Liz's Instant Glee-Cap - 5x15 - Bash
“Here's what you missed on Glee.” Ha. As if I've missed anything on Glee since the middle of Season 2 when I had a kid in the hospital and mostly pretended that “Comeback” didn’t exist.
Anyways, here we are. 5x15. “Bash.” Well then.
We open on a damn candlelight vigil, in case you were worried this episode was going to be really light and funny. Everyone we know is there (present and accounted for, thank god), and they’re singing a gorgeous version of “No One is Alone.” It’s a vigil for a friend of a friend, a victim of a random anti-gay attack on the street. Kurt, more than anyone else, seems particularly affected.
In the Funny Girl theater, Sidney the producer is chatting up the cast and crew before the final tech rehearsals. He needs them to be their best, because he wants a big hit. No pressure! But Rachel wonders if she can just have two hours off for a NYADA thing for her semester’s grade. He's reluctant, but allows it.
Sam is late-night binge-watching Facts of Life in the new place, eating a mixing bowl worth of cereal, and he is SUCH A BOY. He can’t quite sleep, and apparently Blaine isn’t there to read him Star Wars fanfic as a bedtime story. I’m sorry, I think I just choked on my own tongue. This show is so ridiculous, and I love it.
Anyways, Mercedes joins him on the couch, and Sam wants to know why she broke up with him two years ago. She repeats her reasoning about not feeling like she knew who she was, and Sam still thinks her answer was dumb. They’re in New York now, she can be anyone she wants. I love her shutting him down. BUT WAIT. SMOOCHING TIME. OKAY. And Samcedes is ON.
At the loft for week two of family potluck, and this is by far my favorite new tradition, even if Artie wisely says it will probably fall apart soon. There’s some discussion of the hate crime from earlier in the episode, and boy is this a dark slice of real life.
But Kurt suggests a topic change so they won't be too depressed to eat: it's NYADA "mid-winter critiques" this week and Mme. Tibideaux has apparently pulled a Schuester and assigned a theme for the performances: SONDHEIM! Well, that beats the shit out of almost anything Will ever wrote on that stupid whiteboard. Sam and Mercedes are practically kicking each other under the table and Artie immediately calls them on playing footsie. She claims Restless Leg Syndrome, and absolutely no one believes them.
Sam wooing Mercedes is stinking adorable, tossing his handful of wishes in the river. He doesn’t want to be secret, he wants to be 100% real with her. You two are so cute. He goes on and on about how she can be whoever she wants to be in New York, including not someone who wears a (fake) fur coat. She chucks her coat into the river and he gives her his own when it turns out that wasn’t a wise idea when it’s freaking freezing outside. She sends him home coatless (damn, that’s harsh!), because she needs to stay here and think. Oh, and by the way: if they’re going to to this, there are RULES, mister. He stays on that couch of his, and she stays in her own damn room. This will be on her terms or not at all.
Oh god bless, Mercedes sings "Natural Woman" on the carousel. She sounds amazing, no surprise. I didn’t even finish editing this recap before I downloaded it. There's near pole dancing on the carousel, but I'm not going to complain. Every one of the backup dancers is fantastic, and Mercedes is a queen. Though man, she's been thinking for a long time, because it's now the middle of the night. Oh, whew, it's daytime again. Sorry, dream sequence. I get confused. It’s Glee, after all.
Mercedes is out for dinner with her friends and backup singers (ACTUAL other women of color! Wow!). They're giving voice to the fact that she's in New York with the world as her oyster, and is dating someone from back home? Come on, broaden your horizons. Naturally, Sam runs up with a questionable impression of Kevin Hart/Chris Tucker, and their mouths drop to the floor. Oh, Sam. He's offensively clueless, despite having such a good heart, and he CANNOT STOP TALKING. Oh god, Sam. Wow. Keep on digging your own grave.
NYADA Round Room, my favorite! Rachel is singing “Broadway Baby” with Blaine in tails and they are at their dramatic, cheeseball, Anderberry best. Carmen is practically glaring at both of them. Yeah, so the assignment wasn't a duet and she's flunking them both. OH SHIT. Well, okay. They were good and she'll let them try again as individuals later this week. Blaine looks like he might piss himself from relief (you ain't at McKinley, or Dalton, anymore my friend), but Rachel has a serious scheduling conflict. Like opening a major Broadway revival. Carmen does not give one single shit.
