[COLOR= black]From its status as “The Little Show That Could” through being a cult favorite and now a bona fide smash hit network series, Glee is certainly a show that polarized its audience during its second season. For each viewer who has been thrilled with deeper explorations into the personalities and talents of secondary characters from last season like Brittany Pierce (Heather Morris), Santana Lopez (Naya Rivera), and Kurt Hummel (Chris Colfer), there have been others who have objected to those characters being put more in the spotlight this season at the expense of Rachel Berry (Lea Michele), Finn Hudson (Cory Monteith), Will Schuster (Matthew Morrison), or Mercedes Jones (Amber Riley). There have been constant complaints about star casting (Gwyneth Paltrow, John Stamos, Carol Burnett, Charice), theme shows (Britney Spears, Justin Bieber, Rocky Horror), and the inconsistent writing leading to irregularities in characters (Sue Sylvester’s on again/off again niceness, transitioning two major characters into bisexuals) and the shuffling of romantic couples throughout season two. And the biggest complaints have circled around the emphasis being placed on the character of Kurt Hummel, from the continuing story arc of his being so fiercely bullied for being openly gay to a wedding for his father and Finn’s mother being turned into “The Kurt Show,” down through the latter half of the season where the character jumps schools, finds love, and jumps back just in time for the Nationals competition in New York City.[/COLOR]
[COLOR= black]Glee: The Complete Second Season (Blu-ray)[/COLOR]
[COLOR= black]Directed by Ryan Murphy et al
Studio: 20th Century Fox
Year: 2010-2011[/COLOR]
[COLOR= black]Aspect Ratio:[/COLOR][COLOR= black] 1.78:1 1080p AVC codec
Running Time: 1000 minutes
Rating: NR
Audio: DTS-HD Master Audio 5.1 English
Subtitles: SDH, French, Spanish[/COLOR]
[COLOR= black]Region: [/COLOR][COLOR= black]A[/COLOR]
[COLOR= black]MSRP: [/COLOR][COLOR= black]$49.99[/COLOR]
[COLOR= black]Release Date: September 13, 2011[/COLOR]
Review Date: September 14, 2011
The Season
3.5/5
Clearly there is some basis for criticism. Glee has never been a particularly tidy series in its writing, particularly in its melodramatic emphasis on coupling, but many of the most blatant problems from season one have been smoothed out (the fake and real pregnancies being the most annoying), and complaints about the ever-evolving couples will always likely hound the show as people object to seeing favorite characters get together and break up with some regularity. As for the spotlight being turned in different directions from season one, that seems a natural progression for any show once it discovers the inner recesses of talent that its actors possess and which its producers want to exploit and as new characters are added to the mix in anticipation of the show’s possibly long run and the eventual graduation of some original stars.
One thing that can’t be denied is that Glee continues to be tremendously entertaining. The song selection continues to run the gamut from show tunes to hip hop and everything in between, and when the show gets on a winning streak, it’s pretty much unassailable. Of season two’s episodes, a few shows really stood out: “Óriginal Songs” finds the club writing new songs for their Regionals competition, and their efforts are hilariously down and dirty and toe-tapping fun (“Trouty Mouth,” “Big Ass Heart,” “Hell to the No” along with the two that finally make it to the competition: “Get It Right” and “Loser Like Me”). “Duets” finds the club’s members paired up in a competition to win a night at a favorite restaurant and this leads to a terrific string of songs including most especially “River Deep, Mountain High” for Santana and Mercedes, “Le Jazz Hot” for Kurt (who dueted with himself playing the male and female sides of the equation), the hilarious “Sing!” from A Chorus Line for Mike Chang (Harry Shum, Jr.) and Tina (Jenna Ushkowitz), and Kurt and Rachel’s climactic “Happy Days Are Here Again/Get Happy” paying tribute to a Barbra Streisand/Judy Garland duet from Garland’s television series. In fact, Rachel dips into the Streisand song bag again with “Papa, Can You Hear Me” from Yentl and “My Man” from the Funny Girl film and continues to mix Broadway hits like “What I Did for Love” from A Chorus Line, “Take Me or Leave Me” from Rent (in a killer duet with Mercedes) and “Don’t Cry for Me Argentina” from Evita (again sung in counterpoint with Kurt) with more recent pop hits like Katy Perry’s “Firework.” Another memorable duet with Kurt comes in the season finale when the duo, both giddy with excitement over being on the Gershwin Theatre stage where Wicked runs, sing the show’s salient ballad “For Good.” Those who have been upset over Rachel’s allegedly less prominent role in season two really haven’t been paying attention. The talented Lea Michele gets more solos and duets than any other artist on the series.
