The TV Chick

I want to believe Glee is back to its old season one self, but I’m not all the way convinced yet. “Mash Off” was a pretty decent episode, but it was decent because some of the musical numbers (mainly one) gave me chills. And that knocked it up in the rankings. But was it anywhere near “Asian F” or “The First Time”? Not really, sadly. The episode focuses on a Glee assignment (and one of my favorites) — mash-ups. But because the groups are split (The Troubletones are great and all but can we please just all get along?!), they are going to have a Mash Off, a mash-up competition.

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By now, you all know my feelings on Glee. This week’s episode, titled “Dream On,” might be my favorite of the entire season. I will be posting a review soon but recently I had the chance to chat with Joss Whedon, who directed this week’s episode which guest stars Neil Patrick Harris. Joss is obviously a TV director/writer/creator extraordinaire, so it was an absolute privilege to be on the media call with him. And quite honestly, you can tell that this episode is directed by Joss Whedon. There are little touches that shine through that make the episode so amazing. He talked about his experience, working with Neil again and what makes Glee different from any other project he worked on. He even talked about what other show he’d want to direct in the future.

What was it like directing someone else’s show?  Can you give us an update on Avengers?
I can’t give you any updates.  This is purely a Glee call.  Directing somebody else’s show is – I’ve done it once before, twice just with The Office.  It helps if the show’s unutterably wonderful.  That takes a lot of the pressure off.  It’s a little tricky.  You’re living in somebody else’s house and you have to make sure that you’re fulfilling their needs.  It also takes some of the burden off you.  You don’t have to be the guy who sees the big picture.  You just take what they give you and make sure that you’re servicing it as best you can.  Having said that, Glee is probably harder to shoot than any other show in recorded history, with all the different elements going on and whatnot; it’s a different kind of challenge, but ultimately enormous fun.

What were you able to do with the dance number that maybe you weren’t able to do in your other musical episode from Dr. Horrible?
Well, dance would be one thing.  There’s more real hard-core dancing in the show, not in every number.  Some numbers are just about movement.  Then I get to be seriously involved in creating that movement.  Then some numbers are real dance numbers and that’s all Zach Woodlee and Brooke, the choreographers, they’re phenomenal.  There were numbers that I didn’t know exactly how they worked narratively until I saw the choreography and then said, oh, this all works just fine.  I got to really shoot some fun dancing and most of the stuff I’ve done has been more just movement.

 Could you talk a little bit about was there any sort of feeling that once again, I’m directing sort of a high school show…a different one, but…
Well, I don’t feel like I’ve necessarily been pigeonholed.  I like high school shows, needless to say, I think they tap into something very primal.  When you have some elements that take them to the next level, whether it’s physical or musical, it’s the kind of thing that completely jazzes me.  To work with a troupe of people who are still young, and fresh and excited to be doing the work, you can’t beat that.

Could you talk about the dance number, the mall number.  How did that fit in?  Was that the most difficult?  I’m not trying to put words in your mouth.
Well, here’s exactly what you must say.  Actually, I want somebody to put words in my mouth, somebody to talk, to tell me – what  do people know about that number?  I haven’t seen the ads and I don’t want to be spoiler guy.

No, we’ve got the episode.
 Oh, you guys have the episode.  You know, the thing about that number is that really was Zach and Brooke getting it done.  Ultimately, it’s a complicated, it’s a big, big number, very gratifying, I think because we’re seeing things we haven’t seen before.  I do pride myself on being the guy who knew we were actually going to be able to shoot it pretty quickly because once it gets dialed in, you pretty much just shoot them doing it.  Because of the number of extras and the enormity of the number, people thought it was going to be much more of a bear than it actually was.  We had two film cameras and four video cameras going the whole time, so the thing actually went pretty quickly.  We were able to tack on another scene that day, which is great, because those schedules are a bear.

What was it like working with Neil again?
I am so tired of that guy.  Why do they always make me direct Neil?  Why the pain?  Neil is a consummate pro and a dear friend, which is an ideal combination.  There’s no problem.  My only complaint was that I wanted to shoot even more of the kids than I got to, that and certain craft service issues about not having caviar, but really that’s in my …actually. I feel like he’s one of those people who expresses the way I wish I could express myself.  He’s like a muse, and he’s friends with Matt.  The sort of rivalry/affection between them just informed the whole thing so much.  We had such a good time.  He came in the day after the Oscars, the day before How I Met Your Mother.  He fit this into his schedule in the most bizarre fashion.  I even got him and Jane Lynch to come in late on Friday night after finishing How I Met Your Mother, just so that we could knock a scene off because the schedule was so hard for him.  Always cooperative, always imaginative; Neil’s the man.

