Glee! 4.6 – Glease

You are supreme! The chicks’ll… what will they do? Rhymes with cream…

I’ve said it before but I’ll say it again: I adore Grease. I love to laugh at it (it’s just ridiculously dirty in places, and yet high schools all over the country perform this every year), it’s silly, and yet. Frenchie! John Travolta before he became creepy! Every sleepover I went to in grade school featured this as our late night movie (on VHS, even).

And I learned while watching this episode with my husband that he – a former heavy metal drummer – knows all the words to the songs that aired. Let’s just slow clap that out, shall we?

 

In the choir room, Will informs all of the kids that he’s going to DC because by becoming fulfilled he is now unfulfilled and needs a new dream. Paperwork and bureaucracy is the new black! Oh, but don’t worry, gang. Finn Hudson is going to take over Glee in Will’s absence.

Tina loses her shit (I am so tired of the way her character is being written/acted this season, good lord) and starts yelling about how they’ll all be dead by Sectionals, that Finn sucks, dogs and cats will be living together, and this is all while the new kids look to each other to try and figure out why this is a big deal.

Sue pulls Will and Finn into the office – she’s bugged the choir room, of course, so she can stay up to date on all things Glee – to try and intimidate and coerce Figgins into stopping this. But it’s too late, Sue. Glee isn’t an actual class, so Finn doesn’t need a degree or certification. Plus, he’s volunteering his time for free, so Figgins is all over that. Well, Finn, you just made an enemy of one Sue Sylvester.

Cue the O Fortuna! Sue rages in the hallway, throwing things, knocking books out of kids hands, and being horrible. Why she’s not been arrested on assault charges is beyond me. Oh, right. That’s logic and this is Glee. (That’s the secret to enjoying each week, don’t you know!)

In NYC, Cassandra has some of the upperclassmen brought into dance class for… who cares, it means Body is there in dance clothes flirting with Rachel, hooray! I would like to state for the record that I have stood next to this man, I have had a conversation, and he has put his arms around me. Yeah, for a picture, but still. Body (Dean) is lovely. New folks: Yes, I know it’s Brody. LOOK AT HIM. Also, welcome to HDJM where we are silly boots!

Rachel throws some exposition our way: she and Finn are officially official with the breaking up, to which Body is all “ORLY?” She also has her first off-Broadway audition for an avant garde version of The Glass Menagerie, and that is so damn funny to me I can barely contain my cackling. I would like to see Amanda singing, “Rise and shine! Riiiiise and shine! Laura? Go tell your brother to rise and shine!” to which Tom will reply in a deeply rich baritone, “I’ll rise but I won’t shine!”

Hey, if you don’t know this classic play of Tennessee Williams, then you need to rectify that immediately. Fun (and random) fact: The horribly awful movie “The Room” was described (by the writer and star Tommy Wiseau) as having “All the passion of a Tennessee Williams.” That never fails to crack me up.

Back to Rachel and Body, who are now making plans for the weekend, oho! Can’t blame you, girlfriend. Cassandra is eavesdropping, hears who Rachel will be auditioning for and cautions her to not bother. That director is a beast, and Rachel isn’t ready. (I know there’s a point to all of that, but Rachel freaking Berry can withstand ANY audition, right? I’m…confused by them pushing this “shy, nervous” Rachel onto us. We all know better.)

Rachel’s good, thanks, but maybe Cassandra should audition as Amanda, the washed up mom? You know, get back in the game? OOOOOOOOOOH. Rachel Barbra Berry, you just stepped into it and you don’t even realize it. Cassandra goes all “No more wire hangers!” in her eyes before pulling herself together and calling Body over to tell him about a new position (cough) available as her TA. Long nights, weekends, lots of…hamstring stretches? Want to get started this Saturday?

Body would love to, but he’d rather start next week if possible. He and Rachel have plans this weekend. And Cassandra is totally cool with that, sure. No prob. Have fun, you crazy kids! [SCHEMES]

Marley is trying to be zipped into her Sandy costume back at McKinley and can’t manage it. Maybe it’s stress bloating? Kitty saunters by and is horrible and awful and obvious and I’m totally over how mean with all of the fat jokes she is to a girl that is tall and thin. I’m tired of fat jokes. It’s just… it’s easy and it doesn’t apply here.

