It’s hard to believe it’s been almost four full seasons of Glee – that’s a lot of songs! Somehow we’ve made it up to the big “500” in the episode “Girls (and Boys) on Film,” and Glee doesn’t miss the opportunity to do something big. The theme is music from iconic films and the cast has a blast recreating the numbers.
After the bombshell-driven wedding from before hiatus, we’ve entered aftermath time. Will is back from D.C. and living a single life after being left at the altar. He falls asleep in front of the television and envisions a black and white fantasy from the classic film Royal Wedding. He and Emma recreate the stylings of Fred Astaire with some gravity-defying dancing accompanying the song “You’re All the World to Me.”
Jayma and Matt use their considerable skills to the max with this number; it’s quirky and romantic and sweet. For two back-burnered characters/actors this year, it’s a nice treat to get them back on the screen in this way.
Will wakes up, and alas, nothing’s changed. He takes his experience to the classroom, where he announces a double dose of old school Glee – a boys versus girls competition of movie song mash-ups. Whew! The kids are super excited to play with this one (even if they’re not using the assignment to avoid thinking about being left at the altar!). Artie’s got movies on the brain – apparently he’s about to begin his micro-budgeted senior film. Finn hasn’t got anything but Emma on the mind; he’s clearly still wracked with guilt, first telling Will he should be looking for Emma and later trying to wrangle some information from Sue. The former thinks he needs to wait, give her space, and the latter could probably have Emma in her purse and wouldn’t be volunteering the information to Finn.
Meanwhile – because this is the least competitive Glee club ever – Blaine and Brittany propose boys versus girls together in a song as a warm up. The kids offer some suggestions (I’m going to bookmark Tina’s “Let the Rivers Run” from Working Girl because that would be amazing!), but Blaine has the perfect idea. Otis Day and the Knights’ ultimate party song “Shout” from Animal House. It’s a perfect bit of fun for their impressive 500th musical number.
Led by Blaine and Brittany, a circuit around the school – to classrooms to pick up their fellow New Directioners – begins as the happy riot of singing and dancing gains momentum with every note. They lead the student body into the library, through the halls, and finally into the cafeteria for some high energy table dancing.
It’s fabulous – bright in their colorful outfits, the kids are all smiles and dancing their butts off in a way that has lifted all the New Directions’ numbers this season. There’s a sense of happiness and joy in their movements, and that is used to its full advantage here.
Artie – ever the director – reminds them that it wasn’t a mash-up as he rolls away. Oh well. Britt and Blaine high five each other.
Back in New York, Santana is questioning her decision to move there, as she’s stranded in the loft by a snow storm with a mopey Rachel, Kurt, and his friend Adam, the latter two of whom are doing Downton Abbey impersonations. Santana fears she’s been sucked into an Eli Roth movie, and this is the part right before they eat each other. And let’s be honest, if one person emerges alive and well in the spring, it’s Santana.
She pokes at Adam for a while, inquiring if he and Kurt are dating, because well, Kurt seemed awfully close to Blaine at the non-wedding. Kurt hisses at her to shut up (I’m guessing that means he hasn’t shared the backseat Prius humping yet). Then Santana and Rachel spar, clearly suffering from cabin fever (and possible pregnancy, at least for Rachel). Kurt tries to keep the peace by suggesting some movie watching. All of Santana’s choices involve babies, which Rachel is against. Obviously. Saving them all from a full-out meltdown, Kurt offers up Moulin Rouge.
The scene opens on a rooftop: a fantasy New York complete with rolling fog, gorgeous lights, and a sumptuous set, full-out romance. Blaine, dressed in a tux, enters from a door to the first strains of “Come What May.” Hugging himself against the chill, he begins to sing the iconic love song, wandering around the rooftop.
Flashbacks weave into the scene, hazy visions of his and Kurt’s first meeting, the first time they slept together, all woven together with Blaine’s vocals.
Kurt appears and joins in the duet, as the lovers move closer together and then apart as the song soars and peaks. They dance close, dart and chase until they’re standing in the pavilion together. Kurt sings, “But I love you,” and the two end up in a tender embrace, as Kurt’s face seems to betray his pain and emotion. He pulls Blaine close…
This is an absolutely gorgeous number and well worth the wait. Even broken up, Kurt and Blaine’s story remains compelling, and this is far more rewarding than their minor background acting of Season Three. The chemistry of the actors and the blending of their voices – along with one of the most beautiful sets Glee has done – and this is an instant classic.
And we find ourselves back in the loft. Rachel and Adam flank Kurt on the couch as he cries over his fantasy, face twisted. Adam notices the tears and Kurt brushes it away – it’s his contacts (which he doesn’t wear). Santana can’t let the lie – or the tears – pass so she offers her own theory. Wasn’t that his and Blaine’s dream wedding song? Didn’t Kurt say that singing that song with someone is more intimate than sex?
You know what? Kurt really doesn’t want to talk about it.
Fortunately, neither does Santana, because she’d much rather go on a rant about Brody, the missing roommate. She finds him questionable on numerous levels. I mean, who really thinks you’re not a New Yorker until your first makeover!? She tried to find him acceptable as a human, but no: something’s off with that guy. Fortunately, she’s been using her spare time to go through all of her roommates’ things (cue a hilarious montage of her ransacking the apartment) and has come up with an answer.
Rachel is horrified by her spying, but Santana’s roll can’t be stopped. What did she find? How about twelve hundred dollars and a garage door opener? No wait, it’s a pager. And that can mean only one thing: Brody is a drug dealer.
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