The episode starts with Puck singing “Hot for Teacher.” Thankfully, Shelby ignores his advances, despite his persistence. And Quinn is now all about getting close to Shelby through Puck and joining The Troubletones. Except really, we know Quinn’s hidden agenda. Later, Puck comes clean to Shelby about Quinn’s sabotage attempts. Shelby obviously isn’t about to let Quinn in The Troubletones and gives Quinn a lecture on raising a baby. This was actually one of the scenes I quite enjoyed. Quinn needed to be taken down a peg. Shelby and Schue then announce the mash-off by singing a mash-up of Lady Gaga’s “You and I” and a 90s song of the same name, which was fairly entertaining.

Meanwhile, the campaign heats up between Burt and Sue. Sue runs attack ads about Burt accusing him of using his tire shop to sexually molest automobiles. She also runs ads that talk about his heart attack and whether or not he’s fit to take office. Burt is understandably pissed and wants Schue to do something about it. Kurt even tries to stop Sue, but she explains that campaigns get dirty. His Class President campaign should get dirty, too, if he wants to win. Kurt is determined to win the right way.

And in the spirit of the Mash Off competition, The Troubletones play dodge ball against New Directions. They sing a mash-up of “Hit Me With Your Best Shot” and “One Way or Another.” This was fun, but not super memorable. The Troubletones win but Santana plays dirty and hits Rory over and over again. Stop the violence! (As Britt says later). Kurt gets all pissed off and wants to stop the bullying. But, Santana is all about the trash talk and is pretty mean to Finn. Finn quips back with a comment about her sexuality and loving Brittany. Whew. Also, Rachel wants to be friends with Kurt again but he is reluctant. When it comes time for the Class President speeches, Kurt makes one about banning dodgeball, Britt talks about going topless and Rachel withdraws her candidacy and tells everyone to vote for Kurt. Let me tell you, Rachel needed this redemption. I love her and her crazy and bratty, diva self, but she needed to do something selfless.

Then it gets all serious. Figgins calls Santana into his office, where Burt, Sue and Schue are waiting. Apparently, one of Sue’s opponents got word of Finn’s little dig at Santana and is using her sexuality in a campaign ad. Basically, Santana will be outed to everyone before she’s even told her parents. Rough.

Then, it’s Mash Off time. The Glee kids sing “I Can’t Go For That (No Can Do)” and “You Make My Dreams Come True” by Hall and Oates which was enjoyable. But the best musical number of the episode, and probably one of my top numbers of the entire series was The Troubletones’ (aka Santana, Mercedes, Britt and some other random Cheerios and members) Adele mash-up of “Rumour Has It” and “Someone Like You.” I know I preach to the choir when I say that Adele is flawless. We all listen to her. I know I’m not unique in that, but I do know that I just adore her music and could listen to “21″ over and over and over again without getting tired of it. So I hold her music to a pretty high standard. But Naya Rivera killed it, KILLED IT, in this number. It was fantastic and gave me chills. After the performance, Santana confronts Finn. She yells at him for outing her, even though he claims the entire school already knows. Obviously, he doesn’t know about the ad. And then she slaps him. To be honest, the end of the episode was my favorite part. I like the vulnerable Santana. I like when Santana gets a solo. I just like seeing more of Santana. And I love the Kurt and Rachel (hopefully) rekindled friendship.

So I will say I like what this episode set up, but besides the unreal amazing Adele mash-up and Santana’s story, there wasn’t anything super fantastic about it. I have hope for the future though because Glee, despite its ups and downs, has had a solid season so far and I always, always enjoy the music.

Glee airs Tuesday nights at 8 PM on FOX.

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.

I wonder if you could give as detailed as possible about leading us through, as well as how Neil’s character fits in, his impact on the glee club, but also the other two big story lines, Rachel’s and Artie’s, without giving everything away.  Just to give everyone an idea of everything you explore in this episode.
Well, the idea of the episode being “Dream On” really was let’s take the things that are at the core of what people are.  With Will, it’s his desire to perform and what he may have given up.  With Rachel, its questions about who her real mother was, and Artie obviously thinks about if he’ll ever one day get out of the chair. These are very, very hard personal things that they don’t necessarily talk about with other people.  I was really lucky because there’s a real fanatic coherence to the episode that really brought them all together on an emotional level.  For me, it was just a question of making sure they dovetailed and didn’t feel sort of random, but they all came together and you understood why these three stories were all in the same show.

Getting back to Neil and that wonderful mullet, can you talk a little bit about how much fun you had doing the flashbacks and how collaborative you guys were about what Neil was going to bring to this episode.
You know, Neil’s great because he looked at the script.  He was very excited.  He had some very specific questions about even based on the vocal arrangements, what kind of guy am I supposed to be.  So, it was a real collaboration.  As for the mullet, there was definitely some talk about “Isn’t that kind of the ‘80s, I mean, it’s sort of the ‘90s, what’s with the mullet?”  Sean Ryan, without missing a beat said, “Achy Breaky Heart was ’92.”  So, he’s really on top of his game.