Kitty tells her that her metabolism must be kicking in. Say hello to the circus fat gene. (Kitty is sewing her costume smaller and smaller, you see.) Also, Kitty’s like, super lonely (I can’t imagine why…) and wants to have all the girls to a sleepover. “All the girls?” Marley wants to know with a pointed look at Unique. FINE, but Unique better not do any Silencing of her Lamb, if she feels where Kitty is going with that. There is a strict No Buffalo Billing at Casa de Kitty.

Marley goes to talk to her mom about her mom’s history with weight gain and blah blah, her mom thinks that they should go on a strict diet together. UM, I HAVE SOME PROBLEMS HERE. One, the fact that her mom has this whole “You have to fight to stay thin,” mindset isn’t healthy and two, that her mom can look at Marley and say “strict diet.” I have stood in front of this actress, have spoken with her (she is charming and sweet as pie, I must say), and she is a thin reed of a girl. I have major issues with this message and YES. I know it’s Glee and it’s dark, I know. But you have to be good at delivering the joke, and it’s not working here at all. But keep reading.

Later, Finn tries to hang out in the teacher’s lounge, pissing Sue off royally. Someone asked me the other day about why Sue always calls Finn fat when they spar. Cory Monteith is delicious and not in the least bit pudgy. But Sue calls people out on their imagined weaknesses, their fears. And Finn has a known poor body issue, so she goes after that. And it works because of the delivery. Pointed look at the new folks, y’all need to make it work or find a new thing for Kitty.

Finn tries to apologize to Sue again, but she won’t hear it. Also, she’s booked the auditorium for a few weeks, so good luck with rehearsals, buster. Finn is forced to have rehearsals at Burt’s garage, which is perfect, seeing as they’re going to practice “Greased Lightnin’.” The guys aren’t sure about things until Finn points out that the freaking number is them crawling all over a beat up junker, and hello…

I love this number, it’s totally a dirty song, but they’ve cleaned it up for television, which is funny given how naughty Glee can be. But that’s all worth it for the doofy dance moves of the adorkable Ryder and all of the guys in their coveralls and slicked back hair. (I do wish they didn’t enunciate so clearly when they record songs, though. Just me?)

You totally did the arm movements during this song, didn’t you? I won’t even act like I didn’t.

In NYC, Rachel and Kurt stretch out on the floor of the dance studio to get Rachel in tip top shape for her audition. He gets a text from Tina about how the Grease rehearsals are going, prompting them to have a tiny conversation about their exes when Cassandra walks in. She’s bitchy and mean at first, and Kurt is even floored a bit by her. She asks what they were talking about and encourages them to go back to Ohio to see their friends, support their old school, get closure, yadda. Well, that sounds great on paper, but they can’t afford to go back to Ohio on a whim.

Kurt is going, regardless. “I’m going. I need to see him. I haven’t seen him since. I’m not sleeping… I’m living off of Ambien and The Notebook.” Oh baby boy.

Cassandra fixes that problem by giving them her JetBlue flier miles. And guys? There is no such thing as a free lunch. Red flags should be all over the place here.

At the sleepover, we see Kitty’s trophies and there is a hilariously dirty joke in there, too. First is her “Most Tongues Spoken” at Bible camp, and a picture of her horse, JoJo. Kitty rode her for six years until her hymen broke. [sprays a beverage all over the screen] Haha! The other girls show up with all manner of junk food, so of course Marley wants something healthy. (Try Kleenex! They taste like clouds.) Kitty pulls Marley into the bathroom to teach her how to make herself throw up.

While Marley stays in there (please don’t be doing that Bad Thing, young lady), Kitty recreates the Grease scene for the number “Look At Me, I’m Sandra Dee.” Kitty’s voice actually sounds like a good fit here, but there’s another filthy moment during the “As for you/Troy Donahue./I know what you wanna do!” where Sugar does a handstand, spreads her legs, and Kitty shoves her face in there, tongue waggling.

And Sugar TWERKS it while Kitty blows a sexy raspberry, WHAT IS HAPPEN.

 

Good heavens!

Back at school (who cares when the time line is. Sleepover on a school night? Sure.), Figgins has Unique’s parents in the office, worried about their son. Finn, Will and Sue are there, too. His parents are proud of him, but they also get that they’re in Ohio. He’ll be Wade at school, and if she wants to be Unique after school, then that’s fine with them, too. They just don’t want him to be hurt. Because he’s already getting shoulder checked by assholes, Sue points out.