Back in Carmen's office, Rachel tries to plead her case. But turns out she really hasn't been keeping up with her classes as well as she should, and the dean is not inclined to do her any favors. Carmen lectures her on deciding whether she wants this degree at all. Because she may have the talent and the drive, but she lacks the foundation, which is what this school can give her and why she shouldn’t throw it away for a role.
Rachel is appalled that Carmen isn’t as impressed with her starring role in a major production. Broadway has been her goal all along, so fuck this noise. She quits school.
I don’t know why she can’t just take a leave of absence, but I suppose that isn’t nearly as dramatic as telling Carmen Tibideaux to shove it. (Sorry, I was an academic advisor at a performing arts school, I need to not try to put too much reality onto the Glee universe.)
Back on the stoop of Mercedes’s brownstone, her friends really don’t think she should date Sam (despite his freakishly amazing Cosby impressions). He's nice, yeah, but seriously? Dating a blonde white dude is going to alienate a lot of people. People Mercedes wants to buy her album. I wish they were wrong, but there’s some harsh truth there, whether anyone likes it or not.
Mercedes takes it to heart and tells Sam she can't date him. Poor guy, he knows he screwed up at dinner. But that's not it.
It doesn't take any time at all to get to the heart of the matter. Mercedes speaks a certain degree of truth: white people can try to pretend it doesn't matter, but that doesn't make it less real. How people perceive her as an artist and as a black woman is changed if she’s publicly dating a white guy. Sam is heartbroken, but Mercedes says not only aren't they a couple, but he should probably move out. Ouch.
Rachel meets Kurt at a restaurant for dinner and he doesn't beat around the bush: he can't believe she quit NYADA, and begs her to reconsider. He thinks she’s crazy to give up her education, that sticking with it will give her more options in the future. She is in full diva mode, and nothing will stand in the way of her and Broadway. She accuses Kurt of siding with Carmen over her. And then she goes one further and insults Kurt directly, saying he just likes NYADA because it's safe and doesn't force him to grow up. He doesn’t stand for it. “Screw you, Rachel.” And off she storms.
Kurt. Shit. He's walking home alone after his failed dinner with Rachel, and sees someone getting the shit beat out of them in the alley and runs to help. He yells and shoves the guys off. He is so fed up with a lifetime of bullies, and he is not afraid of them. Unfortunately, he gets a brick to the head and a few good punches to the face before the guys drive off in a truck and leave him in a heap. FUCK. FUCK.
Sam and Blaine are at the loft (I’m not sure why, since neither of the loft’s actual residents appear to be there, but I’ll accept it as a semi-communal gathering location), and Sam is rehashing the Mercedes drama for Blaine when Blaine’s cell rings. The camera angles in this scene are so disorienting, and there is a huge pit in my stomach. Each of them gets the call in turn, and we don’t hear anything past picking up the phone.
They all meet at the hospital. Kurt has a fracture and a lot of bruises, and is unconscious thanks to some heavy drugs, but he’s going to be okay. Oh thank god.
They’re all there in his hospital room, and Blaine really wishes Kurt would know that he’s there. Rachel is certain he does. Blaine sings “Not While I’m Around” completely without accompaniment to Kurt, and I am so grateful that everyone else leaves him alone for it. We cut to the Round Room, where Blaine sings the same song for his critique, and then back to the hospital bed. Kurt is still out cold, but Blaine finishes the song and curls up into the bed next to him and I’m trying not to cry.
Mercedes has invited Sam to the recording studio. She wasn’t wrong about the realities of interracial dating, especially in the (potentially) public eye, but making that be the reason she wouldn't date him was. So she's got a song. “Colour Blind” is beautiful, Mercedes is stunning, and Sam is duly impressed. They are SO dating. The song goes on a little long, especially without any real action during the performance, but I’ll allow it.
BURT. BURT HUMMEL IS HERE, because thankfully the magic portal between Lima and New York still works. Burt is fucking livid, and pretty much walks into the hospital room and starts yelling at Kurt. He can’t believe he did that. What if those guys had a gun? I mean, you’re a good person, Kurt, but COME ON. Burt Hummel is a father and he is terrified, and god do I identify with him in this moment. He had so hoped and believed that his beloved son would be somehow safer in New York than he was in the middle of nowhere in Ohio. Had hoped there would be so much acceptance that the threats would be nonexistent. Of course, those two things coexist. Yes, Kurt is able to be more fully himself in New York, but terrible, violent people are still there.