All of the show’s other talented cast members have been given prime opportunities to shine so far this season. Particularly memorable have been Artie (Kevin McHale) on “I Am Stronger,” Puck’s (Mark Salling) “Only the Good Die Young,” and “Fat Bottomed Girls,” Mercedes’ “Bridge Over Troubled Water,” Santana’s “Valerie,” and “Songbird,” and Matthew Morrison’s “Sway.” But there is no denying that the gifted Chris Colfer has received the lion’s share of attention this season, and rightly so since this young actor/singer has proven time and again he can handle both the musical, comic, and dramatic material he’s been given, enough to have earned him two Emmy nominations and the Golden Globe Award for supporting actor against some formidable competition. In addition to the aforementioned duets with Lea Michele and “Le Jazz Hot,” Colfer delivered a devastating rendition of John Lennon and Paul McCartney’s “I Want to Hold Your Hand” leaving not a dry eye in the house, his marvelously expressive delight at returning to McKinley in ”As If We Never Said Goodbye,” another moving Beatles cover with “Blackbird,” and in three duets with new crush Blaine Anderson (Darren Criss): “Animal,” “Candles,” and the Oscar-winning standard “Baby, It’s Cold Outside,” which gave the Christmas episode its most charming and memorable sequence.
The show’s most successful addition to its ranks this season has been Darren Criss playing Blaine, Kurt’s gay mentor who attends Dalton Academy and is the lead singer with the school’s glee group the Warblers. Criss as lead vocalist blew everyone away with his introductory “Teenage Dream” (which became the most downloaded song for the show in its brief history) and continued melting hearts with “Hey, Soul Sister,” “Silly Love Songs,” “Raise Your Glass,” and the poignant “Somewhere Only We Know.” He was also allotted a duet with Lea Michele in a sizzling “Don’t You Want Me,” a sure sign that the character had made the successful transition as a keeper on the show. Dot-Marie Jones has been added as football coach Shannon Bieste (only a tiny bit of singing thus far but some good emotional moments earning her an Emmy nomination this season), and Chord Overstreet made a pleasant, positive impression as the likable and good-natured Sam Evans, new transfer student and quarterback competitor for Finn’s position on the football squad, introducing his vocal talents on “Billionaire” and scoring a lovely duet with new girl friend Quinn (Diana Agron) at Sectionals with “The Time of My Life.” Unfortunately, when Overstreet wasn’t promoted to series regular for season three, he abruptly quit the show scotching both a potentially interesting storyline about his destitute family and a relationship with Mercedes. He was a character who could have become the de facto group leader once the seniors in the cast graduate at the end of the season, but now the producers will have to look elsewhere.
As for things that haven’t worked this season, there have been a few missteps. Charice was allowed a killer rendition of “Listen” in the season premiere but otherwise wasn’t used well and was whisked away to become a part of Vocal Adrenaline by their new coach played in the flash of an eye by Broadway star Cheyenne Jackson. Both singing actors did reappear late in the season just before and during the Nationals competition episodes but not to great response. In much the same way Kristin Chenoweth brought down the house last season in two guest appearances, Gwyneth Paltrow guested in three episodes as a quirky substitute teacher (and won this year’s Emmy for outstanding guest actress) and made wonderful music with “Forget You” with the club, but it was a mistake for her and Lea Michele to attempt Chicago’s “Hot Honey Rag,” a number that requires two strong dancers, a number the ladies simply couldn’t do full justice to. Hip hop continues to be problematic for the club (“Empire State of Mind” got the season off to a very shaky start). The character of Sue Sylvester, so delightfully menacing in season one, seemed aimlessly written and pushed past caricature in season two (who could possibly punch out the lieutenant governor’s wife in front of hundreds of witnesses and not be jailed for her actions?) and not redeemed by a poignant episode dealing with her handicapped sister near season’s end. As effective as the original songs were which were written for the Regionals competition, the show returned there for Nationals with much less effective material. Lastly, John Stamos, widely heralded for joining the cast this season, made only three significant appearances over a long stretch of time, clearly proving the producers had trouble working him into the ensemble on a regular basis and wasting his singing and dancing talents in an underwritten role.
Here are the twenty-two episodes which are contained on four discs in the season two set:
1 – Auditions
2 – Britney/Brittany
3 – Grilled Cheesus
4 – Duets
5 – The Rocky Horror Glee Show
6 – Never Been Kissed
7 – The Substitute
8 – Furt
9 – Special Education
10 – A Very Glee Christmas
11 – The Sue Sylvester Shuffle (the episode which aired after the Super Bowl to the show’s biggest ever-audience)
12 – Silly Love Songs
13 – Comeback
14 – Blame It on the Alcohol
15 – Sexy
16 – Original Song
17 – A Night of Neglect
18 – Born This Way
19 – Rumours
20 – Prom Queen
21 – Funeral
22 – New York
Video Quality
4.5/5
The program is broadcast on Fox with a 1.78:1 aspect ratio and 720p resolution, and these 1080p transfers (AVC codec) are in every way superior to the broadcast versions. Color is richly hued without a trace of blooming (difficult with the cherry red of those football and cheerleader uniforms), and flesh tones are always accurate and very appealing. There is plenty of detail to be seen in facial features, hair, and clothes. Black levels are a bit less impressive than one might expect even though Glee goes much more for bright images rather than dark ones, and there is some occasional edge enhancement noted. Each episode has been divided into 12 chapters.
Audio Quality
4.5/5
The DTS-HD Master Audio 5.1 sound mix outdistances the sound quality of the network broadcasts with exceptional spread through the surrounds with the orchestrations for all of the musical numbers and a clarity of tone that the lossless encode brings to the table. There is also a distinct and welcome use of the LFE channel to give added power to the bass lines of the musical numbers. If only more thought were put into adding surround enhancement to the remainder of the show apart from musical numbers. We get some ambient sounds in the surrounds during various contests and assemblies, but much less than we should in hallway or cafeteria scenes.
Special Features
4/5
Each disc contains the Glee Music Jukebox, an opportunity to go straight to the musical numbers in each episode. Though once again Fox did not include a booklet inside the case to detail which numbers are present in each episode, this feature does offer a list of songs for each episode. However, some of the coding is a bit sloppy causing the number
to be cut off at the last note or two before returning the viewer to the jukebox menu.
Unless otherwise mentioned, the video featurettes are presented in 1080p.
“The Making of The Rocky Horror Glee Show” offers 6 ¾ minutes with the episode’s director Adam Shankman along with choreographer Zach Woodlee, writer/producer Ian Brennan, and various cast members commenting on the work involving putting on this special episode of the show.
The outtake number “Planet Shmanet Janet” is presented in a 1 ¼ minute clip.
“Building Glee’s Auditorium” features Cory Monteith describing the building of a high school auditorium on the Paramount lot where Glee is filmed. The show’s production designer and set decorator describe their work on giving the new set the look of the real auditorium that was used during season one. This runs 5 ½ minutes.
“A Day in the Life of Brittany” has actress Heather Morris in character as Brittany taking us with her during a typical day. She visits her trailer, the set, the dance studio, and the recording studio, none of which needed her for the day. This funny vignette runs 5 ¾ minutes.
“Shooting Glee in New York City” shows the behind-the-scenes work it took to film the season finale in New York. Speaking about the mass efforts and huge crowds who turned out to watch are director Brad Falchuk, the director of photography, and the stars of the show. It runs 10 ½ minutes.
“Guesting on Glee” features brief interviews with season two guest stars Katie Couric, Carol Burnett, Gwyneth Paltrow, Cheyenne Jackson, Charice, Kristin Chenoweth, and Jonathon Groff. It’s an 8-minute piece.
“Stevie Nicks Goes Glee” brings Fleetwood Mac’s Stevie Nicks to the set during the making of the “Rumours” episode. This runs 3 ½ minutes.
“Sue’s Quips” is a montage of Sue’s insults and put-downs from both aired seasons in this 2 ¼-minute vignette.
“Santana Slams” is a similar collection of her insults and sarcasm which runs for 2 ¾ minutes.
“The Wit of Brittany” is a quick montage of clips featuring the outrageous, offhanded comments that come from dim-witted cheerleader Brittany Pierce’s mouth during the two seasons of the show’s run. This lasts for 2 ¼ minutes.
“Getting Waxed with Jane Lynch” finds the Emmy-winning co-star of the show being measured for a wax figure for Madame Tussaud’s in Hollywood. The finished product is unveiled in this 6 ¼-minute feature.
