…it is very nice to see you!
Goddamn but it is nice to have Glee back on television again. My other shows are well and fine, even spectacular. But rarely do they inspire the same level of emotional turbulence and vocal outrage (yes, I do shout at my television) as Glee.
If I had been expecting a Phenomenal! Way-Out! Fireworks and Brass Bands! midseason return, well, I have to say that “Hell-O” would have disappointed me. Thankfully, I was much more concerned over how this episode would be in terms of setting a direction for the rest of the season and in correcting the errors of the midseason finale.
Verdict: Solid!, if not absolutely spectacular.
By necessity, I suppose, most of this episode was spent on the “main” characters. Likesayforinstance, Rachel. I kind of hate Rachel, for all that she is a brilliantly written and performed character. I to care and I try to be sympathetic and I try to enjoy more than her solos (which I do really enjoy because Lea Michele is fabulous). But honestly, my reaction to her teary-eyed emotional scenes is literally “Oh, shut up.” BUT. There is a bright spot now. An incredibly delightful bright spot that will probably carry me through the rest of the season and then some.
I have two words for y’all: BROADWAY MAGIC.
Jonathan Groff and Idina Menzel are the best thing to happen to this show since…well, since the rest of it, I guess, but you know what I mean. For all that he’s basically the male version of Rachel, I am totally in love with Jesse St. James. He’s just so CUTE…and he might be evil (jury’s still out), which is even better. Plus, Jonathan Groff and Lea Michele have some stunning chemistry that was especially apparent during their Lionel Richie duet. Hardly surprising, considering their previous work together. But lordamighty it’s good stuff.
As for Idina Menzel, her character is kind of like a miracle. Because she is A Reasonable Adult. And Glee just doesn’t have those. Didn’t get to hear her sing yet, but she is hysterical, reasonably flawed, possibly devious, and kind of my favorite. Also, I would just like to point out that Idina Menzel and Matthew Morrison making out might be the hottest thing ever (although in the context of the show it sort of made me want to cry of shame for how dumb Will Schuester is being).
And on that “Will Schue Is Being A Dumbass” note, I am happy to announce that I got my respect back for Emma! The nauseatingly adorable Will and Emma office and date night scenes definitely made me…well, nauseated. But Emma eventually found her good sense again (thank god) and Will, though ridiculous, is back to being a believably flawed character.
I have two…well, three favorite scenes from “Hell-O.” The tentatively added third is Rachel’s All American Rejects solo. I may vehemently dislike her, but I will admit, it was pretty cool to see the whole Glee Club rocking out and backing her up after Finn totally blew her off. (Note on Finn: he’s a great character – my favorite – and the cheerleader scenes his storyline spawned were hilarious and goddamn if his Door’s solo wasn’t twelve kinds of amazing, but maybe shelf him for awhile and focus on someone else? Like his Number One Fangirl Kurt?)
As for those two Definitely Favorite scenes: Jayma Mays and Jessalyn Gilsig. Lea Michele and Jane Lynch. I don’t give Glee enough credit for being a powerhouse of exceptional women performers. The Terri and Emma scene was emotionally charged to the point of insanity as well as well-acted; Terri Schuester in fullblown bitch mode is a sight to behold. And Lea Michele and Jane Lynch have a surprisingly excellent comic chemistry that I hope to see more of. Oh, and while I’m already talking about Jane Lynch,
SUE SYLVESTER IS BACK, BITCHES. And I am SO FRIGGIN’ ECSTATIC. I was really worried at the midseason finale when Sue was being sidelined and made out to be more Grumpy Neighbor than Ruthless Antagonist. I was still worried at the beginning of “Hell-O,” actually, because the writers just had to start her off with making a crack about Will’s hair (which was unfortunately only the first of the episode). HOWEVER, as evidenced by a) her plotting with Santana and Brittany, b) her manipulation of Principal Figgins, c) the Old Maid’s Club, and d) her straight out promise to Will she’ll be doing her damnedest to get him fired, I can only (happily) conclude that The Real Sue Sylvester Has Stood Up. And she is going to knock you down. Twice.
Overall, “Hell-O” was a reasonably good episode, if not a great one. The musical numbers were so-so; wonderfully performed, obviously, but I wasn’t particularly moved by the Beatles show-ender, and the most exciting thing about “Highway to Hell” was the fire (FIRE!) at the end. The interpersonal drama/comedy gets a mixed review. A few moments of true, golden hilarious, but they were punctuation points to all the time spent cleaning up the mess from the midseason finale and the tedious process of setting up plotlines for the rest of the season. Certainly, “Hell-O” is not going to go down in history as one of Glee‘s best.
…but you know what is? VOGUE. Jane Lynch dressing and singing old school Madonna. Plus, great Kurt moments, and backup dancer Nathan Trasoras of SYTYCD Season 6. If I have to explain how awesome this is, or how very much Jane Lynch is a sexy lady, you gots issues. SUE SYLVESTER DANCE ON AIR.
“We’re glitterati. I feel like Lady Gaga.” – Kurt
“If you were a samurai and my letter opener were sharp enough…” – Sue
“Did you know that dolphins are just gay sharks?” – Brittany
“I am engorged with Venom. And Triumph.” – Sue
“Cut the butter, Benedict Arnold.” – Kurt