![]() Schue is coaching Vocal Adrenaline, Blaine is helming the Warblers, and Rachel has returned to her alma mater to lead the new New Directions, and while they all get together to dine at Schue's and vow not to let their fierce show-choir rivalries ruin their friendships, it's clear that keeping that vow is going to be much easier said than done. Since we already know that the McKinley High glee club will rise from the ashes because of course it will, Glee has positioned itself to make the march toward that certain victory one that will be remembered as an underdog comeback. I forget his name and I don't care enough to Google it, and neither should you, since Glee itself didn't even give the trio and the rest of their ilk a proper send-off. I wish these were the characters Glee had introduced back when the ranks needed padding after only two episodes, they're really underscoring the relative awfulness of Puck Jr., Rachel 2.0, and whoever the third point on their miserable little love triangle was. Even the new faces-Jane, the incest twins Madison and Mason, chubby headphones-wearing Roderick, and post-modern gay Spencer-appear to be interesting, complex, and worthy successors to the New Directions' legacy. Everything about "Homecoming" felt perfectly planned and cared for. ![]() I've accused Glee of squandering big moments in the past, so I'm going to be holding my breath all season long here, but I'm tentatively optimistic moving forward. Glee understandably struggled to find itself in the wake of Cory Monteith's tragic death, but it's clear, particularly after "Homecoming," that the show's writers made good use of the extra time afforded by their delayed midseason debut. Every time someone broke out into song, it felt organic and right. The performances were fabulous, but they were also more smoothly incorporated into the story than it's been in a while. One thing that really stood out about "Loser Like Me" and "Homecoming" was the more refined use of singing and dancing. So, here's hoping this final season will at least involve a few bumps along the way. In a world where everything is sunshine, rainbows, and social justice on parade, disappointment is what grounds this unapologetically unrealistic series just enough to keep us engaged. And iTunes-ready singles can only take a show so far.Ĭonversely, some of the greatest moments in the series' history have been the sudden, shocking slaps with the reality stick that weren't expected: Rachel's initial rejection from NYADA and the glee club's Season 5 loss and subsequent eviction from the halls of McKinley are high on the list. While Glee is never going to be, and was never meant to be, some kind of gritty look at the struggles of enormously talented teenagers toiling away in anonymity and uncertainty a là Fame, the fact that the glee club, Kurt, Rachel, and the others could never really lose and were never really in danger of not getting everything they ever wanted was frustrating to watch, annoying, and, frankly, quite boring. My biggest complaint with Glee's later seasons is that they completely and totally lacked consequences-that for so long, no one ever seemed to have to work for anything and that all those big dreams of Broadway and record deals just sort of appeared because the New Directions gang wanted them bad enough. But this level of predictability has worked against Glee in the past.
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