Everyone – Brittany, Santana, Artie, Quinn, Tina, Mercedes, and Puck – is back in town for Homecoming, and they try to help Rachel and Kurt inspire a potential new generation of glee club members. Recruitment is slow, but eventually they pick up generously-proportioned Roderick (Noah Webster) and siblings Mason (Billy Lewis, Jr.) and Madison McCarthy (Laura Dreyfuss), referred to by Kitty – who seems to have reverted to the personality she came in with – as the Incest Twins.
Meantime, over at Dalton High the guys are debating whether to allow a female Warbler, because the absurdly talented Jane (Samantha Marie Ware) has been admitted to the school, and wants to audition, which the Warbler Council debates at length. (Can I just say I loved the reaction to Blaine’s innocent throwaway to the Warblers: “But, uh, aren’t most of you guys gay?”) Ultimately they decide to maintain their no-girls rule, whereupon Jane defects to McKinlay High, thus breaching the terms of a Will-brokered peace treaty between the New Directions, the Warblers, and Vocal Adrenaline.
Kurt and Rachel are less successful with “postmodern gay” jock Spencer (Marshall Williams), but his storyine allows the show to explore the way in which the portrayal of gay people on TV has developed in recent years: he’s told he owes glee club (meaning Glee), but he retorts that he owes Modern Family. I’d say that both, in turn, owe a debt to Will & Grace, among others. But as I’ve said before, and no doubt will again: whatever else you want to throw at Glee, it’s played a significant role in the advancement of gay rights. And not just as a part of the history of TV, but as a part of the history of Western civilisation. (This might sound like an exaggeration; it really isn’t.)
Putting aside the Sue blah blah glee club plot, and the ongoing Klaine split – because I’d be amazed if they don’t end up together – this was a great episode. But if you didn’t see it, and you’re still reading this, you won’t believe me. Which is why this is Glee’s last season, I suppose.
The music was terrific too: neither ‘Home’ nor ‘Mustang Sally’ are particular favourites of mine, but they were performed with such enthusiasm that I was swept along. (Particularly ‘Home’, where the cast looked as if it was having a great time.) ‘Take On Me’, complete with the graphics effect from the original video – which recurs throughout the episode – is sparky fun. It’s very difficult for me to choose between the two other performances: Jane’s sensational Warbler-assisted take on Janelle Monáe’s ‘Tightrope’ would have been the best thing on just about any other episode of Glee, but it was perhaps just edged by ‘Problem’, with most of the original cast, cheerleaders, a marching band, and anything else the producers could throw at it.