I wanted to ask you, are there other shows that you’d like to direct?  What are some of the other shows that you enjoy, that you’re a fan of?
I’m going to just go ahead and make a blanket statement.  I don’t want to direct the shows I’m a fan of anymore.  It means I always have to read the episodes that come before it.  It’s like a giant slew of spoilers that quite frankly is not fair.  I would say after Glee, Friday Night Lights is probably the show that blows me away the most.  But, I definitely don’t want to direct one of those, because I’m still on Season 2.

Do you do the marathon watches like so many fans do?
Occasionally it’s the only way you can.  Also, my wife sneaks ahead, so I have to catch up on her. 

When you do these things where you’re only wearing the directing hat, does that give you a chance to hone specific directing skills that you’re trying to work on?
I have no directing skills.  This is … for me to tell you, but I pretty much just say, “Point the camera at the people” and then hope that the scene’s good.  Ultimately, the thing about directing a TV show like this is you’re not just honing your directing skills.  Yes, you do get a little more time to really sit and work with the actors because you’re not prepping the next show or cutting the last show; but, at the same time, in prepping musical numbers, in working this incredibly difficult show, in trying to find the truth of the things.  You know, I’m talking to the producers about the dialogue, which I’m talking about minor tweaks… a beautiful script, but I’m trying to find the through line.  I’m trying to find how to make the schedule work.  So, I feel I just look for it, as a producer/director, just trying to make sure I’ve got them there on schedule and that I was being realistic and … with it. Ultimately, you kind of feel like you are doing all these other jobs as well, even though you’re ultimately carried, and carried by extremely competent people, it’s such a complicated show that you feel like you’re flexing everything.

Do you pay attention to how other productions run to be able to … notes for the next time you get to do it?
Oh, absolutely.  Every time you step out there is a learning experience.  What are they doing that I should have done?  What can I bring …, so it’s a real back and forth, and I loved the crew I was working with so much.  It was a real opening … and it was gratifying…

Obviously the show has its own plot line, it’s well underway.  Were you involved at all about the song selections for this episode?
Oh, no.  They select the songs well in advance.  They give you the script, not quite as well in advance, but much longer than I usually give the script, actually ….  You’re there to service what they’ve already thought up.  Quite frankly, I felt very fortunate.  First of all, because I actually knew all the …, which is not always the case.  I think a lot of people feel that because I’ve run shows that I was going to go in there and … working with them on it.  But, honestly, I am just a visiting director in this situation. I would definitely give my thoughts, “Oh, I feel like the song should go like this, is there any way we can … on this line,” little stuff like that, trying very hard not to overstep.  I certainly wasn’t about to say, “Oh, do this on one …, well I may not get the rights to one song, and so I’d like to get another.”  That would be the only thing.  This really is Brad who wrote it, and Ryan and Ian.  This is their world and I’m privileged to walk in it.  But, I’m not going to walk all over it. 

In past episodes, it’s kind of clear that the cast is lip-syncing, but in “Dream On,” particularly the bar scene with Matthew and Neil, it didn’t really seem that way.  Was it sung live?
Yes, it was.  They had … just so they could hear the music and then they sang it live.  Every now and then they like to do these sing-alongs as opposed to just  a number, and for sing-alongs you have to have the originals so they’ve got it in their head.  Then we lay it over them.  So, yes, that was sung.

Does that take longer or is that just…
No.  They’ve got someone on set to check the lip-syncing to make sure that it’s going well.  They’ll …  the actors if they need it.  Obviously, it’s the actors themselves who recorded it so that makes it ….   Ultimately, the only thing that would take longer was if someone wasn’t in very good voice.  Of course, the singers will always say, “I think I’m not in very good voice today” before they sing.  I think they just do that so they can blow you away.

Glee has won TV Land’s Future Classic Award and I’m wondering what you feel the legacy is for the show for both the current and the future fans?
The thing is, this is the world that I’m used to.  I love musicals and I think this show is a pilot, … really well established.  I think it was just a very comfortable place for me.  I think, ultimately, it didn’t really occur to me until later, the process is actually a little ground breaking just in terms of how it made people who would not normally embrace this kind of show, various people singing and dancing spontaneously…to songs from every different era possible, it sort of brought them in. Then this very serious issue of inclusiveness and identity in school that you’re dealing with, that Ryan really wanted to bring to it, is  something that kind of sneaks up on you while you’re having a great time.  So, I think that it does a lot of good and it has a legacy that’s more than just the fact that it’s super entertaining, but as previously mentioned it’s super entertaining.

I just wanted to know how Glee was different from anything else you’ve ever worked on?
Glee is different from anything else period.  Every show is different.  I would just say that the enormous amount of work that everybody is doing at all times on that show kind of spun my head around.  It’s not an easy show to make and the kids, the whole cast works so hard and are busy working on every episode.  I did have one of the actors say, “Well, how do I … this guy?”  So, really, I don’t remember we’re shooting four episodes at once.  It’s hard to keep your head around all of it, the rehearsals, the recording, and the show moves as quickly as it moves.  So, production … is tough and you have to be on your feet at all times.  You’ve got a different aesthetic, an old-fashioned aesthetic in the lighting and the camerawork is very classical.  It’s not edgy in that sense.  The edge comes from taking a very comforting milieu, the comfort, and ease of set, and then putting something rather kind of shocking.  Either shocking because it’s so snarky, or dirty, or funny, or because it’s just so open hearted in the middle of it.