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I wasn’t absolutely head over heels in love with last night’s episode of Glee. Whew, I got it out. Deep breath. There were some major high points for me in “Laryngitis” and I loved every musical performance (I don’t think Lea Michele’s purposefully awful rendition of “The Climb” counts), however, I missed Sue, Emma, and Terri.

The episode centered around songs that represent each member of the Glee Club. Puck was struggling with losing his mojo after he had to shave his mohawk. Nerds were throwing him into the garbage can, so he devises a plan to date Mercedes to become popular again. Puck asks Mercedes out by making some hilarious comments. She rebuffs him. My favorite line of Puck’s was: “I’m a sex shark, if I stop moving, I die.” We also find out that Rachel had the Glee club bugged to see who’s actually singing, and most people in the club have not been singing at all.

However, the best part of the episode was the running storyline with Kurt. His dad shows up at school to take Finn to a baseball game, which obviously leaves him feeling left out. Kurt was absent at Cheerios practice, and confides in Sue. Surprisingly, Sue gives him some really interesting and un-Sue like advice. She asks him show does he know who he is if he’s never made out with a girl or a guy. She then hilariously snaps back into Sue mode and tells him only she can tell him what he is. Kurt’s dad goes to speak to him, sensing he is hurt and Kurt is dressed totally unlike himself. In a desperate move to relate to his dad, he tells him that he picked Pink Houses by John Mellencamp for his song that shows his true self. The entire Glee Club is clearly confused by his choice of song. It seems like no matter what he does, he still can’t win his dad’s affection. More on this later.

Rachel gets tonsillitis but is too scared to get her tonsils out because she doesn’t want to lose her singing voice. Finn is with her and supporting her the whole way through. I enjoyed this part because Finn wasn’t trying to pick her up or ask her out or insult Jesse. There was no high school drama (that I love but still). It seemed like Finn was really just being a true friend. What he does later on in the episode proves that he really is a good guy. For his song, Finn sings Jesse’s girl. Clearly, the writers were waiting for the perfect moment to slip this in, but I thought it was pretty great. Sure, it made you go “Ohhh, so that’s why they named him Jesse,” but regardless, I liked this particular Finn solo.

Puck sings The Lady is a Tramp to woo Mercedes (so great, I love when Puck sings solos) and Mercedes joins in at the end. I have to say, perhaps I am in the minority here but I didn’t love the stuff with Puck and Mercedes. I think they are both great characters, and maybe Puck would randomly decide to use Mercedes to become popular again, but it was the only thing about this episode I didn’t find entirely genuine. That said, Santana and Mercedes’ rendition of “The Boy is Mine” was brilliant. I will admit to listening to that song on my super cool cassette and CD boombox over and over. I also liked when Quinn and Mercedes had a heart-to-heart. Their scenes are full of great, heartwarming moments and I loved that we found out Quinn’s living situation, and Puck’s bizarre love of Super Mario Brothers. With Kurt’s new “change,” Brittany asks if he wants to make out to keep her perfect record. The scene with them making out is both hilarious and sweet. I liked when Kurt asked what it’s like to kiss a guy. Kurt’s dad walks in on this and is rightfully confused.

Mercedes and Puck begin “dating”and everyone is scared of him again. Mercedes knows she’s being used but has never had someone like Puck crush on her so she accepts it. At first, I wasn’t happy with her acceptance of this but in the end, she shows that she respects herself too much to let Puck use her. That felt genuine…their short-lived relationship did not. Mercedes also quits the Cheerios to stay true to herself, a decision I also respect. I admire her for being such a strong character who is now finally being true to who she is. That’s not to say that she can’t be popular — I think she has every right to be even without the cheerios — but her reign might be over for the time being.

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Last night’s episode of Glee titled “Bad Reputation is the first that I wasn’t able to watch in advance. And in all honesty, I’m glad I didn’t, because it was one of my favorite episodes of the whole season (not just the back 9). There were many complaints circulating around about the first 3 episodes of the back 9 and their lack of storyline combined with too many songs. This episode went a completely different direction and I’m so glad it did. For the record, I adored the first 3 episodes but more because Glee was back and because the Madonna episode was epic than anything else.