So it’s classic Sue, ruining things at the last minute, and now the musical will be canceled, so put that in your pipe and–

Not so fast. Finn can totally find a new Rizzo. This isn’t over. Cut to Santana who was born to play the part, has it memorized and even owns the wig. Tina races in talking about how she might have to carry the script for the second act, but she’s ready to take the part. Um…honey? You already have a part. Tina is pissed. “You have got to be kidding me!” Nope, they’re not. Attitude adjustment, jeez-o pease-o! Also, Santana’s off book, come on!

It’s opening night suddenly, and Rachel and Kurt walk through the hallways of memory lane. They both look unbelievably gorgeous here, let’s just get that out. Kurt says that he’s actually nervous about seeing Blaine, now that he’s there, but instead they run into Mercedes. Aww, she got a line! (Amber? I just want to listen to you sing some old Motown, why is the universe transpiring against us?)

She brings them backstage to say hello to everyone (meanwhile, Marley again can’t fit into her costume and bursts into tears, running to the bathroom) when Kurt and Rachel run into Finn and Blaine. Blaine is dressed as the Teen Angel and looks like he stepped out of Hollywood Fantasy Magazine from 1959. Kurt can barely even look at him, and keeps averting his eyes while Blaine looks beseechingly at Kurt for a moment, then is too hurt and confused to keep it up, and averts his eyes as well. Finn and Rachel, however, try to be grown up about it with some small talk, even though it’s awkward for everyone.

Stop hurting me, beautiful creatures! Oh, Lea, you’re so pretty. I just want to play with your hair.

Finn is glad they came because he’s really proud of the work they’ve done (and OH MY GOD, MY HEART. Blaine, at the word “proud” looks like he’s going to burst into tears because almost exactly one year ago Kurt said “I’m so proud to be with you,” and all Blaine wanted in life was for that to be true and look at where they are now, and GOOD LORD, my heart aches for them!)

I would also like to point out that exactly two years ago from this episode they met on the stairs at Dalton. But there will be no hand holding, and there will be no racing through empty corridors this time. Blaine holds in his emotions and walks away; Kurt tells Rachel she was right: it was a mistake to come. She reassures him that she’s not going anywhere, and she’ll be by his side the whole time as they watch.

The play is underway, now, and it’s the Teen Angel/”Beauty School Drop Out,” scene with the most perfect Frenchie since Didi Conn, and seriously, if you don’t absolutely love Sugar Motta for how adorable she is, then I don’t know what to do with you. Also, Blaine is outstanding here. Darren Criss is perfect in this moment and looks timeless, sounds fantastic, and I can’t help it, I just adore the guy.

She LOOKS like Didi Conn, right? So much love.

 

As Blaine sings, he catches Kurt’s eye mid-sentence and has to shake off a wave of emotion and pull himself back into the scene to keep going. Kurt’s face just looks utterly woebegone, his heart still broken. As the song ends and the audience applauds, Blaine looks at Kurt again, who looks back, just completely sad.

Let’s go back to that whole two years ago moment where they met on the stairs. And Blaine is at the top of the stairs this time, looking down at Kurt and it’s all flipped and backwards and wrong. Oh, show, when you want to rip out my heart, you do it with a rusty, clawed hand.

Ryder is looking for Marley, because Act Two is about to start and there’s no Sandy. She’s in the bathroom, trying to make herself throw up. He stops her, tells her a story about his cousin who took laxatives to lose weight for the wrestling team and ending up…sharting all over himself in public. She cracks up (because EWW). Good work, buddy. He tells her, “I don’t want to kiss a girl with puke on her breath. Onstage…or later.” Oho!

Backstage, she has her Sandy revelation about who she wants to be, and her voice is gorgeous, it just is, as she sings the “Goodbye to Sandra Dee” refrain. Nicely woven story, Glee, I have to hand it to you.

Santana and Brittany talk about Santana’s big number coming up, and Brittany clearly is still in love with her, and the same could be said for Santana, but Santana’s being an adult about it: they don’t live in the same place, and they should live their lives for a while. Brit tells her to think about her when she’s onstage.

Santana sings “There Are Worse Things I Could Do,” but we know she’s not singing to Kenickie/Trouty Mouth, she’s singing to Brittany in her heart. There’s a wonderful montage of Santana singing, then it cuts to Kate Hudson practicing a dance number with Body back in NYC (and it is sex-ay. My husband said, “I didn’t know this show was so sexy!”), and then Unique entering the audience and singing as well. They all sound great (Kate is definitely the weak link here, but she does have some character in her voice, at least) but oh, how I love to hear Naya sing. Cassandra’s part of the song ends with her on her back and Body on top of her, kissing her. Well, I can’t blame her, I do have eyes after all.