Kurt, god bless him, is only bruised and beat up on the outside. He knows who he is. He is his father’s son, and he will not stand idly by when he can do something about it. He has fought this bullshit his entire life, and he is not going to stand for it. You cannot fucking knock down Kurt Hummel.
God, the camera work tonight is amazing. All hail Brad Buecker and Joaquin Sedillo.
Fresh out of the hospital, Blaine meets Kurt near the site of the vigil from earlier that week. Kurt wants to put some fresh roses at the site, and Blaine says he heard the guy woke up and is going to be okay. Kurt, grim-faced, just sets them down quietly as Blaine curls into his side.
Back at the loft, Rachel apologizes for what she said to Kurt at dinner. She was mad and lashed out, but she wants him to know that she truly thinks he is one of the most talented people she has ever met, and she loves him, and she doesn’t want a moment to pass without telling him so. He tells her she’s sappy, and still wishes she’d reconsider quitting school, but he loves her too.
It’s potluck dinner time again! Sam and Mercedes happily announce that they are well and truly dating, which leads to a pretty funny re-cap of how they only barely sort of dated before, which leads to Sam planting one on Mercedes to prove they have chemistry. They’re adorable. I’m on board.
Rachel reminds everyone that tomorrow is Kurt’s NYADA critique, and that she will be there and all of the rest of them should be, too. Blaine proposes a toast: to Kurt.
Kurt gets the final song of the episode: “I’m Still Here” in the Round Room. GOD DAMN I LOVE THIS MAN. His face is bruised and scratched, but he is completely at home in his own skin. The song might as well be titled “Fuck the Haters,” because you cannot stop Kurt Hummel. He owns this moment, he owns his place in the world.
Burt and Blaine share a table, and I’m surprised it isn’t positively glowing from the sheer volume of pride between the two of them.
(Also, Kurt is in a stylish suit and unusual polka-dotted pants, but is still dressed relatively conservatively by Hummel standards, and it’s yet another song in the low part of his range. I stand by my meta on Tumblr of a few weeks ago: Kurt Hummel no longer needs clothes and his unusual voice as armor to keep himself apart from the world.)
He ends the song standing on top of the piano in utter triumph, and it’s all I can do not to punch the air. I am so proud of that man.
Honestly? I really wish I hadn’t watched the promo for this episode last week. I tried to avoid thinking about it all week, but my stomach was in knots by the time this evening rolled around. And in truth, it was all a lot better than I feared. But I really, REALLY wish I had been able to just experience it as it happened, instead of anticipating it. Anyways.
I loved Sam and Mercedes, I loved that they actually talked about race, and neither of them was exactly wrong. (Well, okay, Sam stuck his foot in his mouth about a hundred times. But when it came down to the meat of the matter, he wasn’t wrong.) The fact that she could have a serious perception issue is not wrong. But I’m glad she decided to go for it, anyways.
With Rachel and school, to be honest, I do think leaving NYADA for the time being is the right decision. I wish she’d have done it without potentially burning some important and influential bridges, and I honestly wish she had just not tried to do everything while also doing this show. And man did she go defensively FULL DIVA in the meantime. I get it. This is what she does when she feels threatened. But wow, she went all the way, didn’t she.
And Kurt. What can I say? Look, I’m a parent, so in many ways, I’m with Burt. Why, god, why did you run INTO a dangerous situation like that? But ultimately, I am here for Kurt. I adore him. He was already shaken and angry by what had happened to a friend of a friend, and he knows all too well that it could just as easily be him. He WILL NOT stand by and let it happen to anyone.
When I saw in the promo that Kurt was going to get the crap beat out of him, my biggest fear is that it would somehow crush his incredible spirit, make him somehow fearful or less bright a light than he is. But NO. Absolutely not. You CAN NOT STOP Kurt Hummel. He has fought too hard and come too far. He is his own man, through and through. And I love every bit of him.
I know last week had me spoiled on Klaine overload, but I really do wish there had been more between the two of them in the aftermath of the alley. A little more on what that means for the two of them, what it feels like for Blaine to see this happen to Kurt, SOMETHING. *sigh*
Overall, I think this was a really strong episode, even though it doesn’t leave me as overwhelmed with emotion as last week did. Still, it had so many interesting, real, and hard things to say, and the music was fantastic, and people I loved were triumphant. What’s not to love?
Liz’s Instant Glee-Cap Rating: 4.25 of 5. I can’t give it as high a rating as last week, but it was really strong.