Bad Reputation centered around the Glee Club getting a bad reputation from a “Glist” or list ranking Glee Club members based on a hotness quotient (sexual promiscuity). Quinn was number one on the list and Rachel was at the bottom. The list was distributed to the entire school. Also, Kurt found a video of Sue dancing around to Let’s Get Physical and he (along with some fellow Glee Club members) decides to release it on YouTube.

Mr. Schuester sings (and dances to) Ice Ice Baby (a song with a bad reputation) along with the rest of the Glee Club. This dance number was awesome. It featured Matthew Morrison, Heather Morris and Harry Shum Jr. primarily but the whole Glee club joined in. Who knew Jonathan Groff was also a really talented dancer? He never ceases to amaze me. In this episode, Sue also meets her match. Molly Shannon is Brenda Castle, a new sassy teacher who laughs profusely at Sue and the video. I believe Sue uttered the words “I’ll punch you square in the taco.” Any episode that features Sue (and the ridiculously talented Jane Lynch) is great in my book. Personally, I would have liked another Sue C’s It but her diary writing more than suffices. Later in the episode, Sue shares a bunch of heartwarming scenes with her sister. I am so thrilled they brought her sister back. She really brings a human element to Sue, but in addition, she is very funny and sweet. Her storyline is not meant for viewers to pity Sue or her sister. They are incredibly close, no matter what disabilities her sister may have.

Kurt, Artie, and Mercedes are not on the Glist, so Kurt devises a plan to not be ignored. Brittany wants to be in the top 3 (she was number 4) and is in on the plan, despite taking all her antibiotics at once and not knowing where she was. (Brittany’s comedic genius continues to shine in this episode) Kurt’s plan involves making a big ruckus in the library. They sing and dance to You Can’t Touch This, which was all sorts of awesome.

Continuing on with the Sue goodness, Sue goes to Emma and tells her she is her new therapist. She spills the beans about Will making out with Shelby and sleeping with April (she knew this because of strategically placed baby monitors). Sue also tells Emma she sucks, and that she needs to stand up for herself and communicate her feelings to Will (in a public setting). First of all, I love Emma and was glad to see her back. And while this scene may have been quite over the top, it was hilarious and completely true to Sue. And I actually agree with her! Emma does need to grow a pair, so to speak, because Will has really been sleeping around. Even if “sleeping around” just means making out and singing duets. Emma decides to confront Will and yells at him in the faculty lounge. She even calls him a slut (LOVE IT) and tells him that she is through with him (don’t love it as much). Later, Will brings Emma flowers, he apologizes but she can’t get over it. However, she basically says that she hasn’t given up hope of a relationship. Both of them clearly need to work out their issues before giving us another perfect “happy ending” kiss scene like in the mid-season finale. I look forward to when they do so! And if they want to throw a little Terri drama in the mix, I am all for it. Meanwhile, Schue tries to get to the bottom of the Glist but no one will confess.

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Happy Glee day! Tonight’s episode titled “Home” is the last one I have seen in advance, so from now on, look for my reviews on Wednesday. In any case, “Home” centers around what that word means to some of the characters. Kurt’s dad is back for this episode, and he sets him up with Finn’s mom. (I know this isn’t super spoilery because I have definitely read it before). Of course, Kurt’s motivations are complicated, but he shares some rather intense moments with his dad, played by Mike O’Malley.

Will grapples with this idea of home as well, and show-stopper Kristen Chenoweth is back reprising her role of April Rhodes. Of course there is always hilarious moments with April, and some amazing duets. She and Will sing “Fire” by Bruce Springsteen and “One Less Bell To Answer” by Burt Bacharach. (The track listing has already been released so this is not exactly a surprise).” One Less Bell To Answer” is probably one of my favorite musical numbers Glee has done, and it doesn’t even involve the vocal talents of Lea Michele. Kristen Chenoweth is an incredible talent and this song has such resonance for both characters. I won’t share the context of the song, but just know that I was floored.

The episode also involves the new members of the Cheerios (Kurt and Mercedes) and Sue’s unrealistic requirements for them. Amber Riley has an amazing moment to shine, and she rocks Christina Aguilera’s “Beautiful” out of the park. I may or may not have cried. There is also a super touching and sweet moment between Quinn and Mercedes, which is not something you see very often. The characters don’t generally interact but when they do, it’s really special.