I’m just saying that I would hollow him out and turn him into Man Pants and wear him commando. Don’t make this weird.

 

I would like to remind you all that I have been pressed against this man, his arm around my waist, and I’m pretty sure angels sang and a dirty bass line played somewhere. True, I brought a boombox and played that when he hugged me, but you’re missing the point. IT HAPPENED. (Ha.)

Also, it’s a song about tough girls who can’t show emotion, who are ridiculed as being weak or soft when they do, and this applies to all three of them in their own way and it’s really, really clever. I still love you, Show. Because of the layers? (Because of the layers.)

Boring moment of Mike and Tina talking about how maybe they shouldn’t have broken up, and Tina saying yeah, but they did and she’s becoming someone new that she likes (do you?) and maybe they can try again? I want to care. I used to care. I loved the Cohen-Chang-Changs. But Tina is such a screeching harpy this season that I just do not. Oh, Mike. I miss you, though. I also miss old Tina.

Marley is in her skin-tight black cat suit, and damn. She’s a whip thin, tall drink of water, that one. Ryder is all “humina humina” over her, reassuring her that she looks great and then pulls her in for a sweet kiss. Nice work, buddy. She’s all twitterpated about it and ha, in the background is Jake, looking on with a sad face. You snooze you lose, buddy. I have no sympathy for you.

The two leads start singing “You’re The One That I Want” and they sound really great. Finn watches and flashes back to Season One when Rachel was trying to nab him and went through her “Tell me about it, Stud!” moment, and if you didn’t make a little cooing noise at the flash of Baby Season One Kurt grumbling, then you might actually be dead inside and should get that checked out.

Rachel fantasizes about Finn playing opposite her on stage, Kurt and Blaine are also dressed as T-Birds (seriously, how huge are Chris Colfer’s feet? Those Converse look like water skis!) and it’s just so bitter sweet, seeing all of the couples together but not at all. Rachel is shaken when it’s over, not sure what it even means.

She leaves to pull herself together and calls Body. Of course, Cassandra answers (and Kate Hudson is great at playing a bitch, isn’t she? I hope it’s not because it isn’t a stretch, if you catch my drift.) and lays it out for Rachel after saying she just banged Rachel’s crush: Rachel dared to insinuate that Cassandra was a wash up and needed to get back into the game. Girlfriend, Cassandra is the game. Just as she starts to really lay into Rachel, Rachel hangs the phone up. She’s devastated.

In the hallway she runs into Finn, who worries that she’s crying her #4 Cry, the one usually reserved for something he’s done. Well, it is her #4 Cry, but it’s about Body now. She really has moved on; he hasn’t, so he tells her that from this point on they need to not talk to each other. He doesn’t want to know if she’s in town. She agrees, Kurt shows up wanting to know what’s wrong, and that’s when Blaine comes around the corner. Oh, the hurt between these four couples is so hard to watch. Finn is called away, and Rachel leaves to have a private moment.

That leaves…nothing but heartache. Hold me, guys. Blaine wants to talk to Kurt but Kurt isn’t interested. “What are you going to tell me? That it wasn’t serious? That you only made out? That you didn’t care about him?”

“I didn’t care about him,” Blaine mutters, hurt all over his face and a little shame, too.

WHY DOES EVERYTHING HURT LIKE MY INSIDES ARE GLASS AND SHADOW AND AGONY?!

 

“I don’t trust you anymore,” Kurt says with a sense of finality, turning and leaving. I would like to present for the record that Kurt has not said “Goodbye” yet, fulfilling a promise he made in Season Two. Look, let me cling to these things, okay? (Also, did you see that Blaine mouthed “No,” as Kurt delivered his “I don’t trust you” lines? WHY ARE YOU BREAKING MY HEART, BOYS.)

Finn goes to the choir room where the cast is gathered. Artie reads a review from the very tough critic (a sophomore, lol) who heaps praise onto the cast. The Sistine Chapel? Garbage. David? Like a toddler’s art project. Homer? A hack! But McKinley’s production of Grease was like angels themselves came from heaven to produce the most glorious two hours in human existence. Hahaha.

Will leaves with Finn, trying to impart some final advice before leaving but Finn stops him with his half grin, twisted up to the side. Remember how last season ended with Finn telling you he’s got this? Well, he’ll say it again: he’s good. Now go do good things in DC! The Gleeks are in good hands.

