's a delicate subject, though, and things can easily cross over from humorously ribald into just plain vulgar. Here, nothing felt over the top. A little awkward, but that's to be expected. I adore the "Push It" performance primarily because of the tremendous awkward factor. Here are these geeky, unpopular kids doing this sexually charged number and it works because they don't really know how to pull it off. The result is that it is wildly inappropriate but more painful to watch than actually erotic. The audience reactions are priceless; Sue's look of abject horror, Figgins swaying peacefully, oblivious as always, Emma bopping along to the beat, the students trying to decide if they should be bored or intrigued. Subtle yet hilarious. Glee at its best.

32 Days of Glee: A Retrospective

The new year always makes me a bit nostalgic, and since there is roughly a month between today and the next new episode of Glee, I figured this would be a good time to take a little trip down memory lane. I'll watch one episode a day and put down a few thoughts. I hope some of you will join me! I'd love to hear about your first impressions, memories, observations and favorite moments from this show we all adore.

Tonight I watched the pilot. I missed it when it originally aired, which I'm actually grateful for in hindsight. That was one extended hiatus I managed to avoid! As I was watching (and exercising...resolutions, you know), I was pondering on all of the firsts in this episode; the things that have shaped the series and the characters we have come to know so intimately and love so passionately. We got our first Sue zingers, flashes of Mercedes' sass and Tina's insecurities, Finn's first stilted attempts at singing and dancing simultaneously, Rachel's first diva storm-out, Kurt's first dumpster dive (and first signs of being a major scene stealer), glimpses of crazy from both Terri and Emma, a healthy dose of Puck's badassness, and Will's first borderline inappropriate student interaction (as well as his first TOTALLY inappropriate student interaction). Carole, Figgins, Coach Tanaka, Sandy Ryerson...it's like a big, raucous family reunion--brimming with optimism and hi-jinx, precariously teetering on the edge of chaos. I feel so fondly toward these people, despite and because of their little oddities.

There were other firsts as well, at least for me. Had my first "Oh no, they didn't" reaction when that first slushie hit. And I experienced my first Glee-induced chills and shed my first happy Glee tears when those kids took the stage for the first time. Love at first sight.