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Happy Glee day! Tonight’s episode titled The Power of Madonna, which I reviewed here, tackles the music of a legend. It is truly epic, and pays homage to a deserving artist. But really, I’m just happy Glee is back on my TV. What started as a little show with some big talent has had incredible success. In the back 9, there are new love interests, new couples and tons of new music. I recently had the chance to chat with the wonderful and extremely talented Jonathan Groff, a Broadway star who is now the new resident heartthrob. We talked about what it has been like working with his best friend again (Lea Michele), what goes into making an episode of Glee and the differences between stage and screen.

How did you get the part of Jesse St. James?
Well I actually about two years ago did a television pilot called Pretty/Handsome for FX with Ryan Murphy, that Ryan Murphy created and directed that never got picked up. And so I met him — I was doing Spring Awakening on Broadway at the time — and I left the show to do the pilot and I met Ryan and worked with Ryan, and then a year and a half later, he created this television show called Glee. He had known my work from Spring Awakening and also from working with him, and he said if the show does well and we get picked up for more episodes, I’ll create a character for you. And then he created Jesse St. James.

So you didn’t have to audition at all?
It was just written for me, so I didn’t have to audition or anything.

You come from a Broadway background. How has it been making the transition to television?
It’s been really interesting. It’s a totally different thing and I’ve sort of been comparing it to long distance running maybe as opposed to short distance running because in the theater you’re doing eight shows a week, and you have to pace yourself in order to be able to fit them all in. So you have to know when to push and pull back and when to conserve your energy and when to give it and all of that. And in television, you do a scene once with no rehearsal, and you had a day or half of a day to do your work on it, so it’s very intense, it’s fast, it’s high focused, and it’s acting. It’s sort of the same thing, but the mediums are so different that you have to adjust the way that you work. It’s been a real education.

And do you find that you have a preference: Broadway vs. a television show?
For me, acting is acting. As long as the part is good and the director’s good and the cast is great, it’s sort of fun to do that in whatever medium as long as you really love what you’re working on. I loved working in the theater and the projects that I’ve gotten the chance to work on, and I’ve really, truly loved working on this show and getting to spending time with the people and the material there. So I don’t think I do have a preference.

Well, that’s a good thing.
Yeah, yeah. (laughs)

And you and Lea Michele are best friends. I actually saw both of you perform at Feinsteins in the winter.
Oh really??

Yeah, I loved it!
Oh cool! We had so much fun at that concert. That was so fun.

Yeah, it was sort of like both of you unplugged. I loved it.
Aw, awesome.

So, what has it been like to work with her again?
Words can’t properly describe it. It’s been a blast. You get to sing and dance with your best friend. And not only do you get to work with your best friend, with sort of all the fun and good times and ease that that involves, but I also get to work with a peer who is an artist that I completely respect and admire. When you are an actor, or a musician or an athlete or whatever, you want to be challenged and work with people that push you and that inspire you, and Lea happens to be one of those artists for me that I have always really admired and really been inspired by and I’ve always been sort of made better by. And so it’s sort of two fold, because I love her so much as an actress and a singer and a performer, and then I also love her so much as a human being and as a person, so it’s been really incredible to get to work with her again. And we have that history together, so there’s an ease in our working relationship that comes with years of knowing each other and know each other’s work.

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“You don’t deserve the power of Madonna,” are several words uttered by Sue Sylvester (who else?) to a fellow faculty member (it might surprise you which one) that epitomize the brilliance of this episode. Throughout my life, I have watched an incredible amount of TV. However, I can safely say I have not seen anything like the Power of Madonna episode of Glee. It is probably the most epic hour of television ever made from beginning to end. Every little detail you see on screen is perfection.

The whole foundation of the episode is Sue’s love of Madonna. She blackmails Figgins to blast Madonna’s music over the PA system all day. She of course still wants to take down the Glee club and won’t stop at anything. Remember those details I was talking about? Look in the background to see people walking the hallway dressed as Madonna at different points in her career.

Throughout the episode, we learn that the guys are not treating the girls very well. Mr. Schuester tries to fix this and encourage them to treat the girls with respect. This leads to a heartwarming rendition of “What It Feels Like For A Girl.” At the same time, Emma decides to step up and take control (by channeling her inner Madonna) and she decides she wants to ramp things up with Will.