 

Next week! EVERYTHING BURNS LIKE ROME. Ha. Way to go, Finnald. I need a robe made out of kittens and bunnies to put my heart back together, guys. How are you faring with all of this heartbreak everywhere?

Please like & share:
  • “(I do wish they didn’t enunciate so clearly when they record songs, though. Just me?)” I was telling my husband how much more I liked the Glee version of Grease Lightning because you can actually understand the lyrics, lol!

    Tina, Tina, Tina. I miss old Tina, too. I feel like they started this grumpy Tina process back at the end of last season (Props, maybe?). I hope she and Mike can work things out, though. Tike is my second favorite couple on Glee (behind Klaine, of course).

    My heart broke so many times in this episode: Watching Marley listen to Kitty and actually believe her crap, to the point of putting her fingers down her throat; Rachel finding out how Cassandra manipulated her and Brody; and the biggest shattering of all, of course, “Relationships are about trust, and I don’t trust you anymore. Rachel was right, this isn’t home anymore.” Oh Kurt, baby, Burt still lives here. It still needs to be your home. I know you’re angry and hurt, but don’t flush your family down the toilet (and yes, Blaine counts as family in my mind, since you will end up married to him someday).

    I have actually rewatched this ep several times (I’m apparently a glutton for punishment), and I didn’t see Blaine mouthing no. **runs off to watch again, more closely this time through my tears.**

    • Haha, when they over enunciate it feels so much more like high school kids singing a song, and – I mean, I get that that’s what it’s supposed to BE, I just want to not be pulled out of the song because I’m always thinking of them in the recording studio flexing their jaws and over-working their mouths.

      Tumblr is awash with gif sets of Blaine’s expression in the hallway, and it’s the tiniest “no!” but it’s THERE. *cries a river*

  • ComedyQuiche

    First of all; “I’m just saying that I would hollow him out and turn him into Man Pants and wear him commando. Don’t make this weird.” I fell over laughing at this comment. Stoney, be my sealed-in-the-temple-forever-love, plz.

    THIS EP! I enjoyed this ep. It was good to get to know the new characters a bit more and also good to see some of the old ones. Reunion! The character I would like to see return is, you may have guessed, Tina. Seriously. Though, okay, I have to be honest, I can relate a little. She was supposed to be the star this year, right? Or at least, that is what she thought. And things have fallen apart for her. They brought in a person who is NO LONGER A STUDENT to have one of the biggest parts in the SCHOOL MUSICAL. I would be a little miffed as well. I know, I know…Glee universe logic. But still, it must hurt to be passed over again. Even if she is handling it like a drunk monkey handles a speeding race car.

    The whole Marley being fat thing I just do not get. Sure, she may be a bit insecure that she may have ‘the circus fat gene’ but does no one actually -measure- her? I mean, if the costume is getting too tight, shouldn’t they MEASURE HER WAIST to see what they should adjust it too? And then see that her size has not changed? Ugh, you win again, Glee logic.

    That said, the musical was a rolicking good time, I loved the reference to the first rehearsal with Finn and NOTHING BAD HAPPENED AFTER THAT. LALALALALA.

    • Hahaha, I’ve been trotting out that tired ol’ “Man Pants” line for almost ten years now. I can’t help myself. (LOL)

      I thought this was a truly solid episode with some beautiful layering. There was a LOT that happened, but it didn’t feel overloaded and bloated to me.

      As for Tina, she walked in saying she couldn’t be off book in time for the performance (not to mention that she already had a part. And didn’t want to be in it in the first place.) I find her so unbelievably abrasive this season that I don’t even care about her, and this is CRAZY TALK because I love everyone. Well, Will can get on my nerves at times, but other than that. *hands*

      More evidence of Glee Logic: all of Marley’s regular clothes continued to fit her, so why was she not putting two and two together with that? Why? Because GLEE LOGIC. :D

  • This ep punched me in the face almost as heard as The Break Up. I’m getting all achy-in-the-heart and teary eyed just thinking about it now. Our boys were just Stellar here. The scene backstage ; omg. I know there’s Finchel pain and awkwardness too, but Blaine’s look of whatareyoudoinghere, and a flash of hope, then just pain, and his little hurt-“smile” that just shows he’s barely holding himself together before he walks off; it was truly incredible. And Kurt..my god Chris, you make the Tiniest expressions that mean SO MUCH.

    And then that final scene in the hallway…. :'( I think I sobbed out loud at Blaine’s “but I didn’t care”. The acting – sweet heavens. Why the hell do they get stuck in the Comedy category for awards. These boys….

