Glee S5 E6 “Movin’ Out”

Sam dreams of his junk being the size of a car.

Sam dreams of his junk being the size of a car.

The tribute episodes are flying fast and furious this season on GleeGaga, Katy, The Beatles. And now, the Piano Man himself, Billy Joel, helps to tell the story of three of our soon-to-be-graduating seniors and their future plans.

“Movin’ Out” is both a reflection of the past and then a very specific glimpse into what the future of “Glee New York” might look like. And it looks great!

We start in the halls of McKinley, where Sue is running the first ever career fair – which explains why last year’s seniors were so messed up and no one seemed to know what they were doing. Will’s a little confused – why no arts careers?

Sue – shockingly – doesn’t think that arts careers are actually careers, not when their best outcome is having your Broadway dreams dashed and ending up coaching a high school Glee Club in Ohio! (She means you, Will.) Will clearly wants better for his students so he turns her taunts into this week’s lesson.

He tells the Glee Club that Sue is right to a certain extent. If you want to go into the arts, your eyes have to be wide open to the difficulties and hardships. His example? Well, Kitty is hoping that the googly-eyed kid who struggled for years is Marilyn Mason, but alas, no, it’s Billy Joel!

Despite constant rejection, playing piano in seedy bars, and being told he didn’t look right (Jake suspects it was the “looks too Jewish” thing – also? Ryder notices the tension between Marley and Jake), he kept working until becoming one of the top-selling solo artists of all time.

Billy is the perfect artist for a segue; this is the week of Blaine’s NYADA audition, and he’s about to head off to New York for some early coaching from Rachel and Kurt. Sam is also tagging along, seeing as he has an interview at Hunter College for the Channing Tatum Ex-Stripper Scholarship.


The boys won’t be around to do the assignment, so why don’t they just sing themselves out? With a classic BJ! Oh, Sam!

“Movin’ Out” is a classic, and the Darren Criss/Chord Overstreet duet is a great version, smooth harmonies accompanied by a quick visual transition from the choir room, to the hallway, to the subway, to the streets of New York, to a city bus, to the hallway of the Bushwick Loft. They are greeted with enthusiasm by Rachel and Kurt, and boom – I guess we can consider Blaine and Sam official Glee New Yorkers. They got their fabulous NYC arrival song!

Artie spies Becky in a beekeeping hood and asks his friend what she’s doing after college. He’s going to film school in New York; what about her? Becky thinks college is lame and for suckers, but Artie continues on. While he was researching schools for students with disabilities, he came upon some programs that might be good for her. Maybe they could go through them together?

Oh no, not necessary, says Sue, who has come up behind them. She wheels off with Artie and tells him his help is unwelcome. Becky is her beckretary and here at McKinley is where she’ll stay, safe and watched over by someone who cares for her well-being. This is one of those moments where the conflict over Sue’s intentions and actions is perfectly illustrated as “damn difficult to decipher.” She’s clearly concerned and protective over Becky – and then lets Artie’s chair wheel off into a wall. Sue, you are a handful!

At her locker, Marley is surprised by an avalanche of roses when she opens her locker. A surprise she kicks across the hall. Jake catches up with her, carrying a rose and spouting apologies. He just wants to say he’s sorry for breaking her trust, but Marley doesn’t think he should be sorry. He is who he is and she tried to change him – that was her mistake. He claims not to be “that guy,” but Marley assures him he is. And he always will be.

New York! The diner, where Santana, Rachel, and Kurt are all working. Wait, why is Rachel working, asks Santana? Apparently since Fanny was a working girl, Rachel and her director want her to continue waitressing to keep things authentic. Or they want to make sure Rachel shares scenes with her roommates!

Blaine and Sam pop in after a day in the city; Kurt sent them to a deconstructed bath house (Sam thinks it was awesome!) but mostly, Blaine did some campus visits – NYU, Columbia. Kurt is confused – why do that? Blaine’s going to NYADA. But apparently Blaine watched season 3 and he feels it’s important to have safety schools, in case he doesn’t get it. Bravo Blaine! Kurt thinks this is madness – of course Blaine is getting in to NYADA! He’s been talking his fiance up to Carmen and he’s absolutely convinced that she’ll offer him a spot the second he sings.

Speaking of which: Kurt doesn’t want Blaine to be under rehearsed, so how about a moment in the spotlight at the diner? Hey look, a piano! Kurt drags Blaine up to the stage, and introduces him with a sweet little speech. You may not know him yet, but one day you’ll see his name in lights – Kurt’s clearly got Broadway Super Couple dreams of the future.

The episode could not have existed without this moment: Blaine Anderson singing “Piano Man.”

Darren Criss has the perfect voice for the song, and it’s very much suited to Blaine and his love of performing. The employees dance around with candles as the patrons get into the music, dancing and singing along. Yep, very much a Blaine Anderson moment (complete with Sam on the harmonica).

After the last note, the place breaks into loud applause, but none louder than Kurt, who stands on a table, yelling his praise. “That was incredible! There’s no way you’re not getting into NYADA! And then all our dreams will come true!” Well, Kurt’s feeling good about Blaine’s chances.

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