Mercedes and Kurt decide to tackle Madonna in a multimedia project. They approach Sue and learn the deal behind that haircut (it’s actually touching in a weird messed up way but I don’t want to spoil). This leads to the amazing Vogue video, which by now you have all seen. Besides the fact that it proved that Jane Lynch can do anything and hit it completely out of the park, it also proves the same thing for the creative team of Glee. The video was absolutely breathtaking and almost an exact replica of the original video. The aforementioned Glee kids also decide they want more of a starring role and join the Cheerios. (I know this isn’t a huge spoiler since there are pictures and promos everywhere).

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How did you like Glee’s triumphant return? I know I loved it (even if the Madonna episode is leagues above), and the ratings agree with me. The Gleeks are truly a strong contingent, as Glee broke records with 13.6 million viewers. This show deserves so much success so I’m ecstatic it did so well. I hope the momentum continues to build through the back 9 episodes.

I wanted to share with you my favorite videos/songs from last night, as well as Sue Sylvester’s Vogue rendition. I will say I was a little surprised they released the video before it airs in the episode because the Madonna episode is so amazing and the context of the video is equally so. However, no one should be without the magic of Vogue, so I wanted to share it anyway.

Sue Sylvester does Vogue:

Jonathan Groff and Lea Michele sing Lionel Richie’s “Hello”

Glee cast sings “Hello, Goodbye”

Glee returns tonight! Are you as excited as I am? I recently had the chance to catch up with Jessalyn Gilsig (Terri Schuester). In case you missed Part 1 of my interview, check it out here. In this next installment, she talks about Emma and her husband stealing ways, her dream guest stars and Glee’s incredible ensemble cast. She also addresses the Will and Terri fans when I asked her if there is still hope for the couple. She even shares a little bit about season 2.

I watched a little behind-the-scenes video where you came in wearing the same outfit as Jayma, during the kissing scene.
(laughs) Yeah. That’s a perfect example. Okay. Let’s talk about that beret. When I saw her in that white beret, I was like Lou, are you kidding me? You literally dressed her like an angel. She literally has a halo on her head. This is ridiculous. So then I had to find a beret, and come on set. I was thinking that Terri should just cut her hair into a bob and dye it red. Because I think that’s how simple Terri is. I think Terri really thinks, If I just look like Emma, then he would love me again. But that beret, I mean that’s where Lou is such a genius. Because obviously, Jayma looks so adorable in it, so perfect and yet it made it impossible for any character to have sympathy for my character.

Have there been any other pranks that you’ve pulled like that or any other pranks that have been pulled on set?
Let me think. I feel like there have been some things. I mean, everybody gets kind of goofy from time to time that’s for sure.

Did you show up during the next kissing scene? I know there is a Will/Emma kiss from the promo.
I was on set, actually. Because if we’re shooting in the apartment then usually we’ll spend the whole day there. So they shot that and then the following scene was actually a scene between Emma and myself in the apartment. It was a really fun scene.

Oooh interesting.
Did you get to see the next episode at the Paley Festival?

I wasn’t there. I couldn’t make it out there, I wanted to go so badly.
Yeah, because we aired the next episode.

I know!
Did people like it?

People did like it! I think there was some interesting reactions to Idina Menzel’s character.
Really? What did they say?

Well there might be something between her and Will.
Yeeees. Exactly.

So I think that people who are crazy about Emma and Will…
Ohhhhh! It’s so good! [The show] is so smart, you see! Isn’t that so good? Because everybody thinks it’s going in one — oh it gets so good!

I am so excited!
It gets so good, because it’s exactly what you don’t expect, but it’s actually probably truer to life, what would really happen. You know, because people don’t just ride off into the sunset very often.

Right, the world’s not perfect.
Yeah. Oh yeah, it gets really, really good. I was on set that day that they kissed, and I thought it was disgusting.

(laughs) Is there going to be any future showdowns between you and Emma?
Between Emma and myself? Yeah.

And what about between you and anyone else? Maybe Will?
Will and I, we have another one. And then we have some sad things.

