Glee Recap/Review Episode 10 “Trio”: Three Cheers!


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Elliott, I hear ya. After last weeks’ rancorous Frenemies and the first part of this week’s Episode 10: Trio, I’d had enough of rants and rages. Is this show not titled Glee? I was ready for some defiantly upbeat music in its place, and that’s what we got.

For the most entertaining show of its season to date, Glee delivered seven songs comprising close to half the episode’s running time. And even though the week’s theme largely delivered (where was Mr. Schue to write “Trio” on the blackboard?), it was the music, not the story, that made this show special.

Not that every song did it for me. That includes the Supremes’ The Happening, an unlikely lounge-lizard rendition by tuxedoed Kurt, Dani and Elliott for a noisy bar. It was too old-fashioned — and too giddily detached from the ongoing “frenemies” plot, with Rachel and Santana wishing they could bury the hatchet somewhere other than in each other, but scowling just the same.

Still, am I glad that Glee hired Adam Lambert. His grounded-in-reality but wailing onstage “Starchild” has become a welcome fixture this season, and he had screen time big-time Tuesday night, also sharing the spotlight with Lea Michele’s Rachel for an aggressively hard-rocking Barracuda.

How can people watch NCIS or whatever while stuff like this is on? Channel surfers, we welcome you. Stop clicking and stay a spell. Glee may have the best three-minute chunks of any show on TV.

From its dueling lead singers to its fierce band, Barracuda did Heart proud. And as Lea has shown — not via the potent pop on her new Louder album as much as for Glee songs like Go Your Own Way — she can rock as well as belt ballads.

The ’80s also delivered, from Laura Branigan’s spirited Gloria as another absurdly elaborate waiters-turned-singer/dancers number at the Spotlight Diner to Simple Minds’ Don’t You (Forget About Me) from 1985 teen-angst classic The Breakfast Club, a film which inspired Tina, Artie and Blaine’s covert cavorting in McKinley’s halls post-midnight.

Yes, the halls were alive with the sound of music, and so was New York in an expertly intercut Lima-Gotham spin for Wilson Phillips’ Hold On, which gained a stirring choral resonance even beyond that trio’s superb harmonies.

After last week’s wimpy Whenever I Call You Friend, Kenny Loggins also got rolling with a sweet rendition of his Danny’s Song by the aching-for-pregnancy Emma and Will, a rare tender turn even for a show which often wears its heart on its sleeve.

Yes, the music could do little wrong this week, so it didn’t matter as much that the plot barely advanced and that Blaine never really apologized for his reverse homophobia toward Sam and Tina kissing. (Blaine, how would you feel if they cringed as loudly and disgustedly when you smooched with Kurt?)

But stories must change and evolve, and those who welcome spoilers as I do already know that huge change is afoot in Glee Land, starting next week.

Fine — I’m ready, and so is Glee. I do believe this show is hitting its fifth-season stride after struggling at times in reorienting after Cory/Finn’s death.

Besides, there’s nothing like a good song to cheer Glee — and me — up. After all the recent rancor, this night put the glee back in Glee.

— Bruce Westbrook

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