Glee: The First Time recap/review

"You take my breath away."

And with that one line Kurt's character sums up what Glee does when it's at its best - it takes your breath away.

It goes from an episode like last week's, where everything was a bit hit and miss, where there was no real character development, where ridiculous plot lines took everything over...to this.

Last week I ranted about the lack of focus on something other than romantic relationships, so it perhaps comes as a surprise that I loved this week's episode, which was almost exclusively about two romantic relationships. The difference is, this week the relationships showed the development of key characters, showed the real challenges facing teenagers and were handled with gentleness, maturity and, thank goodness, a lack of absolutely crazy drama. 

I know everyone's attention was on the "first times" shown (or not) that give this episode its name. I could go on and on about that particular aspect but much of it has been said already, so I'll try and focus on some of the other things we saw and the build-up. Before I get there though, I will say those final scenes were just right and they showed, that with Kurt and Blaine, and with Rachel and Finn, the first time was not about sex, it was about love.

This episode had a lovely, quiet feel. Even the drama was quiet, in the sense that it was real drama - the realisation someone else finds your boyfriend attractive or that your ambition has the ability to hurt people. It was a welcome change from plotting to steal back a baby or dealing with ginger supremacist parents.

In addition to the sex, there were plenty of other first times in this episode: the first time Mike stands up to his dad (thank goodness the writers haven't forgotten about this plot), the first time Finn realises his dreams may not come true, the first time Coach Bieste realises someone sees her as the "pretty" one.

We got to hear from Artie, who gave an emotional speech about being accepted and feeling good about himself, about feeling like a man for the first time. He is one of the many characters we're seeing mature this year, and it's lovely to watch.

Another character who we got to see a mature side of was Tina. For once, she got to say more than two words, and was separated from Mike for an entire scene. And the world didn't end. We got to see and hear Tina sound like she's growing up, and we heard about a side of her and Mike's relationship (the talking) that we usually don't (it's usually all about his abs). 

Among the firsts was the chance to see Karofsky and Kurt interacting outside of the school environment, and as equals. In those brief minutes they spoke, they understood each other. Yes, Karofsky wasn't likeable in most of the previous episodes, but you have to remember he's a scared boy who feels like he doesn't fit in the world he lives in, and he can't handle that the way Kurt can. Seeing him relaxed was nice, and props to Max Adler for acting his socks off there.

Since we're at Scandals (what a horrid looking place that was), I loved Kurt's flounce over to Blaine, showing Sebastian just how powerful and gorgeous he is. And I thought the scene in the car park was handled brilliantly. I felt for both Kurt and Blaine. Yes, Blaine was in the wrong here. He was insensitive, and stupid, and really hurt Kurt. But more than that, he hurt himself just as much, if not more. It was heartbreaking to watch.

Which leads nicely onto the next Kurt and Blaine scene in the auditorium. So perfect. Blaine's pain was clear to see, and Kurt handled it beautifully, drawing Blaine out of himself and letting him know how proud he was. Kurt teasing Blaine about kissing Rachel was cute (see also the earlier scene with Blaine teasing Kurt about his layers), and just showed these boys get each other. 

I now want to see some of Blaine's backstory. There seems to be a lot of pain hidden away, perhaps the hurt when Kurt shouted at him, the need to get a perfect dance move more perfect, and the emotion at being told Kurt was proud of him are signs of something in Blaine's family life? Or maybe I'm too caught up in fandom chat!

Rachel and Finn were also sweet together, although it seems there's less of a connection between them than there is Kurt and Blaine. Maybe that's just the acting?

I loved Finn this week though, I thought we saw a really well-rounded character, and one who's becoming more aware of himself and what's going on around him, instead of living in his sheltered world.

Rachel, too, matured in this episode, and was surprisingly not annoying. At all. This must be some kind of record.

One of the things I loved most was the juxtaposition of scenes in the characters' real lives with their rehearsals and performances for West Side Story. 

The cleverest was Finn's fist hitting the shower wall before the cast of West Side Story set up for America. Those few seconds went unexplained until Finn told Rachel about failing to catch the scout's eye, and even then I confess I didn't remember it until later when I was rethinking the episode. Much as I love Glee it's rare that it has layers that go unnoticed in a first watch, but this episode had as many layers as Kurt's outfits.