    And that…was the most tragic version of Beauty School Drop Out. When he falters after he catches Kurt’s eye, stab me in the heart twice and just finish me off already please. [the Acting again! he sounded SO GOOD too!].

    Okay, i’m now back to being a ball of pain. So, I shall leave this here because it made me LOL so much: “I’m just saying that I would hollow him out and turn him into Man Pants and wear him commando. Don’t make this weird.” : LAURA!!!!!!!!!!!!!!!!! omg. wtf. ahahahahaAHHAHAhaha!

    So wait – did you say you maybe were near him like in the same time zone or something? ;p

  • Ah! forgot to add ; Vanessa Lengies is SUCH a delightful actress! It’s amazing how she adds so much by saying nothing at all. Her reaction shots are always just Priceless! LOVE SUGAR MOTTA! I don’t know why I rarely comment about her, even though i get such a kick outta her being around [and yes, that Filthy filthy scene during the sleepover. That was…startling. lol]

    [typo in previous comment, *hard, not *heard]

  • Brunettepet

    All the songs were wonderful and I love how seamlessly they worked into the story lines this week.

    Why, oh, why did nobody twig to the costume tampering? It’s ridiculous that Marley wouldn’t notice this isn’t happening in her casual clothes and how she’s led down Kitty’s ham handed path to the wonders of bulimia before she can just look in a mirror and see the real her. This kind of body issue business needs to be handled better. I know it’s just Glee, but they have a target audience and it’s doing them all a disservice.

    Cassandra is a bitch and she’s a hot mess but she’s a hot mess that knows how to get what she wants and if that screws up what she considers Rachel’s privileged world – Bonus! I can’t wait until she gets her comeuppance.

    Kurt and Blaine break my heart. Kurt is so shattered and Blaine is too and the not talking means not moving forward and all I want is for them both not to feel so gutted. The Rachel/Finn stuff just pales in comparison but I’m glad the writers have Finn in a pretty good emotional place. It hurt to see them in happier times, but it wasn’t the emotional gut punch of Kurt and Blaine.

    Sue just seems more and more mean spirited and out of control than ever in this episode. Her berzerker hallway antics were certifiable. Why was she not escorted into a squad car in hand cuffs? Don’t these Lima kids have cell phones so they can post her shit all over facebook and get her ass fired? Oh, Glee, you so crazy.

  • mollie

    Also, Blaine is outstanding here. Darren Criss is perfect in this moment and looks timeless, sounds fantastic, and I can’t help it, I just adore the guy.

    The role he was born to play, indeed. He was almost my favorite part of this, he was wonderful.

    Like you I loved the music, and laughed at the fact that ‘they’ cleaned it up a LOT for this show, they did a great job. Loved TroutyMouth’s slicked back hair, he’s a better Kineky than Jeff Conaway was I think. Greased Lightnin’ was my favorite from this, there’s something about that song…

    I also knew just as soon as Cassandra offered her air miles what was going to happen, and jeeze louise, is Rachel REALLY that naive?

    Marley was outstanding as Sandy. She just was, brunette or not. The fat jokes about her mother and about her, by Kitty, have gone too far.

    But all in all, dear Laura, you did a great job here. I’m a little sick of the former cast running in and out all the time – and Sue’s antics would earn her a trip to the local pokey in almost any other place. But like you said, this is Glee. I enjoyed Naya’s song, I love to hear her sing. Tina can just dissolve into a puddle of jelly far as I’m concerned, I don’t like her and I don’t think she’s useful here…but that’s my opinion.

    Kurt and Blaine…they break my heart. Totally. And I saw the ‘coming distractions….’

  • Justa_reader

    First of all, I totally and completely didn’t see the stairs thing until you pointed it out. And the reversed roles. And two years later. And…just…SOB!

    *wipes tear* But anyway…I really enjoyed this episode, as a complete episode. It felt satisfying. And FUN. There were enough of the more dramatic elements that I crave (Kurt and Blaine interacting in ways that actually move the plot forward) combined with classic Glee-style silliness (like Greased Lightning) and some wonderfully powerful little emotional moments (Unique’s parents). Even thoughnim really, really tiring of Sue On a Rampage (patent pending) and have yet to see the point of Kitty’s flat-out meanness.

    But my burning question for you is, did Body’s biceps hurt when he hugged you or do they just look hard and chiseled enough to bruise regular people. ;)