There’s a lot to like about Will’s job as Vocal Adrenaline coach: the money, the car, the massages, the money. But there’s a lot of pressure, no fun, and VA are actually rather unpleasant. Their philosophy – as stated by Clint – is that “winning is everything”, and they’re not remotely interested in Will using showchoir practice as an opportunity for one of his little moral homilies; in fact, they want to intimidate the opposition in any way they can. It starts relatively tamely with them egging Rachel and Blaine, but escalates very quickly to the abuse of Coach Beiste – back this week, post-transition – by defacing his car with a hate term. Will kicks Clint off the team, but is told that he has to reinstate him. So Will has to decide between money and principles. This being Glee, there’s only one way that’s going. Still, at least Jayma Mays makes an appearance.
As well as Beiste, the other transition taking place this week is Rachel finally leaving childhood behind – about time, one might think, given that she doesn’t really look 18 these days – by moving out of her home. The Glee gang marks the occasion the only way it knows how: through the medium of song and dance. So there’s a houseparty at Rachel’s, with duetting couples selected via a wheel of fortune.
There’s fallout, of course: Rachel and Sam make out, then Kurt and Blaine sing together and kiss, which leads to Blaine realising that he really needs to do the decent thing and split up with Dave. He, in turn, manages to part from Blaine with dignity and affection, which still doesn’t make me forget the way in which he used to bully Kurt. So will he and Kurt now get back together? Well, no, because Blaine didn’t know about Walter, and he runs to McKinlay just in time to see Kurt and Walter leaving on a… date? Klaine is still very obviously the endgame, though, so it’s hard to get too worked up. About that or anything, really; a so-so episode at best.
Musically a mixed week: I’m with Vocal Adrenaline on Will The Rapper – it should never be allowed to happen again. But Mercedes and Roderick singing ‘All About That Bass’ was good fun; Unique and the trans choir at the end singing ‘I Know Where I’ve Been’ made its point; and the highlight was Rachel and Sam’s take on the glorious ‘Time After Time’, which wisely the writers didn’t meddle with.