Dalton Academy has burned down, so the Warblers are invited to join New Directions. Sue objects – blah blah glee club blah blah – and Becky, of all people, thinks this is a step too far, so reveals the existence of the Hurt Locker, whereupon Sue is fired, and her conduct and fabrications exposed – ‘The Rise And Fall Of Sue Sylvester’ – on national TV. The only two people to stick up for her are Beiste – fair enough – and Will, which beggars belief, given that he’s been a front-and-centre witness to her behaviour over the years, now passed off as some sort of tough love. Which won’t do, it really won’t. To be clear: I liked nasty Sue in the first few seasons of Glee, but the show should at least own it. And then Sue, very recently categorized as unfit to teach, and entirely antipathetic to the very idea of glee clubs, turns up as coach of Vocal Adrenaline. At which point it becomes clear that the writers really don’t give a shit, and I shouldn’t either.
The other storyline is potentially problematic: Rachel goes back to NYADA to beg Tibideaux for another chance, agreed by everyone as the right thing to do. But then she gets told that she was successful at a Broadway audition a few weeks ago, and even after NYADA confirms that she can go back there she’s all, what do I need NYADA for? Broadway here I come! Which is, of course, exactly what she did before, when it all went wrong, and it’s only Sam who points this out. Both courses of action are defensible, I suppose, but if this is going to end up as a man saving a woman from herself that would be regrettable.
The music’s nothing special, although I quite liked the way in which we got to see the reality of Will and Sue’s ‘The Final Countdown’ smackdown. ‘Rather Be’ is standard Glee. ‘Far From Over’ is standard Vocal Adrenaline. Sue and her mother (an excellent Carol Burnett) performing ‘The Trolley Song’ is quite sweet, and the last song, ‘Rise’, is apparently a Darren Criss original, and isn’t bad.