They really did it. They ended the thing. Glee shut off the lights in the McKinley choir room, a close zoom on Creepy Brad’s piano bench, the only memory that there was ever a Glee Club who dwelled there, made dreams there, dated like incestuous, insatiable rabbits there. In the second act of the 100th episode (some might call that the 101st episode – those people are not still watching Glee), it was time to really say goodbye to the Glee Club. Well, say goodbye to the newest members of the Glee Club, because most of the older members are headed to New York with the show. And by “say goodbye,” I mean give Marley, Jake, Kitty, Ryder and Unique a brief group hug, and hopefully a pat on the back for a job done as well as it could have been.
Finn may have been its heart, and Rachel may be its star, but the Glee Club was always really about one William Schuester. No one needed the Glee Club more than Will in its genesis; for good or bad, for sweet or creepy, Glee was always about Schue, and tonight it said goodbye to him for good (I mean, probably, I honestly have no idea what’s going to happen when they get to New York). And even as someone who is frequently not his biggest fan – on account of the holier than thou idealism and tendency to be crazy inappropriate in the presence of 15-year-olds – this episode gave me a fond lasting impression of Will Schuester, perm and all.
The final episode in Lima leads off with April Rhodes and Holly Holiday still trying to find a way to save the Glee Club. It seems odd to devote so much time to two guest characters in the last two episodes that Ryder will ever wear a short sleeve hoodie in, or Marley will ever wear…whatever the hell it is that Marley is always insisting on wearing. But, hey, at least these two are funny! I was straight up laughing real out loud LOL laughs in that Amazing Race sequence. It turns out Sue and Holly are biffles, so close that they made an audition tape to compete on The Amazing Race, where Sue will handle the physical challenges, and Holly will “take down those half-formed fetal duck eggs.” Their special bond helps Holly and April convince Sue not to reinstate Glee, but to at least incorporate music into some other clubs at McKinley.
Tina Cohen-Chang still doesn’t know if she’s been accepted to Brown, and in a last ditch effort to move to New York with the rest of her graduating class, applies to Mazel College or some such, in hopes that her adopted Jewish heritage will get her in. Blaine was likely accepted to NYADA at birth because Blaine’s life is 24/7 roses, but he waits to tell the rest of the New Directions until now. The celebration naturally leads to Tina being knocked unconscious because that poor girl (Jenna Ushkowitz more than TC-C) has spent half of season 5 on the ground in the fetal position. It all leads to a delightfully random unconscious hallucination of Glee-gone-Friends in New York, aka, Chums. The boys all have Ross hair; Rachel and Kurt’s loft is somehow impossibly bigger than the actual absurdly large apartment from Friends; and I think Tina is Rachel because, in the comfort of her own dream, of course Tina thinks she’s Rachel.
In an attempt to get Rachel and Santana to forgive each other, Mercedes and Kurt rehash their epic Tot Battle, and then get past it with a performance of “I Am Changing” from Dreamgirls. It’s lovely, if not exactly a convincing argument for two people to forgive each other. I savor the last chance to see Artie do “PREACH” arms in the auditorium audience, and as I don’t believe Mercedes will be changing coasts, the duet with Kurt is a fitting close to their time at McKinley. Long live “Bust the Windows (Out Your Car)!” A-
The plan to shoehorn Glee into McKinley’s other clubs has begun, so Holly and a bunch of kids who don’t even go there anymore visit the Animal Husbandry Club…where Holly promptly does a completely unnecessary Claire-Danes-as-Temple-Grandin impression that is just the perfect segue into “Party All the Time.” Listen, I know it’s like going to Red Lobster and saying, “Hm, the menu looks a little heavy,” to say that something on Glee doesn’t make sense, but seriously, WHAT was going on in this number? It sounds good and it looks fun, but while I’m sure animal husbandry is perfectly enjoyable, what does it have to do with partying all the time, and why was an Eddie Murphy (yeah, that Eddie Murphy) song released in 1985 performed on the set of American Hustle? And then it all ends with Holly saying “How’s that for a field trip,” as if that was a thing that had ever been mentioned before. C
NEXT: I never thought I’d feel these kinds of emotions (re: any) for a Glee original song…