Liz’s Instant Song Downloads:
Every single one. The music was fantastic this week.
Anyways, here we are. 5x15. “Bash.” Well then.
We open on a damn candlelight vigil, in case you were worried this episode was going to be really light and funny. Everyone we know is there (present and accounted for, thank god), and they’re singing a gorgeous version of “No One is Alone.” It’s a vigil for a friend of a friend, a victim of a random anti-gay attack on the street. Kurt, more than anyone else, seems particularly affected.
In the Funny Girl theater, Sidney the producer is chatting up the cast and crew before the final tech rehearsals. He needs them to be their best, because he wants a big hit. No pressure! But Rachel wonders if she can just have two hours off for a NYADA thing for her semester’s grade. He's reluctant, but allows it.
Sam is late-night binge-watching Facts of Life in the new place, eating a mixing bowl worth of cereal, and he is SUCH A BOY. He can’t quite sleep, and apparently Blaine isn’t there to read him Star Wars fanfic as a bedtime story. I’m sorry, I think I just choked on my own tongue. This show is so ridiculous, and I love it.
Anyways, Mercedes joins him on the couch, and Sam wants to know why she broke up with him two years ago. She repeats her reasoning about not feeling like she knew who she was, and Sam still thinks her answer was dumb. They’re in New York now, she can be anyone she wants. I love her shutting him down. BUT WAIT. SMOOCHING TIME. OKAY. And Samcedes is ON.
At the loft for week two of family potluck, and this is by far my favorite new tradition, even if Artie wisely says it will probably fall apart soon. There’s some discussion of the hate crime from earlier in the episode, and boy is this a dark slice of real life.
But Kurt suggests a topic change so they won't be too depressed to eat: it's NYADA "mid-winter critiques" this week and Mme. Tibideaux has apparently pulled a Schuester and assigned a theme for the performances: SONDHEIM! Well, that beats the shit out of almost anything Will ever wrote on that stupid whiteboard. Sam and Mercedes are practically kicking each other under the table and Artie immediately calls them on playing footsie. She claims Restless Leg Syndrome, and absolutely no one believes them.
Sam wooing Mercedes is stinking adorable, tossing his handful of wishes in the river. He doesn’t want to be secret, he wants to be 100% real with her. You two are so cute. He goes on and on about how she can be whoever she wants to be in New York, including not someone who wears a (fake) fur coat. She chucks her coat into the river and he gives her his own when it turns out that wasn’t a wise idea when it’s freaking freezing outside. She sends him home coatless (damn, that’s harsh!), because she needs to stay here and think. Oh, and by the way: if they’re going to to this, there are RULES, mister. He stays on that couch of his, and she stays in her own damn room. This will be on her terms or not at all.
Oh god bless, Mercedes sings "Natural Woman" on the carousel. She sounds amazing, no surprise. I didn’t even finish editing this recap before I downloaded it. There's near pole dancing on the carousel, but I'm not going to complain. Every one of the backup dancers is fantastic, and Mercedes is a queen. Though man, she's been thinking for a long time, because it's now the middle of the night. Oh, whew, it's daytime again. Sorry, dream sequence. I get confused. It’s Glee, after all.
Mercedes is out for dinner with her friends and backup singers (ACTUAL other women of color! Wow!). They're giving voice to the fact that she's in New York with the world as her oyster, and is dating someone from back home? Come on, broaden your horizons. Naturally, Sam runs up with a questionable impression of Kevin Hart/Chris Tucker, and their mouths drop to the floor. Oh, Sam. He's offensively clueless, despite having such a good heart, and he CANNOT STOP TALKING. Oh god, Sam. Wow. Keep on digging your own grave.
NYADA Round Room, my favorite! Rachel is singing “Broadway Baby” with Blaine in tails and they are at their dramatic, cheeseball, Anderberry best. Carmen is practically glaring at both of them. Yeah, so the assignment wasn't a duet and she's flunking them both. OH SHIT. Well, okay. They were good and she'll let them try again as individuals later this week. Blaine looks like he might piss himself from relief (you ain't at McKinley, or Dalton, anymore my friend), but Rachel has a serious scheduling conflict. Like opening a major Broadway revival. Carmen does not give one single shit.
