While Glee Episode 12 Mattress was music-light and heavy on plot contrivance, it did have me jumping for joy in two respects. Most importantly, the annoyingly preposterous fake pregnancy plot is done — though, sadly, Will and Terri may not be. When Emma confoundingly stuck up for Terri’s motives in a talk with angry and disillusioned Will, the door cracked open for Terri’s hideous character to remain on the show, even though she’s guilty of willful and sustained deception of her husband. And, oh yes, she treats him like crap on a daily basis, too, heaping insults, scorn and contempt on him. What’s not to love?
But that scene when Will found out — wow. There may never be a dramatic scene on Glee as intense as that one. Well played by both actors, it rang true — which is more than I can say for the latest plot contrivance, involving tainted amateur status for a teacher (say what? they may not be paid much, but teachers are paid) which in turn hinged on unsolicited sending of mattresses to the glee club after they performed in a TV commercial. (Was no mention made of paying or not paying for their services on the front end? Also absurd.)
But at least the mattress gig led to one big musical number for this show, and a great one, in its joyous updating of Van Halen’s Jump, Glee-style. Few Glee songs have been this much fun — in the studio audio, and in the on-screen performance — and that’s saying a lot.
Now we look ahead to the fall finale, as Emma takes the club to Sectionals in Will’s place, and her marriage to Ken is presumably either put on hold or (as is inevitable) called off. And I, for one, am awaiting the club’s rendition of the Stones’ You Can’t Always Get What You Want as eagerly as I awaited Queen’s Somebody to Love. It’s gonna be great — count on it. And for now, jump for joy with me for getting over the hump of a gallingly poor subplot and getting on with what Glee should be about: the glee club kids and their bouncy lives.