Could you talk a little bit about how you approach music from a visual narrative standpoint?  How are you able to work that?
When I approach music, obviously, if it’s a dance number, some of the work is done for you because you pretty much know where you want the camera based on the movement.  If it’s just about movement, then I approach it very strictly from the narrative of the emotion.  Particularly in “Dream On” and “I Dreamed a Dream” I got to pitch my own movement and my own staging for those numbers to try to work in all the emotional elements and emotional reality of the thing, and at the same time, keep it kind of fluid and keep it exciting.  It’s one of the great joys of the show to be able to do that.  Then to have the actors respond and to understand and be very … and just take what you thought up to the extreme.  It’s kind of the same way you block a scene, you’re just looking for emotional reality and visual panache, except it’s way more fun because there’s music.

Can you talk a little bit about how you approach nemesis’ like Brian Ryan?
I think you can see there’s a little bit of a western element in there.  That really came from the music but then it ended up in forming more of the show, I think, of how these guys face off against each other.  Then ultimately, I don’t have enormously grand designs about, “Well, he’s a nemesis, so I need this and that.”  Brian’s not the most stable guy I ever saw, so it’s just a question of tracking where he’s going to go in any scene and making sure that it makes sense and that it doesn’t feel random.  That’s as much Neil’s job as well as mine.

You obviously did a musical episode of Buffy, the Vampire Slayer.  How does that compare to Glee?  Did it prepare you in a way?
Oh, yeah, oh, yeah.  Doing Buffy and doing Dr. Horrible were both great prep for something like this.  This is obviously not my first rodeo.  It’s different, Glee, obviously, but knowing a little bit of the realities of the difference in a day’s work between shooting a musical number and shooting just a regular scene, is very useful.  It’s the kind of thing that I would like to spend a lot more of my time doing.  I love musicals deeply and dearly.  This was a return to home for me.  Not my home, but a very welcoming one.

So, would you do another episode of Glee in the future?
Nevah, nevah.  Oh, yeah, I choked, totally.  Sorry.  If I had the window and they would take me, yes, in a heartbeat.

Be sure to tune in tomorrow night at 9 pm on FOX for the “Dream On” episode of Glee!

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.

One of the other extremely touching storylines was when Finn takes Rachel to meet a friend (Sean) who was a football player but is now paralyzed. Sean tells Rachel that he misses everything but he has come to realize he is more than just a football player. Rachel thanks him. I thought this showed Finn’s more human side and Rachel’s too. It takes a lot to break Rachel, and this was really nice to see. Rachel goes back to visit Sean later (after she finally gets her voice back). She thanks him again for teaching her that she is something even if she can’t sing. She offers to give him singing lessons (earlier in the episode Finn alluded to Sean being a good singer).

Back in school, Kurt and Brittany are holding hands walking down the hallway. Kurt’s dad is taking Finn to another night out, which upsets Kurt again. He then sings maybe the most perfect song choice (next to “Total Eclipse,” “Take A Bow,” and “Like A Prayer”) with Rose’s Turn. Except, it’s Kurt’s turn! This song really exemplified how well music is chosen on this show. It has been critiqued before for seeming like the songs dominate the story instead of the other way around. However, I don’t think Kurt could have had a better song. I loved the lights at the end. It turns out, Kurt’s dad was listening to him the whole time and applauds him. They finally have a real heart-to-heart and an incredibly candid conversation about his sexuality and his dad’s acceptance of it. His dad dreamed of having a boy to take to baseball games but he loves his son no matter what and will fight for his right to love whomever he wants. You really don’t see this on network TV, especially with a high school student and I couldn’t have any more respect for Ryan Murphy and his creative team if I tried. Burt tells Kurt (that just sounds weird) that he doesn’t have to work at anything, just be himself. His job is to love Kurt no matter what. I was so touched by this moment. Kurt and his dad have had some great moments in the past and this just shows how great Chris Colfer and Mike O’Malley are.

At the end, Rachel and Sean sing “One” which turns into the whole Glee club singing the U2 ballad. This was also a super touching moment and a great way to end the episode. I enjoyed all of the songs, and I think each song choice really fit the episode. The theme of being true to yourself is always a good one and the Kurt/Burt moments were just so wonderful. I hope it’s not the last we see of Sean, too. However, I just don’t believe Puck and Mercedes would ever be together for a variety of reasons. It seemed like just a one episode thing though, so that I’m happy about. I also really enjoy the adults on the show: Emma, Sue, and Terri. I expect they will be back in the next few episodes, but I missed their presence in this one. Next week’s episode looks epic. Neil Patrick Harris guest stars and he and Matthew Morrison sing Dream On. It’s also a big Artie-centric episode which I always enjoy. Look for my interview with Kevin McHale next week! Despite the fact that this episode of Glee was not my all time favorite, I still thought there were really great parts. (And Brittany, as usual, was comedy gold). I always look forward to it each week.