Back in Carmen's office, Rachel tries to plead her case. But turns out she really hasn't been keeping up with her classes as well as she should, and the dean is not inclined to do her any favors. Carmen lectures her on deciding whether she wants this degree at all. Because she may have the talent and the drive, but she lacks the foundation, which is what this school can give her and why she shouldn’t throw it away for a role.
Rachel is appalled that Carmen isn’t as impressed with her starring role in a major production. Broadway has been her goal all along, so fuck this noise. She quits school.
I don’t know why she can’t just take a leave of absence, but I suppose that isn’t nearly as dramatic as telling Carmen Tibideaux to shove it. (Sorry, I was an academic advisor at a performing arts school, I need to not try to put too much reality onto the Glee universe.)
Back on the stoop of Mercedes’s brownstone, her friends really don’t think she should date Sam (despite his freakishly amazing Cosby impressions). He's nice, yeah, but seriously? Dating a blonde white dude is going to alienate a lot of people. People Mercedes wants to buy her album. I wish they were wrong, but there’s some harsh truth there, whether anyone likes it or not.
Mercedes takes it to heart and tells Sam she can't date him. Poor guy, he knows he screwed up at dinner. But that's not it.
It doesn't take any time at all to get to the heart of the matter. Mercedes speaks a certain degree of truth: white people can try to pretend it doesn't matter, but that doesn't make it less real. How people perceive her as an artist and as a black woman is changed if she’s publicly dating a white guy. Sam is heartbroken, but Mercedes says not only aren't they a couple, but he should probably move out. Ouch.
Rachel meets Kurt at a restaurant for dinner and he doesn't beat around the bush: he can't believe she quit NYADA, and begs her to reconsider. He thinks she’s crazy to give up her education, that sticking with it will give her more options in the future. She is in full diva mode, and nothing will stand in the way of her and Broadway. She accuses Kurt of siding with Carmen over her. And then she goes one further and insults Kurt directly, saying he just likes NYADA because it's safe and doesn't force him to grow up. He doesn’t stand for it. “Screw you, Rachel.” And off she storms.
Kurt. Shit. He's walking home alone after his failed dinner with Rachel, and sees someone getting the shit beat out of them in the alley and runs to help. He yells and shoves the guys off. He is so fed up with a lifetime of bullies, and he is not afraid of them. Unfortunately, he gets a brick to the head and a few good punches to the face before the guys drive off in a truck and leave him in a heap. FUCK. FUCK.
Sam and Blaine are at the loft (I’m not sure why, since neither of the loft’s actual residents appear to be there, but I’ll accept it as a semi-communal gathering location), and Sam is rehashing the Mercedes drama for Blaine when Blaine’s cell rings. The camera angles in this scene are so disorienting, and there is a huge pit in my stomach. Each of them gets the call in turn, and we don’t hear anything past picking up the phone.
They all meet at the hospital. Kurt has a fracture and a lot of bruises, and is unconscious thanks to some heavy drugs, but he’s going to be okay. Oh thank god.
They’re all there in his hospital room, and Blaine really wishes Kurt would know that he’s there. Rachel is certain he does. Blaine sings “Not While I’m Around” completely without accompaniment to Kurt, and I am so grateful that everyone else leaves him alone for it. We cut to the Round Room, where Blaine sings the same song for his critique, and then back to the hospital bed. Kurt is still out cold, but Blaine finishes the song and curls up into the bed next to him and I’m trying not to cry.
Mercedes has invited Sam to the recording studio. She wasn’t wrong about the realities of interracial dating, especially in the (potentially) public eye, but making that be the reason she wouldn't date him was. So she's got a song. “Colour Blind” is beautiful, Mercedes is stunning, and Sam is duly impressed. They are SO dating. The song goes on a little long, especially without any real action during the performance, but I’ll allow it.
BURT. BURT HUMMEL IS HERE, because thankfully the magic portal between Lima and New York still works. Burt is fucking livid, and pretty much walks into the hospital room and starts yelling at Kurt. He can’t believe he did that. What if those guys had a gun? I mean, you’re a good person, Kurt, but COME ON. Burt Hummel is a father and he is terrified, and god do I identify with him in this moment. He had so hoped and believed that his beloved son would be somehow safer in New York than he was in the middle of nowhere in Ohio. Had hoped there would be so much acceptance that the threats would be nonexistent. Of course, those two things coexist. Yes, Kurt is able to be more fully himself in New York, but terrible, violent people are still there.