Another of my favourite parts of this episode was that glimpse, just a few seconds, of Kurt running the fingers of one hand over the other after Blaine walked away in the hallway. A clever nod back to the sometimes "the touch of a fingertips is as sexy as it gets" scene from Sexy in season two.

Of course, in addition to the quiet moments there were some great "louder" scenes. First off, the Warblers. I love these guys. I want someone to create a spin-off set at Dalton Academy, mainly focusing on the Warblers dancing around the school, jumping on furniture and doing backflips. In fact, I may start a petition for this to happen. Who wants to sign it?

With the Warblers came new boy Sebastian Smythe, who was taught to flirt at the Joey Tribbiani School of Subtlety. But it was funny, it moved the plot forward, and he's a very interesting character. I look forward to seeing where his story goes, as he's clearly not coming between Kurt and Blaine anytime soon. 

The music:
So, nearly every number was from West Side Story, which is truly a great musical. I did love America, and bringing the Jets in may have been a risky decision, but it worked.

My favourite of the West Side Story numbers was A Boy Like That, because Santana rocks.

The Warblers doing Uptown Girl was brilliant, because I love the Warblers. I will not hear a bad word said about them. Also, I love that so far the only teacher we've ever seen at Dalton is a very attractive librarian-like woman.

There was also some great uses of music not sung by the cast, including Don't Leave Me This Way in the club scene. 

What Glee did well this week:
Everything. There are so many great moments I haven't mentioned: Blaine dancing around his room, all the scenes with Coach Bieste, Quinn and Santana's advice to Rachel, the Warblers going to see West Side Story in uniform (hilarious). The list could go on and on. 

Next week:
The two glee clubs do battle, there is a medley of Adele songs, and the return of the Puck/Shelby plot.

Glee: Pot O' Gold recap/review

It's safe to say Glee crammed a lot into Pot O' Gold, its first episode back after hiatus.

I'll start at the end, with the Shelby/Puck kiss I was dreading. Hands up who saw this coming a mile off? Oh look, everyone's hands are up. 

Surely I am not the only one slightly disturbed by this? Yes, Puck has a thing for older women, but would Shelby really have a moment of weakness just because she's tired? Remember, she was the hard-nosed Vocal Adrenaline coach. She's not a woman to be brought down easily.

I don't think I really want to see where this "relationship" is heading, although I may not have a choice.

This episode also saw the introduction of Rory Flanagan, played by Damian McGinty, the joint winner of The Glee Project. It's a strange introduction, and I'm not sure whether Brittany thinking he was a leprecaun was funny, or just a little bit insulting. Can it be a strange mix of both? Ultimately, he's a very sweet character ("No, I haven't met Colin Farrell yet"; "Would you be my friend, Finn? It would be an honour"), and it's lovely to see him as part of the glee club.

Returning this week was the horrid Quinn who wants her baby back, and will do silly things to make sure that happens. I still stand by my earlier opinion that this is a ridiculous storyline and I plan to ignore it as much as possible.

Santana and Brittany left Mr Schuester's glee club to join Shelby's, which resulted in a brilliant rendition of Candyman with Mercedes. I'm not sure how long having two glee clubs is feasible for, but the Troubletones do rock.

Someone else who rocks is Burt Hummel. Every time Mike O'Malley has a scene he's utterly brilliant, but this episode saw Burt Hummel go to a whole new level of excellence. I look forward to more Sue/Burt confrontations and great quips.

This episode also included constant mentions of Brittany, Rachel and Kurt's presidential campaigns (although I would like to see some actual campaigning being done); Finn feeling threatened by Blaine so being, in turn, a really bad spy, a really bad friend, and just plain mean; and Blaine mentioning yet again "what the Warblers would do" (really unsubtle setting up for the return of everyone's favourite uniformed boys).

Phew, I think that's everything. With such a huge amount of stuff going on, it seems like Glee isn't missing anything out. But it is. (Warning, rant ahead.)
 
My favourite part of this episode was such a small moment it may have passed many people by. It was the moment when Kurt, Tina and Artie waved and smiled at Mercedes, Santana and Brittany as the Troubletones rehearsed.

My second favourite was Finn reaching out to Rory at the end of the episode and bringing him into the group.

And my third was Finn apologising to Brittany (after being so, so mean) and telling the Troubletones he still wanted to friends.