Glee airs Tuesday nights at 9 pm on FOX.

And here’s my favorite performance of the episode. Kurt sings “Rose’s Turn”:

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.

And then there is even more Sue greatness. Olivia Newton-John calls her up and she hangs up on her thinking it was a joke. Olivia calls again and tells her that her daughter saw Sue’s video and she wants to re-make the video. I have to say, I loved the Let’s Get Physical video with Olivia Newton-John and Jane Lynch ALMOST (maybe even just as much) as much as Vogue. Who knew Olivia Newton John had comedic chops? Kudos to her! And Jane Lynch, you can sing pretty well, and I very much enjoy when you do. Sue decides to donate the money she makes to the nursing home. Sue’s sister tells her “I am the smart one.” And in another incredibly touching moment, they read a book about two bears.

There was also another music video (which didn’t top Physical), of Rachel and her various different love interests singing “Run Joey Run.” It features Jesse, Finn and Puck all fighting for her affection. It was certainly a creative video (and song choice), but of course Rachel lied to each of the guys saying they’d be the star. Jesse is especially mad, and Finn says she wanted to be seen like a hot slut and that’s why she made the video.

Will figures out Quinn is behind the glist, but she denies it. She has lost so much and had the most to gain. She cries and says now that she’s invisible, a bad reputation is better than no reputation. Schue tells her she will go on to do amazing things. I loved this scene, for many reasons. In the last few episodes, there hasn’t been too much of Quinn. Dianna Agron really shined in this moment like she did with Amber Riley in the last episode. What made this so great is that I didn’t suspect Quinn wrote the Glist. I wasn’t sure who did but I think it was quite realistic that Quinn wrote it. I’m looking forward to the episode where she has her baby finally.

The end of this episode may have been my favorite musical number the show has ever done. And that’s saying a lot. Jonathan Groff and Lea Michele belted out “Total Eclipse of the Heart,” and I swooned, cried, then swooned some more. First of all, Jonathan Groff’s talent is unreal. He really is the male version of Lea. Put them together and the number will be unstoppable. I loved the creativity with both of them being in ballet class and all the complicated dance moves. The best was the end when all the Glee kids walk out on Rachel and he is the last to go, singing (oh-so-perfectly) “turn around bright eyes…” I had to rewind and watch a second time because that’s how great it was. Don’t get me wrong, I love the other male characters very much, but I just don’t think their voices are equal to Jonathan’s. (Although Chris Colfer’s is so unique and great and really can’t be compared to them).

I love Glee. Plain and simple, I am generally going to love every episode. However, that is not to say that I can’t see flaws in some. “Bad Reputation” is an episode that will truly stand out for me. I think this episode was very much dominated by story as opposed to song and I loved that. Yes, there were two music videos but they were fantastic. A big reason it will always stand out in my mind is Total Eclipse of The Heart and the scenes with Sue/Emma/Will. But in general, I love the episodes that feel real. Sure, breaking out into musical numbers at any point may not be the most realistic but the plot of the whole episode felt real. I remember in my high school when similar “lists” were made. They may not have been distributed but people knew about them. There were also always the students with the bad reputation or those trying to go out with several guys at once. Thanks for bringing me to tears again, Glee. I can’t wait to see next week’s episode. Also, be sure to check back on the site for an exclusive interview with Kevin McHale (Artie).

My favorite quote of the episode:

Kurt: “I’m getting cold feet”

Brittany: “Can you even feel your feet?”

Here’s the video of Lea Michele and Jonathan Groff singing “Total Eclipse of the Heart”

Glee cast sings “You Can’t Touch This:”

Glee airs Tuesday nights at 9 pm on FOX.

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.

This episode is for me, a lot like “Wheels” in the sense that it really tugs at your heartstrings. Ryan Murphy and his team have a way of doing just that when you feel like the show needs it. Don’t get me wrong, The Power of Madonna might have been my favorite hour of television ever but there wasn’t that much to advance the storyline. Ryan Murphy has spoken about how Kurt’s experiences with his dad are based on his own, and you can tell that the scenes between Chris Colfer and Mike O’Malley are really written from the heart. When someone writes what they know, it feels so grounded. A lot of TV critics and bloggers have complained upon re-watching the first couple of episodes that is overrun with music and letting the music dominate the story instead of the other way around. I see where everyone is coming from. To me, Glee is near perfect, and I appreciate it for what it is. But I do believe the show needed “Home” to bring it back to its roots where we all fell in love with the show.

