And lo, it did come to pass that Quinn walked again. And Rachel became Senior Prom Queen (with a little help) alongside fiance Finn. And Brittany insulted old people with a daffy dinosaur dance. And it was good.
No, not a great episode, but Promasaurus was a good one, rippling with more rueful glances toward the finish line that’ll end our little glee club’s special togetherness, and brimming with joyous contemporary pop, from One Direction’s What Makes You Beautiful to Selena Gomez and the Scene’s I Love You Like a Love Song.
But as is often true, the joy was jarred by writing glitches, as with Finn’s immediate sense of angry betrayal toward Quinn when he should have been gratefully rejoicing in her ability to walk. And wouldn’t everyone who voted for Santana or Quinn have compared notes and wondered how Rachel could slip in as a write-in candidate with no write-in campaign? (Of course, how did Kurt win that way last year? Details.)
You know, I just have to say: I love Glee so much for what it is — a hopeful, heartfelt musical fantasy celebrating emotions through song — that I tend to forgive its lapses. Sure, Fergie’s Big Girls Don’t Cry had scant to do with the story at hand other than a vague “time to move on” message, but gawd, what a lovely song as a Rachel-Kurt-Blaine threesome.
And even Ke$ha’s Dinosaur was good dippy fun, from its impudent put-down lyrics to its whistling refrains and clever use of the title’s spelling to make its message. In fact, the night’s only musical off-note was its sole “oldie” (take that, Brittany): 1986 Berlin Top Gun hit Take My Breath Away. But prom’s finish needed a slow-dance song so we could celebrate our favorite couples’ closeness.
And speaking of couples, don’t tell me you haven’t heard about Lea Michele and Cory Monteith being an item offscreen, too, so now we see their onscreen mush in a different light. I suspect they’re more committed as Rachel and Finn than as Lea and Cory (onscreen, they’ve been entwined for three years), but I wish them well in either life, and I commend Glee for committing to Rachel and Finn’s commitment and love for each other. As too little of our popular culture recognizes, constancy is an ideal worth championing.
Yes, Rachel and Finn are in it for the long haul — or at least a “revolutionary” season four. And for those who say Glee is “too gay” (does that mean countless shows have been “too straight”?), how about the love it lavishes on a hetero couple enmeshed in the thrill of old-fashioned devotion?
Wake up, world. Glee is about diverse human beings, not sexual preferences. It’s about learning to love yourself as well as accept others. And it’s about telling such tales in song, As No Other Series In The History Of Television Ever Has Done.
Next, two hours of comic hallucinations Props and Nationals competition — a double-sized penultimate before May 22’s Goodbye for graduation.
Yes, it’ll be hard to let go. But as a song once said, sadness is the sweetest of the pain. And with Glee, I’m content to let the music do the talking. I just wish more folks would quit quibbling about its lapses and recognize that awesome power.
Speaking of which, I’ve previewed the entire Graduation album of upcoming songs, and I’ll be damned if they’re not some of Glee’s best music ever. So get ready: The season’s not over, and the best may be yet to come.
— Bruce Westbrook