“Glee at Comic-Con” features creator Ryan Murphy and castmates Chris Colfer, Amber Riley, Kevin McHale, Naya Rivera, Heather Morris, and Jenna Ushkowitz answering questions about the show’s first season and the upcoming second one. It runs 15 minutes.
In Conclusion
4/5 (not an average)
Glee’s second season offered more of the same from its first season: tremendous musical numbers and interesting character development which has allowed several secondary characters from season one to rise to the surface for a spotlight of their own and for a couple of new discoveries to be added to the show’s intriguing mix. While the show is still operating successfully and entertainingly and these episodes are well worth seeing again, one hopes season three will display more consistency in the writing of plots and characters to match the brilliance of the musical production aspects of this entertaining show. Recommended!
Matt Hough
Charlotte, NC
[COLOR= black]Glee: The Complete Second Season (Blu-ray)[/COLOR]
[COLOR= black]Directed by Ryan Murphy et al
Studio: 20th Century Fox
Year: 2010-2011[/COLOR]
[COLOR= black]Aspect Ratio:[/COLOR][COLOR= black] 1.78:1 1080p AVC codec
Running Time: 1000 minutes
Rating: NR
Audio: DTS-HD Master Audio 5.1 English
Subtitles: SDH, French, Spanish[/COLOR]
[COLOR= black]Region: [/COLOR][COLOR= black]A[/COLOR]
[COLOR= black]MSRP: [/COLOR][COLOR= black]$49.99[/COLOR]
[COLOR= black]Release Date: September 13, 2011[/COLOR]
Review Date: September 14, 2011
The Season
3.5/5
Clearly there is some basis for criticism. Glee has never been a particularly tidy series in its writing, particularly in its melodramatic emphasis on coupling, but many of the most blatant problems from season one have been smoothed out (the fake and real pregnancies being the most annoying), and complaints about the ever-evolving couples will always likely hound the show as people object to seeing favorite characters get together and break up with some regularity. As for the spotlight being turned in different directions from season one, that seems a natural progression for any show once it discovers the inner recesses of talent that its actors possess and which its producers want to exploit and as new characters are added to the mix in anticipation of the show’s possibly long run and the eventual graduation of some original stars.
One thing that can’t be denied is that Glee continues to be tremendously entertaining. The song selection continues to run the gamut from show tunes to hip hop and everything in between, and when the show gets on a winning streak, it’s pretty much unassailable. Of season two’s episodes, a few shows really stood out: “Óriginal Songs” finds the club writing new songs for their Regionals competition, and their efforts are hilariously down and dirty and toe-tapping fun (“Trouty Mouth,” “Big Ass Heart,” “Hell to the No” along with the two that finally make it to the competition: “Get It Right” and “Loser Like Me”). “Duets” finds the club’s members paired up in a competition to win a night at a favorite restaurant and this leads to a terrific string of songs including most especially “River Deep, Mountain High” for Santana and Mercedes, “Le Jazz Hot” for Kurt (who dueted with himself playing the male and female sides of the equation), the hilarious “Sing!” from A Chorus Line for Mike Chang (Harry Shum, Jr.) and Tina (Jenna Ushkowitz), and Kurt and Rachel’s climactic “Happy Days Are Here Again/Get Happy” paying tribute to a Barbra Streisand/Judy Garland duet from Garland’s television series. In fact, Rachel dips into the Streisand song bag again with “Papa, Can You Hear Me” from Yentl and “My Man” from the Funny Girl film and continues to mix Broadway hits like “What I Did for Love” from A Chorus Line, “Take Me or Leave Me” from Rent (in a killer duet with Mercedes) and “Don’t Cry for Me Argentina” from Evita (again sung in counterpoint with Kurt) with more recent pop hits like Katy Perry’s “Firework.” Another memorable duet with Kurt comes in the season finale when the duo, both giddy with excitement over being on the Gershwin Theatre stage where Wicked runs, sing the show’s salient ballad “For Good.” Those who have been upset over Rachel’s allegedly less prominent role in season two really haven’t been paying attention. The talented Lea Michele gets more solos and duets than any other artist on the series.
All of the show’s other talented cast members have been given prime opportunities to shine so far this season. Particularly memorable have been Artie (Kevin McHale) on “I Am Stronger,” Puck’s (Mark Salling) “Only the Good Die Young,” and “Fat Bottomed Girls,” Mercedes’ “Bridge Over Troubled Water,” Santana’s “Valerie,” and “Songbird,” and Matthew Morrison’s “Sway.” But there is no denying that the gifted Chris Colfer has received the lion’s share of attention this season, and rightly so since this young actor/singer has proven time and again he can handle both the musical, comic, and dramatic material he’s been given, enough to have earned him two Emmy nominations and the Golden Globe Award for supporting actor against some formidable competition. In addition to the aforementioned duets with Lea Michele and “Le Jazz Hot,” Colfer delivered a devastating rendition of John Lennon and Paul McCartney’s “I Want to Hold Your Hand” leaving not a dry eye in the house, his marvelously expressive delight at returning to McKinley in ”As If We Never Said Goodbye,” another moving Beatles cover with “Blackbird,” and in three duets with new crush Blaine Anderson (Darren Criss): “Animal,” “Candles,” and the Oscar-winning standard “Baby, It’s Cold Outside,” which gave the Christmas episode its most charming and memorable sequence.
The show’s most successful addition to its ranks this season has been Darren Criss playing Blaine, Kurt’s gay mentor who attends Dalton Academy and is the lead singer with the school’s glee group the Warblers. Criss as lead vocalist blew everyone away with his introductory “Teenage Dream” (which became the most downloaded song for the show in its brief history) and continued melting hearts with “Hey, Soul Sister,” “Silly Love Songs,” “Raise Your Glass,” and the poignant “Somewhere Only We Know.” He was also allotted a duet with Lea Michele in a sizzling “Don’t You Want Me,” a sure sign that the character had made the successful transition as a keeper on the show. Dot-Marie Jones has been added as football coach Shannon Bieste (only a tiny bit of singing thus far but some good emotional moments earning her an Emmy nomination this season), and Chord Overstreet made a pleasant, positive impression as the likable and good-natured Sam Evans, new transfer student and quarterback competitor for Finn’s position on the football squad, introducing his vocal talents on “Billionaire” and scoring a lovely duet with new girl friend Quinn (Diana Agron) at Sectionals with “The Time of My Life.” Unfortunately, when Overstreet wasn’t promoted to series regular for season three, he abruptly quit the show scotching both a potentially interesting storyline about his destitute family and a relationship with Mercedes. He was a character who could have become the de facto group leader once the seniors in the cast graduate at the end of the season, but now the producers will have to look elsewhere.
As for things that haven’t worked this season, there have been a few missteps. Charice was allowed a killer rendition of “Listen” in the season premiere but otherwise wasn’t used well and was whisked away to become a part of Vocal Adrenaline by their new coach played in the flash of an eye by Broadway star Cheyenne Jackson. Both singing actors did reappear late in the season just before and during the Nationals competition episodes but not to great response. In much the same way Kristin Chenoweth brought down the house last season in two guest appearances, Gwyneth Paltrow guested in three episodes as a quirky substitute teacher (and won this year’s Emmy for outstanding guest actress) and made wonderful music with “Forget You” with the club, but it was a mistake for her and Lea Michele to attempt Chicago’s “Hot Honey Rag,” a number that requires two strong dancers, a number the ladies simply couldn’t do full justice to. Hip hop continues to be problematic for the club (“Empire State of Mind” got the season off to a very shaky start). The character of Sue Sylvester, so delightfully menacing in season one, seemed aimlessly written and pushed past caricature in season two (who could possibly punch out the lieutenant governor’s wife in front of hundreds of witnesses and not be jailed for her actions?) and not redeemed by a poignant episode dealing with her handicapped sister near season’s end. As effective as the original songs were which were written for the Regionals competition, the show returned there for Nationals with much less effective material. Lastly, John Stamos, widely heralded for joining the cast this season, made only three significant appearances over a long stretch of time, clearly proving the producers had trouble working him into the ensemble on a regular basis and wasting his singing and dancing talents in an underwritten role.
Here are the twenty-two episodes which are contained on four discs in the season two set:
1 – Auditions
2 – Britney/Brittany
3 – Grilled Cheesus
4 – Duets
5 – The Rocky Horror Glee Show
6 – Never Been Kissed
7 – The Substitute
8 – Furt
9 – Special Education
10 – A Very Glee Christmas
11 – The Sue Sylvester Shuffle (the episode which aired after the Super Bowl to the show’s biggest ever-audience)
12 – Silly Love Songs
13 – Comeback
14 – Blame It on the Alcohol
15 – Sexy
16 – Original Song
17 – A Night of Neglect
18 – Born This Way
19 – Rumours
20 – Prom Queen
21 – Funeral
22 – New York
Video Quality
4.5/5
The program is broadcast on Fox with a 1.78:1 aspect ratio and 720p resolution, and these 1080p transfers (AVC codec) are in every way superior to the broadcast versions. Color is richly hued without a trace of blooming (difficult with the cherry red of those football and cheerleader uniforms), and flesh tones are always accurate and very appealing. There is plenty of detail to be seen in facial features, hair, and clothes. Black levels are a bit less impressive than one might expect even though Glee goes much more for bright images rather than dark ones, and there is some occasional edge enhancement noted. Each episode has been divided into 12 chapters.
Audio Quality
4.5/5
The DTS-HD Master Audio 5.1 sound mix outdistances the sound quality of the network broadcasts with exceptional spread through the surrounds with the orchestrations for all of the musical numbers and a clarity of tone that the lossless encode brings to the table. There is also a distinct and welcome use of the LFE channel to give added power to the bass lines of the musical numbers. If only more thought were put into adding surround enhancement to the remainder of the show apart from musical numbers. We get some ambient sounds in the surrounds during various contests and assemblies, but much less than we should in hallway or cafeteria scenes.
Special Features
4/5
Each disc contains the Glee Music Jukebox, an opportunity to go straight to the musical numbers in each episode. Though once again Fox did not include a booklet inside the case to detail which numbers are present in each episode, this feature does offer a list of songs for each episode. However, some of the coding is a bit sloppy causing the number
to be cut off at the last note or two before returning the viewer to the jukebox menu.
Unless otherwise mentioned, the video featurettes are presented in 1080p.
“The Making of The Rocky Horror Glee Show” offers 6 ¾ minutes with the episode’s director Adam Shankman along with choreographer Zach Woodlee, writer/producer Ian Brennan, and various cast members commenting on the work involving putting on this special episode of the show.
The outtake number “Planet Shmanet Janet” is presented in a 1 ¼ minute clip.
“Building Glee’s Auditorium” features Cory Monteith describing the building of a high school auditorium on the Paramount lot where Glee is filmed. The show’s production designer and set decorator describe their work on giving the new set the look of the real auditorium that was used during season one. This runs 5 ½ minutes.
“A Day in the Life of Brittany” has actress Heather Morris in character as Brittany taking us with her during a typical day. She visits her trailer, the set, the dance studio, and the recording studio, none of which needed her for the day. This funny vignette runs 5 ¾ minutes.
“Shooting Glee in New York City” shows the behind-the-scenes work it took to film the season finale in New York. Speaking about the mass efforts and huge crowds who turned out to watch are director Brad Falchuk, the director of photography, and the stars of the show. It runs 10 ½ minutes.
“Guesting on Glee” features brief interviews with season two guest stars Katie Couric, Carol Burnett, Gwyneth Paltrow, Cheyenne Jackson, Charice, Kristin Chenoweth, and Jonathon Groff. It’s an 8-minute piece.
“Stevie Nicks Goes Glee” brings Fleetwood Mac’s Stevie Nicks to the set during the making of the “Rumours” episode. This runs 3 ½ minutes.
“Sue’s Quips” is a montage of Sue’s insults and put-downs from both aired seasons in this 2 ¼-minute vignette.
“Santana Slams” is a similar collection of her insults and sarcasm which runs for 2 ¾ minutes.
“The Wit of Brittany” is a quick montage of clips featuring the outrageous, offhanded comments that come from dim-witted cheerleader Brittany Pierce’s mouth during the two seasons of the show’s run. This lasts for 2 ¼ minutes.
“Getting Waxed with Jane Lynch” finds the Emmy-winning co-star of the show being measured for a wax figure for Madame Tussaud’s in Hollywood. The finished product is unveiled in this 6 ¼-minute feature.
“Glee at Comic-Con” features creator Ryan Murphy and castmates Chris Colfer, Amber Riley, Kevin McHale, Naya Rivera, Heather Morris, and Jenna Ushkowitz answering questions about the show’s first season and the upcoming second one. It runs 15 minutes.
In Conclusion
4/5 (not an average)
Glee’s second season offered more of the same from its first season: tremendous musical numbers and interesting character development which has allowed several secondary characters from season one to rise to the surface for a spotlight of their own and for a couple of new discoveries to be added to the show’s intriguing mix. While the show is still operating successfully and entertainingly and these episodes are well worth seeing again, one hopes season three will display more consistency in the writing of plots and characters to match the brilliance of the musical production aspects of this entertaining show. Recommended!
Matt Hough
Charlotte, NC