Those moments showed exactly what I miss about Glee, and what it needs to do more of - storylines that are centred on non-romantic relationships among the glee clubbers.

Where have all the friendships gone this series? Sure, we had a Kurt/Rachel moment in episode one, but that friendship soon disappeared. And when was the last time you saw Kurt and Mercedes, meant to be really close, bonding as friends? When Glee started, sure, there were romantic entanglements, but it was also about friendship.

Fast forward two series, and we get this episode, which contained the following (mostly) romantic relationships to drive the plot forward: a Santana/Brittany/Rory love triangle and a messed up Quinn/Puck/Shelby not quite love triangle. In addition Kurt and Blaine were doing the "we're a couple but Ryan Murphy doesn't want to show it quite yet so he's sitting us four chairs apart" dance, Rachel and Finn were doing the "we're the annoying couple" dance, and Tina and Mike were doing the "inseparable because no one can give us a proper storyline so we're going to practically sit in each other's lap and have that define us" dance.

Artie barely got a look in this episode, because, oh wait, he's not in a relationship. Even Mercedes didn't feature beyond being the catalyst to get Brittany and Santana into the Troubletones, because her relationship is pretty boring.

Bring back the friendships, Glee! I want to see more Kurt/Rachel/Mercedes sleepovers, more Mercedes/Quinn friendship scenes, more of the guys bonding and the girls gossiping.

The end of the episode made a start, with Rory being welcomed to the group, so let's hope it continues.

The music:
Darren Criss as Blaine rocked Katy Perry's Last Friday Night with some great facial expressions and acting. It was also good to see the glee clubbers doing a fun number together.

Mark Salling was great with his guitar on Waiting for a Girl Like You, and I've already mentioned how much I think the Troubletones rocked with Candyman.

But the star this week was Rory. New boy Damian McGinty got to show off his vocal chops, and demonstrate why he was a winner on The Glee Project, by singing Being Green and Take Care of Yourself. The latter was gorgeous, and probably resulted in a few more people than just Kurt Hummel getting tears in their eyes.

What Glee did well this week:
Even if there were too many things going on (which I think there were), at least the team behind Glee remembered all their storylines and didn't just ignore major plot points introduced earlier in the season.

Also great this week was Burt and his rotary club friends, and the angry woman outside Figgins' office. It's the little things.
 
Next week:
Seriously, do I even need to tell you?!

Glee spoilers - like eating a burger and chips

So, over the past few weeks Glee has been on a "hiatus".

This is despite the fact that the series was only three episodes in before it went on its break. But baseball season or something got in the way, so it had to go off air. 

Anyway, American television scheduling and its utter ridiculousness is a blog post for another time.

This post is all about spoilers - one of the most annoying things the development of social networking has brought with it.

Since Glee has been on hiatus, there are a lot of impatient people awaiting its return, and I am one of them.

Because when Glee comes back, it's not just returning. Oh no, it's returning with some massive storylines. There are new characters causing conflict, old characters returning, and an episode called The First Time.

It's that episode that has been driving the fangirls and boys to distraction on Twitter, Tumblr and any and all other social media.

I stayed firmly away from spoilers for a long time, even though I, like anyone with half a brain who's been watching Glee for two and a bit seasons, could partially guess what the episode is going to be about.

And then, one day, I found myself reading something non-spoilery, but alluding to spoilers, and before I knew it I'd pulled up a new browser tab, brought up Google, typed in a search term and read spoilers.

Oh, it felt good for about 30 seconds, and then I was consumed with guilt and disappointment, guilt and disappointment in myself for giving in.

You see, a spoiler is a bit like having a burger and chips. You sort of know what it's going to be like and how good it's going to taste. Then one day you find yourself irresistably drawn to a fast food restaurant*, and for some reason think it's going to be the place for you to indulge. Before you know it you're scarfing down the aforementioned burger and chips from this fast food place.

It feels good. For about an hour, and then it just feels rubbish. It makes you feel sluggish, and you wish you'd waited to get home and make your own burger and chips, because that would have been tastier and healthier and much more satisfying.

I felt a bit like that after reading those Glee spoilers. I wish I'd just waited for the episode to air, because it would have been so much better.

Yes, it's still going to be brilliant, but half the fun is in the anticipation. And now there's going to be no anticipation. I'm just going to be expecting (not anticipating - there is a difference) certain scenes, and there'll be no surprises.