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The day has finally arrived! Glee is returning to TV and all is right on my DVR again. The first 13 episodes have brought an incredible amount of success from a SAG award to a Golden Globe to accolades for the show’s fashion. It is rare for a show with only 13 episodes to garner so much recognition so quickly. It has also built up one of the most devoted fan bases in the world. I am so filled with glee (yeah I said it) at the fact that people have fallen in love with this show. Back in May, when it was just a little pilot that could, I realized that there was something very special about it. And Ryan Murphy and his creative team have kept the momentum going since then. There is not a single episode of the entire show that I haven’t adored. Some I like more than others, which is only natural, but any show that is able to bring tears to my eyes simply from a song is at the top of my list.

Hell-O is the triumphant return we have all been waiting for. By now, you have probably read multiple recaps and reviews because it was screened at the Paley Center a couple of months ago. But I want to give you some highlights and tidbits that maybe you haven’t read, without of course spoiling the episode in any major way. When we last left our Glee kids, they had just won sectionals. The episode ended with one of the most amazing song and dance numbers (My Life Would Suck Without You) and Will and Emma finally kissing after weeks and weeks of waiting.

The episode picks up with that scene we’ve all seen in the promos: Kurt, Rachel and Mercedes walking down the hallway thinking they are going to rule the school and then getting slusheed in the face. As much as I don’t like to see anyone get slusheed in the face, this kept their characters grounded. Of course Glee won’t make them popular, why would it? We then learn a lot about Finn’s angst — he is now dating Rachel and she’s a little too, well, Rachel for him (as if you couldn’t tell from the Team Finn shirt she was wearing in the promos). But he’s clearly still very unsure of himself. Now onto another couple — Will and Emma, who really do care for each other but there are obstacles getting in the way. Some obstacles might have names, others take the form of crazy quirks. For those Wemma fans out there, the happy ending doesn’t come so immediately. And then there’s Jesse St. James (played by the lovely looking and super talented Jonathan Groff), the lead of Vocal Adrenaline (New Directions’ competition) who woos Rachel, which doesn’t please the Glee club in the least.

The theme of the episode is obviously Hello. Mr. Schuester gives the Glee Club the assignment to come up with a song with hello in the title. Finn chooses The Doors “Hello, I Love You,” Rachel and Jesse St. James sing a duet of Lionel Richie’s “Hello” upon their meeting (only they would break out into glorious song in the middle of a library), the Glee club sings “Hello, Goodbye” by the Beatles and Rachel sings one of the best musical numbers I think I have ever heard her do–and it’s not a Broadway show-stopper. It is “Gives You Hell” by the All American Rejects. I love this move into new genres of song — especially ones that challenge their Broadway belter to get out of her comfort zone. I have frequently said that I would listen to Lea Michele sing the phone book, and she turns this alternative song that I never really liked into one I will most likely listen to on repeat on my iPod. Well done, Glee!

There is also an amazing showdown between Emma and Terri. The best part about it is that it’s not any sort of yelling or screaming match but more of a subtle takedown where Terri gets into Emma’s head and makes her doubt herself. Ryan Murphy’s brilliance shines here yet again. Even if you hate Terri (which really, you shouldn’t), she still shares this history with Will that we barely know anything about. She is still a part of him even if they aren’t together anymore. From speaking with Jessalyn, I know this storyline/love triangle is really going to heat up and I think they are setting it up for greatness.

The episode ends with “Hello, Goodbye” which is relevant to all the Glee clubbers lives in different ways. And I have gone this entire time without talking about Santana and Brittany. Brittany has definitely become one of my favorite comedic voices on the show, with witty one liners and the ability to play stupid in a very smart way. She and Santana are both out to get Finn (under the master plan of Sue Sylvester), and it is quite hilarious. The best Brittany one liner of the episode is: “You know that dolphins are just gay sharks.” I think I may have made a lot of people turn around and look at me when I laughed so hard. I am really glad that Brittany is getting more face time (and more time for one liners) because she is so hilarious and adds such a great element to the show.

Hell-O is definitely a wonderful way to kick off the season. I have very high hopes for Groff’s character, and I enjoy Idina Menzel as well (she guest stars in this episode as the coach of Vocal Adrenaline). There is comedy, show stopping numbers and the Glee Club drama that we have all come to know and love. However, the 2nd episode (Power of Madonna) is epic. It is probably the best, most innovative 45 minutes of television I have ever seen. So if you are happy that Glee is returning (seriously who isn’t??), your mind will be blown next week.

Glee is back tonight at a special time of 9:28 pm on FOX.

And here are a couple of video previews to tide you over:

Rachel sings “Give You Hell:”

Will and Emma moment: