Glee Review/Recap Season 6 Episode 3 ‘Jagged Little Tapestry’: For the Fans

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If its first three episodes of a shortened Season 6 are any indication, Glee won’t waste any time this year with ditzy holding-pattern shows or hand-wringing trifles like where Unique goes to potty.

Jagged Little Tapestry, while sometimes cloyingly sweet as a mash-up parade, was effectively Alanis Morissette-edgy and Carole King-soulful in its generous attention to oft-neglected Coach Beiste and Becky — not to mention its momentous showcase of Santana’s proposal to Brittany, one of the jewels in this season’s “give the fans what they want” crown.

As with last week’s often teary two-part premiere, Episode 3 often was Glee at its “dramedy” finest, from Dot-Marie Jones’ touching revelation of the torment that’s led her to a gender change to the awkward but sweet romance of Lauren Potter’s Becky and a remarkably understanding, good-hearted guy.

Heck, even Sue almost had me crying with her hug-it-out support of Beiste and Becky — albeit laced with wry snarking on the side, helping the show avoid pitfalls of preachiness even as it sermonized.

We also saw the ugliness of Kurt’s jealous outbursts fueled by his despair at Blaine moving in with Karofsky. Funniest Glee ever, this show was not. But it told a strong story, and that was enough.

It also was steadily entertaining and strongly character-driven, including one of Naya Rivera’s fiercest rants ever as she torched bitchy Chris Colfer’s Kurt with Santana’s trademarked volcanic eloquence.

Musically, the numbers were tame — almost sedate — compared to last week’s onslaught of the fiercely dramatic (Uninvited) and the joyfully anthemic (Home). But newbie Jane and Mason’s mashup of Morissette’s Head Over Feet with King’s lovely Will You Still Love Me Tomorrow (recorded for Tapestry, but by then already a radio staple by the Shirelles and the Four Seasons) was beautifully sung in a near-a cappella arrangement.

Still, as much as I respect King as a composer, I loved Morissette’s more contemporary music the most, especially her rousing You Learn blended with King’s gentle You’ve Got a Friend at the end.

I also thought Morissette’s Hand In My Pocket was the driving force of its mash-up with King’s I Feel the Earth Move, as Brittana sang and danced toward their surprise engagement.

Which reminds me: I was wrong in thinking Rivera’s small role last week signaled Glee’s producers’ disenchantment with her antics (the latest being a declaration that “ethnics” don’t bathe as much as whites), since this week gave her such lavish attention. The character is key enough to deserve it. And it’s good to know that Glee — a tolerant show — doesn’t hold a grudge.

Besides, as noted, this season is an avowed fan-pleasing victory lap — and the best may be yet to come.

So while others bemoan the end, I again say thanks, Glee, for being in our world for this long, for showing TV how a musical-style series can work, and for remembering the meaning and heart that have ultimately made this show great.

— Bruce Westbrook

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