In the days before the internet was the place you could find out everything, spoilers were much harder to get hold of, and a younger me actually enjoyed reading them when I found them (and then being really mean and spoiling things for my friends - to an unnamed friend, I'm really sorry about telling you how Cruel Intentions ended).

But the older, more mature me understands that anticipation is a great part of life, and that sometimes waiting for something makes it better.

I just wish I'd remembered that before I'd typed those fateful words into Google.

*Insert name of your fast food restaurant of choice here.

Review: Josh Groban Straight to You tour at the HMV Hammersmith Apollo

I have a friend, whose reaction every time I mentioned I was going to see Josh Groban was to burst into hysterical laughter.

Despite finding him amusing on Never Mind the Buzzcocks, she couldn't understand why I was excited, or why anyone below the age of 40 would want to see him. In fact, for her, me going to see Groban was worse than me going to see Cliff Richard or even Steps (don't all rush for reunion tour tickets now, will you?).

So, my darling friend, this review is dedicated to you and all the other disbelievers out there.

The Groban experience started before the audience even got inside the venue last night. Approaching the Apollo the queue snaked outside the building, and walking the length of it to try and find the back led people past a host of fans - some hard-core "Grobanites", some not. There were couples of all ages, groups of friends (aged anywhere from in their late teens to their late, well, I'm too polite to say), families and more.

Ignoring the touts selling unofficial merchandise (if I'm going to buy overpriced crap I'm going to at least get the good stuff), everyone queued calmly, setting the tone for the evening - civilised.

Because that's what the whole event was, very civilised. In the surroundings of the Apollo (much smaller than I expected), those who didn't get seats stood calmly at the sides, and everyone stopped talking when the band came out to play their introductory instrumental version of Straight to You, the song from Groban's latest album, Illuminations, that the tour is named after.

Still, being civilised is no barrier to screaming, and there was plenty of that throughout the night - when Groban came out, whenever he spoke, whenever he finished a song, and of course when he came down from the stage to grab a few lucky audience members to join him for a glass of wine back on stage.

The wine and audience members on stage is a nod to a smaller set of concerts Groban did earlier this year. During those (the Before We Begin tour) Groban mentioned he liked the more intimate feel of interacting with his audience, and elements of last night's concert were copied straight from there.

Having seen various clips of Groban picking fans, pulling them up on stage, sitting them down and then telling them he was going to sing a song about cheating (Broken Vow), I felt a weird sense of de ja vu, and it wasn't as fresh as I might have liked it. Still, watching Groban being felt up on an stage by a fan and taking it in his stride by cracking jokes was fun.

The Straight to You tour is a great mix of Groban songs old and new, and some are reworked brilliantly to give them a new edge (You Are Loved) while others are just so gorgeous they don't need reworking (Oceano).

Of course, being as this is a tour for the latest album, there was plenty on the playlist from Illuminations. Disappointingly, he didn't sing my favourite tunes (Love Only Knows and Straight to You), but the rest of the show was so good I guess I can forgive him.

Groban's band are world-class musicians, and it would almost be unfair to pick out just one person for praise. Almost. Special mention must go to violinist Christian Hebel, who did a brilliant job throughout, but was particularly fantastic on Mi Mancherai, which is essentially a duet between Groban and a violin (go YouTube it if you think that descriptions sounds strange).

Special mention must also go to the Grobanites. Everyone in the room last night was a Groban fan, but the Grobanites are a special type of fan, slightly more vocal, slightly crazier, but in the absolute best of ways. They were the ones waving glowsticks in the air throughout, and dancing their way through some of the faster numbers. You go!

For the fans Groban is as appealing for his personality and sense of humour (aforementioned NMTB appearances etc) as he is for his music, so it was great to see him answering a few audience questions and giving out little tidbits of information about his songs. I wouldn't have minded hearing him talk a bit more though, although that would probably have involved either cutting back the number of songs (NO!) or taking the show over two hours. Considering Groban was on stage for close to 120 minutes already, I think he was probably exhausted enough by the end.

Of course, even after he left the stage, he did come back for a couple of encores. Getting the audience to join in with You Raise Me Up, he reminded everyone just how superior his version is to Westlife's (as if we needed reminded). He pulled out a brilliant cover version of Neil Diamond's Play Me, playing the piano for that number as well.

In America the Straight to You tour has played bigger venues than the Apollo, but the smaller venue as an advantage for the audience last night when it came to Groban building a connection with his fans, a connection that no one wanted to break.

So it was perfect that the show's very last number was a cover of Charlie Chaplin's Smile, a beautifully melancholy song that summed up the fact that no one in the room (Groban included) quite wanted the evening to end, but they we would all continue to smile, even though our hearts were aching.

Concert review: Idina Menzel at The Royal Albert Hall

Is it that the grand surroundings of the Royal Albert Hall deserve nothing but the very best performers?

Or is it that stunning music deserves surroundings as amazing as the Royal Albert Hall?

Whichever way round it is, everyone got the best last night when Broadway and West End superstar Idina Menzel brought her symphony concert to the historic London venue.

Menzel has been introduced to a new breed of fan with her appearances on Glee as Shelby - Rachel's biological mother and the former coach of rival glee club Vocal Adrenaline. 

But while many more people may know her now, Glee is hardly the pinnacle of her career, which involves Tony nominations and wins, and the chance to originate one of the most famous roles in musical theatre - Elphaba the green witch in Wicked.

So, of course, Menzel sang numbers from the hit musical last night. Despite not being covered in green paint - she was wearing a stunning strapless off-white ballgown with a black ribbon belt and no shoes - her brilliant voice combined with her stage presence and acting chops made it seem as though you were watching Elphaba.

Menzel's ability to embody a character in a song was shown in a rendition of Love for Sale by Cole Porter. 

The number was preceded by a story, as were most of the songs she performed last night.

Love for Sale's story had Menzel revealing she had a crush on a teacher at university, so when he told the class to pick any Cole Porter song, she thought she'd kill two birds with one song and use Love for Sale, complete with seductive looks and a costume consisting of lingerie-like items, and seduce said teacher and complete the assignment. Unfortunately for the young Menzel, she was stopped in her rendition and her teacher told her love for sale was not a seductive song, but a desperate one about a woman who is forced to turn to selling her body for money. Oops. And if that wasn't embarrassing enough, Menzel also discovered later in life that particular teacher was gay.

The humorous anecdote was a contrast to Menzel's performance of the song. She became the desperate woman for the few minutes she sang, uncertain, shy, facing up to her demons. And, in a brilliant arrangement, she also segued seamlessly into Roxanne by The Police midway through the tune before finishing Cole Porter's song.

For me, the highlight of the evening came near the end, with another song from Wicked. This time, though, Menzel simply played herself. Dedicating For Good to the crowd, Menzel shouted to the back of the hall that she would not be using her microphone, and to tell her if they couldn't hear her. They needn't have worried, her powerful vocals filled the hushed Royal Albert Hall, no technology needed. And it was one of the most emotional parts of the night, as Menzel sang straight to the fans who had been clapping and cheering all evening (guilty as charged).

Another spectacular moment also involved the audience, and was again an emotional, quiet performance. Menzel told of the death of the creator of RENT, who passed away on the day the cast had its dress rehearsal.

In tribute to the lessons she learnt from him and her time on the show, she sang No Day But Today, getting the crowd to sing the title line back to her towards the end, each time in hushed tones.

Sweet moments came when Menzel discussed her husband - Taye Diggs, who she met when she was in RENT - and their son Walker, followed by performances of silly songs the pair have made up for Walker ("my husband gets annoyed that my songs don't showcase his strong baritone, I get annoyed because his don't showcase my 13 octave range"). 

Funny moments came during a story about performing for Barbra Streisand (she ignored Menzel and Diggs as they sat at her dinner table, then asked if Menzel had sung for her as she'd forgotten her glasses, then abruptly left). And for the Glee fans Menzel poked fun at herself as she sang a stripped down version of Lady Gaga's Poker Face.

Menzel was accompanied throughout her show by the Royal Philharmonic Orchestra, masterfully conducted by legendary Broadway composer Marvin Hamlisch, one of just a handful of people to have won an Emmy, a Grammy, an Oscar and a Tony (an EGOT). He had a few funny stories of his own, during the very first short act which featured just him and the orchestra.

With a full orchestra behind her much of the night was loud, rousing and fun.

But it was the quiet, emotional, virtually solo numbers that truly showcased Menzel's talent, and which will stay with me for the longest.

Glee: Asian F review

Asian F was an episode about expectations - those you have others, that others have of you, that you have of yourself.

It's a heavy topic, and this episode of Glee had a heavier feel than the previous two in this series. There was still drama (goodness, was there drama), but the ridiculously over-the-top storylines and feel of the season openers was replaced with something heavier, darker, and altogether sadder. 

This is the episode fans of Glee as a whole have been waiting for - secondary characters we love get to come to the fore, properly. 

Mike Chang got a storyline (!), and a good one at that. Finally, finally, we got to see Harry Shum Jnr do something other than just dance. Sure, he's an amazing dancer, but this week he got to sing AND act. And he pulled it off. His internal conflict between fulfilling the expectations his father has for him and fulfilling his own dreams - simply another kind of expectation - were quietly played out. He didn't need the histrionics often displayed by Rachel or the overt schemes played out by Quinn/Santana/Sue (delete as appropriate) to show something matters. He just did it quietly and through actions, not necessarily words. And the scene with his mum? I inconveniently got something in my eye.

The only complaint is that Mike's storyline should have been spread out across more episodes. Although if that were the case Glee's writers would probably have introduced it in one episode and then forgotten about it for the next ten, so maybe doing it in one was a good idea.

At the opposite end to Mike - doing what he wants to do because he loves it and for no other reason - was Mercedes, forgetting she's singing because she loves it and doing it because she wants to prove, and disprove, the expectations about her.

We've seen the Mercedes-as-a-diva storyline before, and it does get a little tedious, even in this episode. But this time, the writers took it one step further and Mercedes actually did something about it. By quitting glee and actively pitting herself against her old club, she thinks she's shown she can take on the world. I don't know if it was intentional (I hope it was), but what I actually saw was a lost teenager, letting not being as skinny or pretty or favoured as someone else get her down, and making a silly, snap decision out of anger and grief and bitterness. I'd like to see Glee develop this storyline properly, to see Mercedes work out she's worth something and find her way back to her friends. Most of all, by properly I mean not in the next week.

The other person central to the storyline with Mercedes was Rachel, and this episode did feel like we were getting back to the old Glee, where Rachel was the centre of the universe. Well, it would have done, except for the part where the writers seemed to be parodying their early almost-worship of Rachel in Mr Schuester, and the character's realisation that those she loves (Finn, Kurt) may not love her enough to forgive her ugly behaviours, like sneakily running for school president.

One of the sweetest moments during this episode came courtesy of Blaine and Kurt (as usual) and their awkwardness over touching one another in a place where Kurt has received so much hostility. Which is why his campaign for class president has turned from being something he's doing to get into university to being something he feels ca actually make a difference. And why he's right to be annoyed by Rachel.

Rachel's campaign is all about her, and is thoroughly boring and I hope it will be a disaster, and Brittany's is super fun and I hope she'll stay in it for the long run, but in the end Kurt should win, because it's THE RIGHT THING.

This episode also brought the Schue/Emma (Wemma?) relationship back to the forefront. And again, it was all about expectations, and this time, Will having too meant Emma's recovery from her OCD took ten steps back. Will you never learn not to interfere Will?

The music:
Beyonce, show tunes, big numbers, dance numbers, Coldplay - this episode had a song (or two) for everyone.

Brittany did Run the World better than Beyonce, although the song still has way too much going on and is really overrated.

Mercedes, as usual, knocked it out of the park on her two (one and a half?) ballads and on her number from Dreamgirls.

Rachel was Rachel, what else can I say?

I'm still a little annoyed about Coldplay. They didn't see the potential of the programme when it first started and turned it down, but now that it's a hit they've suddenly been gracious enough to let Glee use their music? Pah!

My favourite this week, though, was Mike Chang doing Cool from West Side Story. Sure, he wasn't vocally the best, but the overall performance was moving. And seeing the football players dance wasn't as awkward as it should have been.

What Glee did well this week:  
Special mention this episode should go to Coach Bieste, who is the new Sue Sylvester. "What?" I hear you cry. No, I know she's not mean and hating everyone, but she is getting some of the funniest lines. And delivering some of them while eating a gigantic mixing bowl full of pasta. Genius.

Next week:
Weird moments between Puck and Shelby (NO!), Burt gets into the political race (YES!) and the glee clubs sing songs by Christina Aguilera and Katy Perry (maybe).