There are plenty of Sue-isms in this episode as well as Brittany one liners, but for me it was all about Kurt, Mercedes, and April. Each character struggled with something that even if you didn’t go through the same experience, you could inherently relate to. Everyone has family problems, the desire to fit in and find love. What made me fall in love with Glee almost a year ago, besides the singing which was just unbelievable, was the fact that it doesn’t matter what your high school experience was like, there is a character everyone can relate to. Glee kids were getting slusheed from the beginning, there was never any sugar coating at McKinley High. Sure, sometimes people burst into song but who doesn’t do that from time to time? Each character is breaking down stereotypes: the jocks and the cheerleaders joining Glee club, the popular kids talking to the un-popular ones, the star of glee dating the popular football player, and the gay guy is out and proud (as he should be!).

When I spoke with Jessalyn (Terri) a few weeks back, we talked about how the show really transcends boxes. No one is put in a box and has to stay there. Each character reaches outside their comfort zone and thrives. Mercedes is a perfect example in this episode. Would you ever imagine her voluntarily joining the cheerios? It’s a natural desire to want to fit in and this is her chance. However, she realizes that she has to be at home with her own self to discover the motivations behind wanting to be popular. She is beautiful, in every single way (to quote the famous songstress) and so was this moment.

Kristen Chenoweth also sings “Home” from the Wiz in this episode, but I won’t spoil the context because it is just so great. Because of the Madonna episode, I wasn’t sure how I’d feel about there being another theme so quickly, but I felt that this one wasn’t invasive at all. It made total sense. I think the story shaped the song choices in this episode for sure, and I hope that fans and critics believe it is back to top form. At least, I know I think so.

Glee airs tonight at 9 pm on FOX.

But if you just can’t wait until then, here are some video previews from the episode:

Clip 1:

Clip 2:

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.

Absolutely. Do you find that you both push each other to be better as actors and performers?
Completely. Totally. We were practicing a dance number together a couple of months ago with some lifts in it, some big crazy lifts in it. And we were both saying “I don’t know if I would be comfortable doing this with anyone else.” When you’re really comfortable with someone, you can really go outside of your comfort zone because you trust the other person so much. So yeah, we definitely push each other. For sure.

And along those same lines, how has it been playing her love interest?
It’s been really fun. (laughs) You know, we’ve practiced falling in love with each other so many times, that it’s really fun to fall in love with each other as two different characters. We watched the show together. I went over to her apartment on Tuesday night to watch the premiere episode after we got done at work. And we were watching the first scene in the library together, which I had seen the episode before but I had not watched it with her. So we’d never watched it together. And we were just laughing so hard because we were just like “This is not us, at all.” So it’s so bizarre to watch these two characters go through the motions, because it just cracked us up.

That’s funny. Jesse St. James is a little bit of a mystery right now. He sort of seems legitimate on the surface, and he joins New Directions. But are his intentions genuine do you think?
I think his intentions are complicated. The first episode, he stands there at the end of the episode, on the stage with Lea and says “I’m the real deal. I really care about you,” saying this will be a secret between us. And then the kiss and looking at Idina while making out with her. So there is something bizarre there.

Yeah. And were you a fan of Glee before you started working on it? Had you watched the show before?
I did. Yes, because of my relationship with Ryan, because of my relationship with Lea. Because anyone I think in musical theater would love this television show, just because it sort of gives a new voice to that whole world. And so I’ve been rooting for this show because of Ryan, because of Lea, because of what the show says for young people, because of what the show’s doing for musicals and musical theater and all of that. So yeah, I’ve been watching it from the beginning and totally been waving my flag in support of them.

Oh good. And will there be any more showdowns between Finn and Jesse, vying for Rachel’s love perhaps?
(laughs) You’ll have to wait and see! I challenge him to a sing off in the parking lot in the next episode.

Right, right. I’ve seen the next two episodes so I know a little bit.
Oh okay, okay cool.

What do you want to see from Jesse going forward?
I think that I want to see him explain himself a little bit, you know what I mean? I want to find out what he’s really about, what’s really going on, what that look was with Idina. I want to find out if he’s really in love with Rachel, or if he’s playing her. I want to find out if he and Rachel can work together, which I think they can.

Right. And can you share if there might be any future duets with you and Lea or anyone else in the cast?
Yeah, I can tell you that there’s lots of singing coming up.

Will any other characters perhaps be vying for Jesse’s affection?
I don’t know! I don’t know! You’ll have to wait and see!

(laughs) Well I hope so. And Glee has had some amazing guest stars. And you’ve been working very closely with Idina. What has that been like for you?
I saw Idina in Wicked when I was in high school.

Me too! (laughs)
Really? Yeah, she was incredible. And I got her autograph at the stage door, on my program. So I am just a big fan of hers. And then when we did Spring Awakening, Lea and I would run into her at yoga class sometimes, and she came to see the show with Taye, it sort of became like a different thing. You go from a fan to then becoming a peer in a weird way once you start working professionally in New York. And now I’m actually getting the chance to actually do scenes with her and work with her. It’s been really great. She’s really awesome and really fun and really sweet and it’s been great. But surreal, a little bit. Surreal to get an autograph from someone at the stage door and then be working with them, it’s pretty cool.

Did you tell her that story, that you saw her in Wicked?
Actually, I don’t know if I have or not. I will now that you say that. I will definitely tell her next time I see her (laughs).