Kurt, god bless him, is only bruised and beat up on the outside. He knows who he is. He is his father’s son, and he will not stand idly by when he can do something about it. He has fought this bullshit his entire life, and he is not going to stand for it. You cannot fucking knock down Kurt Hummel.
God, the camera work tonight is amazing. All hail Brad Buecker and Joaquin Sedillo.
Fresh out of the hospital, Blaine meets Kurt near the site of the vigil from earlier that week. Kurt wants to put some fresh roses at the site, and Blaine says he heard the guy woke up and is going to be okay. Kurt, grim-faced, just sets them down quietly as Blaine curls into his side.
Back at the loft, Rachel apologizes for what she said to Kurt at dinner. She was mad and lashed out, but she wants him to know that she truly thinks he is one of the most talented people she has ever met, and she loves him, and she doesn’t want a moment to pass without telling him so. He tells her she’s sappy, and still wishes she’d reconsider quitting school, but he loves her too.
It’s potluck dinner time again! Sam and Mercedes happily announce that they are well and truly dating, which leads to a pretty funny re-cap of how they only barely sort of dated before, which leads to Sam planting one on Mercedes to prove they have chemistry. They’re adorable. I’m on board.
Rachel reminds everyone that tomorrow is Kurt’s NYADA critique, and that she will be there and all of the rest of them should be, too. Blaine proposes a toast: to Kurt.
Kurt gets the final song of the episode: “I’m Still Here” in the Round Room. GOD DAMN I LOVE THIS MAN. His face is bruised and scratched, but he is completely at home in his own skin. The song might as well be titled “Fuck the Haters,” because you cannot stop Kurt Hummel. He owns this moment, he owns his place in the world.
Burt and Blaine share a table, and I’m surprised it isn’t positively glowing from the sheer volume of pride between the two of them.
(Also, Kurt is in a stylish suit and unusual polka-dotted pants, but is still dressed relatively conservatively by Hummel standards, and it’s yet another song in the low part of his range. I stand by my meta on Tumblr of a few weeks ago: Kurt Hummel no longer needs clothes and his unusual voice as armor to keep himself apart from the world.)
He ends the song standing on top of the piano in utter triumph, and it’s all I can do not to punch the air. I am so proud of that man.
Honestly? I really wish I hadn’t watched the promo for this episode last week. I tried to avoid thinking about it all week, but my stomach was in knots by the time this evening rolled around. And in truth, it was all a lot better than I feared. But I really, REALLY wish I had been able to just experience it as it happened, instead of anticipating it. Anyways.
I loved Sam and Mercedes, I loved that they actually talked about race, and neither of them was exactly wrong. (Well, okay, Sam stuck his foot in his mouth about a hundred times. But when it came down to the meat of the matter, he wasn’t wrong.) The fact that she could have a serious perception issue is not wrong. But I’m glad she decided to go for it, anyways.
With Rachel and school, to be honest, I do think leaving NYADA for the time being is the right decision. I wish she’d have done it without potentially burning some important and influential bridges, and I honestly wish she had just not tried to do everything while also doing this show. And man did she go defensively FULL DIVA in the meantime. I get it. This is what she does when she feels threatened. But wow, she went all the way, didn’t she.
And Kurt. What can I say? Look, I’m a parent, so in many ways, I’m with Burt. Why, god, why did you run INTO a dangerous situation like that? But ultimately, I am here for Kurt. I adore him. He was already shaken and angry by what had happened to a friend of a friend, and he knows all too well that it could just as easily be him. He WILL NOT stand by and let it happen to anyone.
When I saw in the promo that Kurt was going to get the crap beat out of him, my biggest fear is that it would somehow crush his incredible spirit, make him somehow fearful or less bright a light than he is. But NO. Absolutely not. You CAN NOT STOP Kurt Hummel. He has fought too hard and come too far. He is his own man, through and through. And I love every bit of him.
I know last week had me spoiled on Klaine overload, but I really do wish there had been more between the two of them in the aftermath of the alley. A little more on what that means for the two of them, what it feels like for Blaine to see this happen to Kurt, SOMETHING. *sigh*
Overall, I think this was a really strong episode, even though it doesn’t leave me as overwhelmed with emotion as last week did. Still, it had so many interesting, real, and hard things to say, and the music was fantastic, and people I loved were triumphant. What’s not to love?
Liz’s Instant Glee-Cap Rating: 4.25 of 5. I can’t give it as high a rating as last week, but it was really strong.
Liz’s Instant Song Downloads:
Every single one. The music was fantastic this week.