Glee Season 3 Episode 4 Review/Recap ‘Pot o’ Gold’: Stirring the pot a lot

Glee never has championed logic. What makes it work is fantasy — which is what you get when people burst into song walking down hallways. I’ve always lauded it as such — as a comedic musical fantasy with dramatic elements — and I ain’t backing down now.

Which is why I’ve come to praise Glee while also taking it to task.

Glee’s lapses in logic in Episode 4, Pot o’ Gold, helped drive the story, but didn’t support established characterizations. So you win some and you lose some. Did Lord Tubbington ever say life was fair?

The illogic began with devoted new mom Shelby suddenly abandoning her crying baby so she could go — where? And to do so she left Beth with her biological parents, whom Shelby previously — and wisely — kept at arm’s length. Huh?

The illogic continued with no one wanting a valuable U.S. Congressional seat other than a cheerleader coach and a grease monkey with personal axes to grind toward each other. That’s like saying the only students who’d run for senior class president at McKinley would be misfit members of the despised glee club, with one to become new class leader by default.

Oh, right — they are the only ones running for senior class president.

And then there’s the issue of numbers.

We’ve been told a high school’s show choir needs 12 members to compete at Sectionals. McKinley now has two competing — yet nicely friendly — glee clubs with about that number combined. And New Directions adding one old-fashioned, baby-faced Irish exchange student, Rory Flanagan (The Glee Project’s Damian McGinty), hardly offsets the defections of Mercedes, Santana and Brittany to Shelby’s Troubletones.

But setting such leaps and lapses in logic aside, Glee did deliver entertainment and did move its story along. The shifting relationships added spark — as did Burt’s welcome candidacy defying arts bully Sue. (Great to see his wife Carol, too, after so long an absence.)

Musically, this wasn’t about pop-rock or Glee stars, with the exception of Darren Criss’ Blaine leading the choir–  pied piper style — in a boisterously fun if irrelevant Last Friday Night, Katy Perry’s ode to TGIF. Candyman was lively, too, but still a retro Christina Aguilera number in the mode of the ’40s Andrews Sisters.

Oh, for a stronger taste of contemporaneity.

The remaining music was soft — too soft. Puck’s unplugged Waiting for a Girl Like You, though it seemed equally directed to Shelby as to Beth, still sounded like a sweet lullabye. (I’m betting his brief kiss with Shelby seen in Episode 5’s previews will be just that, and she’ll keep him at bay.) And Rory’s two songs were even softer, from the pensive Bein’ Green (a Sesame Street number, for crying out loud) to the lush but loungy Take Care of Yourself.

Can we get some Gaga, Madonna or more Katy Perry — stat! I’m desperate.

So no, not a perfect show, but it was good to see any Glee after a four-week wait. And I’ve got a feeling all this pot-stirring and rearranging was mere prelude to major tweaks and quakes ahead.

Heck, there may even be conjugal endearment — at last — for two certain couples.

Now that, at least, would be logical.

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