I feel like she’d appreciate it I’m sure.
Oh totally, she would love it. I don’t think I have told her.

I know you can’t spoil too much, but I want to know more about the process. How does it go from a song idea to a dance rehearsal to a recording studio to what we see on TV? What has the process been like you?
It’s a really big machine here at the show because it has to be. Because there’s so much that goes into one episode, more so than your normal show because of all the — like you said — the singing and dancing. So you get the script first, and then you see the songs you’re singing and Ryan and Brad and Ian write the scripts and take out the songs.And then, you’ll get an email with demo recordings of your songs. And you learn the song on your own with your computer, you download it and learn it. And then you go into the recording studio, and you record it. And then this all happens pretty much a week or a week and a half before we start shooting. And then, if there’s choreography, you spend two or three days with the choreographer and whoever’s in the number, learning the number, and then you shoot it. The shooting takes place in one day. So it’s a lot if you have more than one song in the episode. You’re recording a lot and dancing a lot and then performing a lot, and that’s also in addition to your costume fittings for the numbers and the scenes that get fit in there as well. And then also the shooting of the actual scenes that don’t have any music or singing in them. So, it’s a pretty tight schedule and it takes a lot of people to sort of coordinate. The music people are making the demos, and figuring out the arrangements. And then the choreographers, Zach and Brooke, are trying to figure out the movement and the cuts of the songs. And then there’s the people that call you to tell you when dance rehearsal is. It’s just a lot.

Of course. And when you go into the recording studio, are you with other cast members or by yourself? What is that process like?
Well, it’s funny because when we recorded the Spring Awakening album — normally, when a Broadway album records, you do it in like 20 hours or something crazy, where everybody shows up together with the orchestra and you just sing through the whole show.

Oh wow.
Yeah, you do it in one day. With Spring Awakening, it was different, because Duncan has or had a recording studio in his apartment. And he wanted to record the album like a pop record. So we never were in the same room as one another. Everyone went in totally separately for five or six hours and laid down their tracks, and then he cut and pasted them together. Which is how I guess you record in the pop world. So that’s how we do it for Glee. The orchestra records on a separate day. And then we each come in individually for several hours and record whatever we have to record on our own, and get coached by Adam and Ryan, the two guys in the music department walk us through the song and coach us on it and give us direction and all of that.

Interesting. When you sang a duet, did you record the song separately?
Yes, when Lea and I recorded Hello, I think I laid my tracks down first, and then she came in a couple hours later and recorded after me.

I never would have thought that just from watching the show.
It’s amazing. Pretty much everything that’s ever recorded, that’s how they do it. Whenever a duet is recorded, people do it separately. No one ever really sings together in a recording studio.

And was lip syncing hard for you to adjust to?
Yes and no. There’s another coach on the set that helps you to make sure that you are matching your breath and all of that stuff as you are recording. Everyone still sings out when you’re lip syncing, because they want to see the veins in your neck and they want to see when you take a breath. So you can’t just mouth the words, you really have to sing when you do it. So that part isn’t as hard as I thought it would be, just because you’re actually singing so it’s just every now and then you miss a breath or you’ll breathe someplace where you didn’t when you recorded it and then it looks bad on the TV because it doesn’t match up with the recording, so it’s little things like that and little cut offs. Those are the really challenging parts of the lip syncing.

And I know you can’t spoil too much. But from what’s been filmed, do you think Jesse will be returning for season 2?
I don’t know. I honestly don’t know. I really honestly don’t know that.

You’re not hiding it, you just don’t know. (laughs)
We don’t start recording season 2 until July, so it’s a little far off.

And can you give us a little teaser of what’s coming up in the back 9 for your character?
I can say that Jesse and Rachel being together creates more and more of a wedge in the Glee club and more and more drama as time goes along. (laughs)

(laughs)
Expectedly and unexpectedly.

Got it. And were you involved at all in the Lady Gaga episode? Will we see you in a crazy costume?
Yes, I was in a crazy Lady Gaga costume a few days ago (laughs).

Well I’m excited to see that! And do you have any other projects coming up during the hiatus?
No, not yet. Just looking for the next gig. Oh I’m doing a concert at Joe’s Pub in June.

Right, I saw that. I hope to be there.
Awesome, awesome.

Will you be appearing at all in the concert tour? Do you know yet?
I don’t think so. I’m not positive, but I don’t think so.

And will you and Lea be singing again in New York City anytime soon?
Oh my gosh, yeah I hope so. I hope so. Maybe on the hiatus we’ll do something, but she’s so busy though with all of her press and stuff.

Absolutely. And after your first appearance on Glee, did you get any interesting fan reactions to your character?
I was just inundated with phone calls and emails and text messages and everyone from my life has come out and said “I can’t believe I saw you on TV.” It’s been really fun, it’s been really funny to hear everyone’s reaction.

Be sure to tune in tonight for an all new episode of Glee at 9 pm on Fox!

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).

However, the rest of the musical numbers are epic as well. Nothing can top the Vogue video, but Like A Virgin, Like A Prayer, Express Yourself, and the Open Your Heart/Borderline mash-up come pretty close. Like A Virgin is sung by 3 couples grappling with well, the song title says it all. Like A Prayer is the last number and Lea Michele belts it out in amazing fashion. I got chills. Seriously. Express Yourself is sung by the Glee ladies and their outfits are unreal (see the picture above for a taste). The mash-up is great for a lot of reasons but mainly because like all the other Madonna songs in this episode it just fits so perfectly with the characters’ emotions.

As I said before though, it’s all in the little details. The clothes, the Madonna music softly (or sometimes loudly) playing in the background, heartthrob Jesse St. James returning and even Brittany’s one-liners. It is unheard of for a show to tackle such a legendary musician but they do it in a way that is both respectful and incredible. Madonna has even come out and said she loves Glee and the episode. The entire hour I was unable to tear myself away from what I was seeing, mouth agape, eyes wide, entranced by the power of Madonna. For those who felt the pacing of the last episode might have been a little rushed or that the episode was a tad disappointing (I don’t feel this way but have heard that a lot of people do), this episode more than makes up for it. Even the cast members have said that they will probably look back at this episode as their favorite, and I have to agree. I’m not sure if anything can top this. It sets the bar higher for sure.

I would even go out on a limb and say this: If you haven’t seen any episodes of Glee (which seriously perhaps you should get a TV?) it is worth it to watch this one. While I don’t want to see every episode have a artist theme, Madonna was a perfect fit for Glee. Usually in a show of Glee’s length, I can find something to be nit-picky about, but in The Power of Madonna, I don’t think I would change a single thing.

Be sure to tune in tomorrow night for the Madonna episode of Glee at 9 pm on FOX.

But if you just can’t wait until then, here’s a video preview as well as one of the songs:

Promo for Power of Madonna:

Amber Riley and Chris Colfer sing “4 Minutes”

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”

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.

Aw.
And then kind of like a — at least for Terri — it’s good growth. And she kind of sheds a lot of her resentment, which I think is really healthy.

And you’ve had some really great guest stars. Did you film anything with Idina Menzel or Neil Patrick Harris or anybody else?
I did not. But I tend to think that maybe they’re like “Keep Jessalyn away from the famous people.” I didn’t. But I did get to spend some time with Idina, which was really fun, because I’m a big fan of hers. And she just had a little baby actually, and I have a little girl, so it’s kind of fun to talk about that…what it’s like to work and have a little one waiting for you at home. It was nice.

Maybe a future play date?
Yeah, that would be great. Hers is tiny, mine would probably destroy it. I think she had a boy.

I know I read that you would like to see Justin Timberlake guest star. Are there any other dream guest stars that you have?
You know, it’s funny so many people are a good fit in a sense . What I love about the show, is that the show is this celebration of self expression and I think that there are a lot of artists, a lot of musicians who have said over the years, don’t put me in a box. Jennifer Lopez is a good example. She says, I’m an actor, and I’m also a singer, and I’m a dancer. You know, I express myself in a lot of different ways. Someone was just showing me how Jeff Bridges — he’s a singer, he’s an actor, but he’s also an amazing artist, it turns out. I was looking at his website. And so I feel like there are a lot of people who — I was just at something the other day and Moby was there. And I was thinking Moby’s probably a really good actor. He just has an amazing presence. And I thought Moby could be on our show, because it’s really about creativity and self expression more than it is about necessarily like I said at the beginning, doing something that’s so polished, it’s more about people just wanting to express themselves. And I feel like if we could open up the definition of what that is, and people don’t have to be put into a box, that would be a really great accomplishment of the show.

Yeah, I think it’s doing a great job of that so far. There are a lot of characters transcending their boxes.
Exactly, yeah, exactly. And that’s kind of what — I think that’s what the show’s advocating. I mean, to me, I love performers such as Bette Midler, or even Cher. These women who came up in that era, who they’re real entertainers, and they’ll do anything to entertain. You know, it’s not about being precious, and it’s not about being mysterious. It’s not about yourself, it’s about I’m here to put on a show, and you’re going to have a great time, and I’m going to pull out all my tricks so you can have a great night. And I love that kind of performance. To me, that’s so refreshing and it’s so generous. So I’d love to see people like that on the show.

Absolutely. And I know you can’t spoil too much, but can you give us a little teaser of what’s coming up in the back 9. I hear Terri might be moving in with her sister.
We haven’t seen my sister, at least not so far. It’s so good. It’s so good and it’s so unexpected, and I love our writers because it’s completely plausible, but I never would have thought of it, is what I’ll say.

Huh.
I know it’s horrible, I’m just making it more painful.

(laughs) I know, is the hiatus over yet?
I know, it took a long time to get to April.

I can safely assume since you were talking about season 2, that you will be in season 2.
You know what, I’ve decided, that I’ll just show up. I really have. (laughs) I’m just going to show up and I’ll find — I’ll just walk on in that beret if they don’t write for me (laughs). Where else am I going to go in life? Where am I going to go? I’m not going to go anywhere else, I’m just going to be like I remember when I was on Glee. If they don’t write for me, I’ll just be there. But, it’s looking good.

Oh great. I’m really glad about that!
I have you to thank, for heaven’s sake!

Aw thank you. And do you know anything about it? Have you heard any tidbits about season 2?
We’re in such an interesting place, because we’re only doing nine now. So what we’re doing now is really setting us up for season 2. I think that we’re still a young show. And I was saying the other day about that rumor about there being a Broadway show, and they said we’re really careful about what we do with the branding of the show, and I think it’s just going to be an extension of what we’ve done so far. At least that’s what I’m hoping.

Yeah, I’m not sure how I feel about the whole Broadway thing. I’m intrigued…
Yeah, don’t you think some day? I think some day, it will be appropriate. But I think it’s premature. I mean, people would just be over-saturated.

Yeah, I think a long time from now when the show might not be on the air…
Exactly. Yeah, someday. Someday, it’s an amazing idea. Or even maybe just more something inspired by Glee. But to have the actual characters in a musical on Broadway and also have them on TV, I think that would be overkill at this point.

Right, I think the genre of the show would make sense on Broadway.
Absolutely.

But right now, I want to see it on my TV.
Exactly, I think everybody feels that way. So, I think, I mean I don’t know because clearly I’m not in charge, I think that the feeling is that we just kind of keep building on what we have so far. And what is really fun about Ryan and the rest of the writers, and I know that you feel this way too is that the last thing we want to do is put ourselves in a box. Every week has to be a bit of a re-invention, and that’s why the focus of the show, for some days will be on Rachel, but other days the focus of the show is on Puck or the focus of the show is on Sue, and it kind of drifts around so that it’s almost an experience just re-inventing itself.

Right. That makes sense. And I think that’s necessary because there are stars but there’s not really stars because it’s such an ensemble cast.
Yeah, and I think that that’s smart because it just — well, it means there’s something for everyone. It means that the whole show isn’t sitting on one person’s back. You know when this woman was yelling at me in the store…wow! This is not the demographic that they thought. That’s the second time it’s happened. There was another woman in Beverly Hills, she was a similar age, and I was like wow! Everybody’s watching! This is amazing (laughs).

You were like, I’m going to run away now.
“You know what I don’t understand? Why is he so stupid?” (laughs) I don’t know!

You’re like I have no idea!
And really, not even Are you on Glee? Do you play [Terri]? Hello. Nothing. Let’s just cut to the chase.

Let’s just get right in there.
Yeah, exactly. “Wouldn’t he touch your stomach?” I don’t know, honey!

I asked for some fan questions. Do you think there is still hope for Will and Terri or has that ship sailed?
No, I think there’s definitely hope for them. We just shot a scene that really suggests that and I think yeah, I think that these are two people who they just didn’t pay attention and they didn’t take care, and they started with something real. And I think that they both feel a deep sense of loss. I don’t think it’s really clear cut, so I think there’s always a chance that that can be revived.

Oh well that’s good, I’m glad to hear that. And Jennifer Aspen recently joined twitter. And I wondered if you ever thought about joining twitter of it that’s something you wouldn’t ever really want to do?
I can’t figure out what I would write. I really can’t. I mean what do you say, like, I’m pumping gas now?

The way I think of it or explain it to people, is that I consider it to be kind of a tiny status update. Like, I’m not going to post — I don’t think I’m interesting enough to post that I’m going for a walk or something, but I think it’s always fun to see tidbits from Glee or pictures…
I have to say, I think the kids — I know I call them kids, just because they play kids on the show — when we’re at the awards shows and they’re twittering to their fans, and giving them access to the experience, I think that’s amazing. I think that is so cool. And I think especially for a show like ours, where we’re only at the awards show because of the fans. For such a young show, it’s really because of twitter and facebook and all the fans who really believed in the show before we’d really even proven ourselves, I think it’s really cool the way everyone has kind of picked up on that and brought the fans forward with us. I just don’t know how to do it. I think I’d need a coach. I think I’d need a tutorial. I literally just don’t know what I would say. (laughs)

Well if you ever need me to talk you through it, I am more than willing.
Really?

Absolutely!
Thank you! I just get so scared, nobody would follow me.

Oh my gosh, I am sure you would have so many followers.
Like your mother, and…yourself. If you actually followed yourself, which would be really embarrassing.

I’m sure that wouldn’t be the case.
I may take you up on that, you never know.

Well if you ever decide to start one, you just let me know.
Okay! Thank you!

And what are your plans once the back 9 are done filming? Do you have any other projects coming up?
Well, I have two possibilities. Both are films, so I’m hoping. It’s a little window, but I’m hoping one is an independent, and one is a bigger movie — I’d really be excited about either one. So I’m hoping that it works out. And then beyond that, I know everybody says this, but I’m just kind of excited to hang out with my daughter in my downtime. But hopefully these will come into fruition, but we’ll see.

Be sure to tune in tonight at 9:28 pm (special time) for the return of Glee!

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: