TV Report Card: Smash 1x09 - "Hell on Earth"

After last week's preview, I was wagering I'd have to watch "Hell on Earth" through my fingers, because of what seemed to be planned for Ivy and Julia in the episode.  On-stage slip-ups?  Infidelities coming to light?  Uh-oh.  I thought for sure this would be a difficult slog.  But there were plenty of lighter moments in "Hell on Earth," and while Julia's storyline was just as depressing as I anticipated, Ivy's was loosened up by a happy redirect towards bonding with Karen.  Sure, they're still not friends, and they only behaved as such when they were completely incapacitated, but for a starting point - I'll take it.

Ivy begins "Hell on Earth" down and out, depressed over losing her role as Marilyn after investing so much research, effort, and emotion into it.  Her prescription list is not looking terribly dissimilar to Karen Walker's, and she's starting to tear at the seams.  Not only is she back in the ensemble of Heaven on Earth, she's ostracized from Tom, and auditioning for the same roles as Karen - and losing them.  Naturally, all of this just piles onto the self-medicating spiral, and before we know it, Ivy's performing high and takes a fall onstage.  I wish the writers had found some way to steer this away from comedy without it becoming melodramatic.  Yes, it's funny to see Megan Hilty blow raspberries onstage and slur through her singing parts, but it's actually quite disturbing to see Ivy unraveling like this.  The sequence in her dressing room was hauntingly poignant - the aerial shot of Ivy and her angel wings, as she's on her knees and slipping in and out of focus was phenomenal.  But then it all got traded in for goofy jokes, and drawn-out tension as we just waited for her to slip and fall and embarrass herself.  

In a bit of slightly-forced plot, it just so happens that Ivy and Karen have gotten their sunglasses swapped.  Naturally, Ivy (being the Grade-A, threatened, jealous bitch that the narrative wants us to believe she is) threw Karen's shades in the trash with a chuckle.  Karen, however, with her earnest smalltown manners that are making me wonder if she's somehow related to Kenneth the Page, goes to see Ivy at Heaven on Earth so she can return them.  It's a bit of a clunky set-up, but it's a minor offense, because it actually puts these two women together for an extended period of time, and allows them more than just claws and snarls.  And we were treated to an exploration and extension of the Karen-Ivy dynamic that has long been eluding us.  I'll take a Parent Trap-esque sunglasses swap if it means we can get to the good stuff.

I don't expect Karen and Ivy to be BFFs immediately, doing each other's hair and trading lip glosses between auditions.  I like that there will always be some measure of competition there, which complicates things.  So I appreciated that "Hell on Earth" let Ivy and Karen have an actual argument, where Ivy actually insults Karen right to her face, and Karen actually snipes back.  It was great!  Of course Ivy wants to think that Karen is nothing special, and ouch, no one wants to be told that.  And the writers did Karen a service by steering her away from doe-eyed high ground, and let her react like any human being would: by throwing Ivy's relationship with Derek in her face.  Remember: Derek tried to sleep with Karen before he even showed interest in Ivy.  Ouch.  Low blows on both sides, but I appreciate that this wasn't manifested in unspoken bitchiness, but rather outright harsh honesty, understandably delivered from both parties.  Yes!  Let's get this out in the open and move forward!

And move forward they did, as Ivy took advantage of Karen's Midwest sympathy and got twenty bucks for some alcohol - which, might I add, she had the decency to share.  Before we knew it, Karen and Ivy were stumbling through Times Square commiserating over their dumb auditions for dumb TV commercials.  Then the greatest thing happened of all: a duet!  Okay, so it maybe wasn't the greatest thing, but it was still pretty damn great.  It's clear that Katharine McPhee and Megan Hilty have a great time together, and the number was fun and infectious and a bright little beacon of hope that these two ladies could also be excellent friends as well as complete bitches to one another.  Of course, Ivy had to immediately point out that they're not friends now, just because of one musical romp in Times Square, but I'd like her to be proven wrong.  The current dynamic of Ivy playfully sniping at Karen and Karen just ignoring it is ridiculously amusing, and harmless when it's shared between them instead of played out in competition and others' judgement.  At the very least, these ladies should start busking to make some extra money.  

In the end, Ivy's pill problem got side-stepped for fun, though, and so I'm curious to see where they're taking this - and how seriously.  If I had to guess, involving Karen in Ivy's storyline means that Karen's probably going to be the one to step in and pull Ivy back from the edge, which... I wouldn't mind, although it depends largely on how it's handled.  It'd be nice if Karen weren't painted as Ivy's savior or the only one who cares, but rather someone who's there and willing to help and might just be in the right place at the right time.  After all, both Sam and Tom stayed up all night waiting to hear from Ivy, so she's not lacking in friends.  Hell, she even had a cute scene with Derek at episode's beginning.  Ivy's not an island here, with only Karen as a possible lifeline for her addiction.  But it'd still be interesting if Karen's somehow able to interfere, perhaps without meaning to.  I did really enjoy that the writers included a scene where Karen was able to see the inside of Ivy's apartment - a metaphor perhaps for Karen finally getting the chance to get a glimpse into Ivy's real self without all the hostility covering it up.  Even stronger was the moment where Karen sat in Ivy's chair, in front of the mirror, and looked at all the clippings of Marilyn adorning it.  It was a small, simple action that conveyed a bulk of emotion about Ivy and Karen being let into her life a little bit - more than any drunken jam session ever could.

As Karen and Ivy cavorted with tourists and street performers, Sam and Tom stayed up and shared a meal.  Their (I'm guessing inevitable) relationship was forwarded by genuine conversation and not just their bewilderment at how gay/not gay the other one behaves.  Their banter about going dutch was cute, and Smash also slipped in a little metaphor about Sam and Tom being Ivy's parents.  Yeah, I'm guessing we're full steam ahead on Sam and Tom.  Which isn't unpalatable to me, but they best get Tom out of his relationship with John before anything serious happens.  Smash does not need to keep on with the cheating storylines, no thank you.  Also, this is a terribly monosyllabic love triangle: John, Tom, Sam!  It's like a Dr. Seuss poem.

Regardless, Smash developed Tom and John's relationship simultaneously with Sam and Tom's.  I will say, I appreciate that both pairings moved forward.  With less-sophisticated writing, if the purpose was to put Tom in a coffee shop with Sam all night, there would have been some sort of fight with Tom and John - or a setback at the very least.  But Smash propelled Tom and John forward, even with the reveal that John is a Republican.  Tom, being of Broadway and the performing arts, is flabbergasted, and immediately expressed his distaste for the political right.  But even with this contempt, Tom shelved his opinions in order to support his boyfriend at a political fundraiser, and this too was done with sophistication: there was no hiding their sexualities at the fundraiser, or pretending they were anything other than in a relationship together.  And how great was Tom in this environment?  His snarking was hilarious, and I loved that he still chose to leave when Ivy needed him, despite John's protests.  Tom respected John's political affiliation and chose to support him, and John respected Tom's relationship with Ivy, and chose to support him.  It was well-handled all-around, and Tom's storylines continue to be the best-written in the ensemble.

Of course, "Hell on Earth" needed to deal with the fallout from "The Coup" in terms of Marilyn herself, and it did so with a fair amount of panache.  Eileen set up the goals: Tom and Julia needed to deliver a title, and she and Derek needed to find a star.  Nobody's really on board with the star idea, and Derek in particular bucks authority and tells Eileen that he won't even consider casting until Tom and Julia get a finished script and a year's worth of preparation.  Yeah, okay, Director McGrumpypants.  Eileen completely rejects the idea, and moves forward in the sneakiest of ways: she shops around for another director.  Even better yet, Smash pulled a switcheroo on us.  Eileen met with Doug Hughes in public, and was spotted by a Broadway gossip columnist - who took the story to print.  It seemed like plotted conflict, leading to some sort of eyeroll-inducing consequence of Derek finding out.  But instead of a director tantrum, Derek falls into line in order to protect his job, and with a single smirk, we realize that Eileen planned the whole thing to keep Derek on a short leash.  Hee!  How great is that?  I'm loving seeing Eileen come into her own in her solo producing role, and while the tricksy behavior seems to tread backwards on her arc from "The Coup," it was still delightful to watch - especially when it was doubled up on Ellis.

See, Ellis continued to be a Schemy Schemerson, as he cashed in on contacts of contacts (I have no idea who he got those numbers from, even with the full scene devoted to it - who was that guy??) and weaseled his way into meeting with Rebecca Duvall's agent.  Ellis played every card right, with a little hinted seduction, and got a phone call from Ms. Duvall as a potential star for Marilyn.  Sure, Ellis is still a sneaky bastard, but he's clearly one you want on your team.  Just don't be surprised when he plays for both.  (Heyo!  Double entendre alert!)  Basically, I don't mind seeing Ellis be slimy and manipulative when it's against outside parties - just keep him away from successfully manipulating any of our main cast, most of whom are technically his superiors, no matter how much he'd like to think otherwise.  And so, when he tried to leverage a co-producer credit from Eileen, she shut him down in the blink of an eye, and it's becoming clear that only the Rand family is able to put Ellis in his place.  Maybe it's some sort of gene.  Regardless, I'm officially on board with Eileen and Ellis' scheming duo, as long as Ellis now realizes he can't play his boss and is actually loyal to her.  And I'm always on board with Eileen being competent and savvy.  Don't mess with that lady!  She'll throw a drink in your face.  Now answer that phone, Ellis!

Finally, this leads me to the final piece of "Hell on Earth," and the most depressing one: Julia's secret affair revealed to her husband Frank.  I'm not going to devote too much time to it, because it's my least-favorite thing going on with Smash right now, especially given how the actual onscreen affair was handled.  The reveal came when Frank found sheet music for Marilyn about meeting on the Brooklyn Bridge - à la the brief glimpse into happiness we saw of Michael and Julia, way back when.  (Way back before it got terrible.)  Somehow, this was enough for Frank to put two and two together, which frankly I question the logic there, and Julia was in for a surprise when she came home to find him playing the song on the piano.  Oh dear.  From there, the episode just spiralled into a lot of Frank yelling at Julia and Julia crying and Leo yelling at his dad and me cringing at how this has all gone down.  It just got worse when Frank went to see Michael, and Michael revealed that there was more history between him and Julia than Frank knew, which only resulted in a thrown punch and more guilt for Julia.  Ultimately, Frank walked out, and Julia was left with a broken family, her own blame, and an appropriate title for Marilyn sown from her own life: Bombshell.  

The title bit was a nice touch, and an appropriate piece of wordplay for Marilyn as a hot blonde and a bit of news that destroys everything in sight.  I'm curious to see how the new play reflects this title, though, in particular with that latter definition.  As for the Julia storyline itself, I will say that I hated to see Julia get yelled at for a solid hour.  It's not that I condone cheating, or don't think that Julia deserved what she got, it's just... I don't like when characters just get yelled at by other characters.  It seems like poor writing, and terribly one-sided, no matter how much our hearts break at Debra Messing's fractured face and desperation.  I appreciate that Michael tried to apologize, and that Julia took her half of the responsibility of their affair, but I still couldn't shake the memory of Michael pressuring her to meet him and threatening to cause a scene if she didn't.  The whole thing leaves a sour taste in my mouth.  The storyline with Michael, the storyline with Leo, and now the storyline with Frank have all taken power away from Julia.  The men in her life have been shown to have the upper hand in her interactions with them, and Julia can't seem to win for losing.  Frank even raised a hand against her in "Hell on Earth," and Smash is really walking the line in terms of communicating the pain of betrayal effectively without completely destroying Julia's place in the storyline.  The sooner we can be done with this, the better.  I would much rather see Julia interacting with any other character in this ensemble.

Aside from this heavy storyline blotting out "Hell on Earth," the episode managed to be one of Smash's better offerings, with enjoyable storylines, a few poignant character moments, and more sophisticated plotting than we've seen from these writers in a while.  We're finally to a place where I'm looking forward to seeing where these relationships are heading, and the ones presented in "Hell on Earth" were portrayed interestingly and handled well.  Now that Marilyn - er, Bombshell has splintered so much in nine episodes, we're at a rare point where I care about these characters and their dynamics just as much as the musical they're putting on.  Hopefully this is Smash finding its footing, and we can sail smoothly with the show's renewal and enjoy a good Season 2.   

The Report Card:

Dialogue: B

Plot: A-

Character: A

Musical Numbers: B+

Episode MVP: Eileen Rand

TV Report Card: Smash 1x08 - The Coup

Okay, when I said I'd be delayed in recapping "The Coup," I wasn't joking around.  But better late than never, right?  And "The Coup" was certainly not an episode to miss - or was it?  It was high on drama and catharsis and "WTF" moments, but it also presented a series of storylines that were either lacking in relevance or that circled back on themselves completely.  Still, it was an entertaining hour, and I will say that even though the plot elements reset themselves, the characters affected by them progressed interestingly.

The eponymous "coup" mainly belonged to Derek, who, with Eileen's support, wanted to test a redirection for Marilyn after doing the workshop.  They cut off communication with Tom, Julia, and Ivy, and turned to Karen to helm a contemporary-style song and dance (it was more writhing than anything, but whatever) - and kept everything under their lids.  But, naturally, we have Ellis snaking through everyone's personal lives, and so word got out - most importantly, to Ivy, who was trying to keep a brave face in the silent aftermath of the workshop.  When Derek, Eileen, and Karen presented their new idea to Tom and Julia (and Ivy and Ellis, unknowingly), everyone was hurt and angry and offended.  And it took a brand-new, one-off character to swoop in and knock some sense into everyone.

I can't decide if I love Katie Rand for kicking the door down and putting a stop to all the tomfoolery in Eileen's personal and professional life - made even better by her face-to-face call-out of Ellis' eavesdropping nonsense - or if I'm just irked that Smash brought in a previously-unheard-of character to save the day and make all the conflicts a lot less bothersome.  Mahatma Katie, indeed.  But hey, I can't complain about the character herself, as she was pretty awesome, and it's not like the Gummer sisters don't have a standing invitation to my television programs.  But mostly, I enjoyed what Katie did for Eileen's story.  Of all the character story arcs Smash has endeavored thus far, I've been on board with Eileen's the most.  The idea that this is a woman divorced from not only her husband but her business partner, who is trying to keep her dignity, independence, and competence in both areas of her life is rather compelling.  How can you not root for Eileen in this scenario?  But even though this "coup" is a mess, I love as well that it indicates that Eileen's tenacity has led to some mistakes - that she's willing to admit.  And it's all wrapped up in a nice externalization with Katie decorating her once-stark office with homey touches.  The whole thing is a nifty arc for the character both in-episode and as a multi-episode arc, and basically launches Eileen to the front of the line for the treatment of Smash's female characters. 

Speaking of which, let's talk about 'em.  First up: Julia!  Finally, we got closure on this Michael business, as he relented his obsessive pursuing ways and agreed he should leave the show.  Points for maturity from all parties!  We also saw Julia in her family life - in a cute scene where Frank serenades her with Rock Band, and going all Mama Bear on a judge for insinuating that Leo should be grateful.  Of course, we got a somewhat heavy-handed extension of this construct so that Julia could meaningfully tell her boys how grateful she is for their family on the courthouse steps.  Yeah, it was cheesy, but it's honestly just nice to see Julia more or less back to the character we knew before the Michael Swift Fiasco.  Better relish it while we can - the next episode looks like hell for Julia, with her secret apparently coming to light.

But in "The Coup," it was Ivy's turn for hell, as she got the rug slipped out from underneath her by her sometimes-boyfriend and employers, and lost the lead in Marilyn.  Even though Eileen rejected the experimental update, she still deemed that the musical needed a star - which Ivy is not.  How heartbreaking was Ivy in this installment?  Goofy and unnecessary bowling number aside, Ivy learned of the sneaking around, witnessed it, and then was told she was no longer needed for the show.  And I'm tired of Derek coming around to tell her how wonderful she is when no one else is listening, after the fact.  His actions have rarely shown that he appreciates her, and it leaves Ivy incredibly unempowered in their relationship.  Boo!  I don't know why this show insists on portraying Ivy as anything less than an incredible performer and consummate professional, because honestly the character seemed to be constructed entirely on these tenets, based on the original presentation and Megan Hilty's knockout performances.  And yet Smash seems to be telling us that Ivy is unstable, emotional, desperate, insecure, and potentially destined for the chorus.  When will they throw this character a bone?  The writing keeps her rotating between antagonist and pity party, and I for one would like a little happiness for this Brave Little Toaster.

Of course, Karen got a chance to shine in "The Coup," with an opportunity to be the accidental face of change and betrayal for Marilyn the Musical.  I still want more dimension to Karen's portrayal as wide-eyed Midwest innocent trying to navigate the bitch waters of Broadway.  What if Karen refused to participate?  What if she told Ivy before she gave an answer to Derek?  Either of those choices would have spruced up her character, given her a backbone, and even a potential alliance with Ivy - things which are all sorely needed for Ms. Cartwright.  I just miss the days (okay, day) when she sang "Redneck Woman" with sass and panache in a karaoke bar!  Where is Karen's gumption?  Give this girl a little pluck!  She was great poking fun of Derek getting schooled by the dude from One Republic.  (That was the dude from One Republic, right?)  More of that, please.

It doesn't help matters that Karen is dating the only person in this ensemble getting a non-show-biz storyline.  Why on earth is Dev getting a plot arc?  I don't mind the character at all, but I find it impossible to pay attention to his political career on a show about Broadway.  Smash pointedly introduces the idea that Karen and Dev's "people" are similar in their immorality, but it's only referenced in dialogue.  If that's your link, then that needs to be front-and-center in the episode: right at the start, give Karen and Dev a mini-conflict where they both think the other has it easier in terms of how to deal with their co-workers.  That could be the lynchpin of the whole episode, eliminating this Karen-Dev-RJ nonsense conflict, and landing squarely on the idea that there are bitches on Broadway and in Congress.  Or wherever the hell Dev works.  (See?  I really don't pay attention.)

Another thing I wish Smash had done differently, now that I've gotten a better picture of where it's going, is their handling of Ellis.  Ellis was the crucial center of this whole episode, because he's the one who had all the information - and leaked it.  Not only that, but he's maneuvered himself right into Eileen's office like a little weasel.  I didn't hate Ellis as much in this episode, I think because I finally understood what his goal was: to be a producer.  He betrayed Tom, stuck his nose in a whole bunch of business that wasn't his, and then stepped out of the shadows into the fracas to give his expert opinion.  (Okay, I gagged a bit at that last one.)  But giving Ellis an objective made his character so much easier to get behind - although the comeuppance by Katie, and Julia's priceless face of disgust helped as well.  So I wish that we had seen Ellis systematically attempt to get into every other character's good graces, over a number of episodes, so that he could gain information to help him move ahead in the producing world - that should have been clear from the beginning.  The pay-off in "The Coup" would have been much stronger, because Ellis-as-villain does not work as a goon lurking outside closed doors and earnestly smiling through little white lies.  Ellis-as-villain is much better if we see that he has a plan and is not just a pest.

Finally, we need to talk about the coup itself.  Because rather than writing off Derek's new ideas as silly talk and backstabbing betrayal, I tried to see his point and look at the performance he was offering.  But when you combine that with his conversation with Tom, I still remain firmly in Camp Tom and Julia, creatively speaking.  "Touch Me" was a Marilyn imagined as Derek described her: a sexual icon, a darker and more dangerous figure writhing around in a white bedsheet, caged by faceless men who confine her to her bed.  Derek's explanation to Karen made it even more literal: there was purity, but underneath it, there was sex.  Frankly, if Derek is trying to sell this is a more deeply-imagined Marilyn, he's missing the point.  It's Marilyn imagined rather one-dimensionally, denying her point of view and representing her more by her appeal to men - the virgin/whore construct in a sexualized setting. 

It's doubly-troubling considering the inclusion of Derek's homophobic diatribes against Tom and his "gay male fantasy" version of Marilyn, which isn't edgy enough for Derek's taste.  He even specifically said Tom doesn't "have the balls" to make Marilyn how she needs to be.  Ouch.  How's that for some misogyny and homophobia, all wrapped up?  I'm all for updating Marilyn, or creating a unique style for the show, but Derek's version, combined with his voiced direction and invective, is actually startingly distateful.  Honestly, the most interesting part of this exploration was the reveal about Tom and Derek's past, with the added insinuation about Derek's internalized homophobia on account of his father supposedly sleeping with a Broadway critic.  But Derek and Tom used to be friends, until Derek threw Tom under the bus to the press, and rubbed Tom's face in a bad review.  Phew!  This is a loaded relationship, and I'm curious to see how these two will continue to interact now that this is in the air and they're not quitting the show.

In all, the coup was kind of a messy plotline that erased its steps by episode's end, but the character revelations with Eileen, Tom and Derek, and Ellis helped pad out an arc that could have been incredibly pointless, and made it a touch more interesting.  I'm curious to see what will happen next week, with both Julia and Ivy falling down on their luck as the former faces the possibility of her affair destroying her marriage, and the latter returning to an ensemble and, well, falling down.  Oof.  Let's get these ladies in the win column, please!  I'm less curious about Dev, admittedly.  But what to do with a non-theatre character on a theatre show?

And before I sign off, I have one last observation: has anyone else noticed that the Smash writers like to close all couples' conversation scenes with implied sex?  It's like they can't figure out a way to exit the scene, and so they just have their two characters start to make out.  Hell, half of Dev and Karen's scenes play this way, and last night it happened as well with Derek and Ivy, and Ellis and his girlfriend.  It's a fairly innocent offense, but it still cracks me up.  Surely there's a better way to close out the dialogue - juast ast there's probably a better way to close out this recap right now.

The Report Card:
Dialogue: B

Plot: B
Character: A

Musical Numbers: A

Episode MVP: Katie Rand

The Retro RBI Report: "Preggers"

Here's the truth: in reality, "Preggers" is what's kept me from continuing the Retro RBI Report.  Because in my head, I love "Preggers."  "Preggers," as I have enshrined it in my memory, represents the best Glee has ever been, with character moments that take precedence over plot device or song choice, and enough humor and heart to charm even the grumpiest viewer into loving this underdog of a show.  

Of course, "Preggers" is only one in a handful of episodes that stir such rhapsodizing in the hearts of Glee's more embittered fans, and as I am one of them, and would like to keep the memory of simpler and happier times intact, I did not relish watching "Preggers" again with a critical eye.  What if the cynicism of my latter Glee days tarnished what I had previously thought one of the show's best?  So I did the mature and rational thing: I avoided rewatching it completely.  

But the day has come for me to yank my ostrich head out of the sand and really see if "Preggers" stands the test of time, or if it only looks good now by comparison.  

"Preggers," written and directed by Brad Falchuk.

You can stop holding your breath: "Preggers" still holds water.  (Ew.)  But I will say that after watching it, I did take it off the pedestal - or at least demoted it to a less lofty one.  It's not that "Preggers" is at all bad, but I definitely noticed that some complaints I've made with the show these days could actually be made about "Preggers" as well - especially knowing how the chips have fallen in episodes since.

What "Preggers" does considerably well with is the intersection of its storylines - and how they're delineated.  There are five main thoroughfares charting through the episode, and they're balanced nicely between character-based motivation and character-based consequence.  Almost all of them are continuations of previously-established storylines and relationships, or introduced as the beginning of a longer arc - only one rises and falls within the course of the episode.

As a result, I was astonished by the tempered pacing in "Preggers."  These days when I watch an episode of Glee, it feels a little bit like a roller coaster that might run off its tracks - complete with the exhilarating sense of bewilderment and nausea and general overstimulation.  But "Preggers" charts steadily and surely, and gave its characters moments to breathe, and express themselves, and moments for the audience to really understand them.  And you'd be shocked these days to discover a Glee episode with only one musical number - "Preggers" offers only "Taking Chances," and it's swift, understated, and over before you know it.  This is an episode that puts effort into not only delineating its characters but also purposefully crossing their paths, and for that, it easily remains one of the best that Glee's ever done. 

The one storyline that rises and falls within "Preggers" is best representative of the episode as a whole, despite the title: Kurt Hummel joins the football team.  It came in a roundabout way, thanks to a pre-daffy Brittany whose lucidity, I'm annoyed to say, felt jarring.  (This should not be, current writers!)  But how else to explain a basement homage to Beyoncé, complete with sequins and unitards, than to say that you're practicing for football?  (Okay, sure, it's a stretch for Burt to believe that, but who cares?  This is really not a problem, considering the results of this storyline.)  So, knowing that Burt wants to attend a game, Kurt has to actually try out for the football team and earn his place as kicker.

There are many wonderful things about this storyline, and dammit, I'm going to try and talk my way through all of them.  First, it allows us to know Kurt beyond his original stereotype.  Previously, we only knew Kurt as a sassy, slightly haughty gay teen who was brave enough to come out to his best friend.  While dancing in his basement to Sasha Fierce doesn't necessarily break that mold right away, it still is an important - and fantastic - moment to start this episode with, in terms of Kurt.  It's like an instant shot of affection for this character, who recreates music videos in his fashionable basement and has more style and charisma in his sparkly-gloved little finger than the entire population of Lima, Ohio combined.  Already: how can you not root for this kid?  

Kurt joining the football team amidst some of his biggest high school enemies was the perfect situation to set up for his character.  I feel like it could have been an easy route to make Kurt completely intimidated in that scenario.  He joins the team, has no idea how to play the sport, and has to sit and listen to all the football players bitch and moan with no effort to hide their homophobia.  But instead, Kurt is rotated around to show that he's just what the football team needs.  The only moments he seems at all unsettled by his predicament is when he has to kick a field goal to win the game - a situation where anyone would go wide-eyed and want to pee first.  And not only is he an excellent kicker, he is an excellent kicker because he dances his way up to the football.  The storyline is constructed to show that even the most "masculine" of sports could benefit from a little showmanship and dazzle.

So this brings me to Point No. 2: this sentiment is echoed on a larger scale with the football players learning the "Single Ladies" dance.  Yes, it's completely idiotic to think that a high school football team could perform an entire choreographed dance before the snap.  But it's the idea behind it: that a barrier between football and glee could be broken down by finding a way to mix the two.  Kurt was hoisted up onto jocks' shoulders by the end of this, for goodness sake!  It's a powerful construct that Glee excelled at in its earliest incarnations, and has struggled to reiterate it in any way other than dialogue and half-baked in-episode storylines served precisely for the purpose to remind us of that very fact.  This is a show about unlikely people learning to accept one another through working together - through music.  And never has this been as powerful as it is in "Preggers."

The third point of excellence in Kurt's football storyline was a strong intersection of character motivations - with Finn.  The idea that Finn willingly brought Kurt with him to his football friends says a lot for his character, and since this is still early in his arc, we're completely on board with the idea that he has reservations about what this does to his cool factor.  But this little blight is seen through with Finn's suggestion that the football team needs to learn how to loosen up - and be a bit more like glee.  And the sentiment is almost gone altogether when Finn chooses to pull out their secret weapon with one second to go, saying: "We're already jokes.  I don't want to be a Lima Loser."  Ultimately, Finn chooses Kurt, and that choice is strong. 

As such, I will admit that I would have loved for Finn to interact more with Kurt after the initial tryouts and before that choice, if only because it would have been better developed, perhaps.  But, I can see why they didn't pen it so that Finn asked Kurt for help instead of Mr. Schue.  It makes sense that the team would be more receptive to not only a teacher's insistence, but a straight dude's at that, and it goes against what this episode was trying to delineate about Kurt's original status with the sports guys if they all just willingly took dance lessons from him without any teacher forcing them.  So, it seems to me that it would have been something to look forward to with Kurt and Finn - Finn standing by Kurt's opinions without any fear of social repercussions.  (Arguments abound as to whether or not this moment ever happened in an earned, authentic way.  "Theatricality" more or less achieves it, but with a lot of mess along the way which might nullify the good intent, frankly.)

The last - and best, perhaps - glorious takeaway from Kurt's storyline in "Preggers" is the true reveal about Kurt's true relationship with his father - which seemed to surprise Kurt just as much as it did us.  This is a fantastic example of Glee's early mastery of a bait-and-switch approach to stereotypes.  See, we think we know Kurt and Burt.  Kurt's a boy who has a strict skincare regimen each night and refers to a sports tryout as an audition.  Burt is a man who wears baseball caps and watches The Deadliest Catch.  So when Kurt tells Burt he's gay, we think we know where this is going.  We've ticked off enough stereotypes along the way to trick us into believing that the consequence will be another stereotype.

But it isn't.  And it's beautiful.  There need to be more television shows in the world where a gay son comes out to his dad expecting to be met with confusion, denial, or disapproval - only to hear the words, "I know," and "I love you just as much."  I get goosebumps just thinking about it.  Not only is this is the push-off of one of the best - if not the best - relationship that Glee has ever created, it's also a remarkable and revolutionary moment on the timeline of gay visibility on mainstream television.  This single scene creates a place for Glee in television history because of that distinction.  Beyond that, it's a perfect embodiment of what "Preggers," as an episode, and Glee, on the whole represents: seemingly different people accepting and supporting one another despite expectation. 

Of course, you can't proffer an episode about accepting the underdog without showing the kids who are on top of the social ladder.  "Preggers" is the first episode in the show to really bring the "Cool Kids" into the mix, with focused attention on Puck, Quinn, and Finn, as well as the new football additions to the glee club by hour's end.  And it's another smart choice to show that while the Cool Kids may be more traditionally accepted by high school's social rules, they do not necessarily have it better - Quinn's pregnancy drastically affects her, Finn, and Puck.  And not only that, but "Preggers" goes out of its way to tell the audience that Puck and Finn and Quinn want something that's not terribly dissimilar from what characters like Kurt and Rachel want.  Quinn, when realizing that she's pregnant, cries, "I really thought I had a shot of getting out of here."  Finn laments that high school dads have no future, and he wants to get a scholarship to college.  And Puck's decision to support The Dancing Plan connects the idea that he doesn't want to be a Lima Loser like Quinn said he was.

The idea that McKinley's cool kids aren't trouble-free is the best approach to dealing with these characters, and furthers the idea that they have something in common with even the most socially-outcast Gleek.  The entire foundation of the glee club rests on this theory, and it only makes sense that the Original Twelve have officially come together by the time the credits roll.  

Of course, there's some messy, plot-based implications that the writers embedded in the Cool Kids' problems, which all stem from Quinn and Puck secretly having sex.  Quinn is pregnant with her boyfriend's best friend's baby, and chooses to lie about the paternity to save face and stick with the "better" guy.  This of course runs parallel to the lie that Terri, Will's wife, is perpetuating - that she's pregnant, when in fact, she is not.  Of course, it's set up that Terri needs a baby, and Quinn is going to have one she doesn't want, so you do the math.  Throw in the added complications with Will, and Puck, and Finn, and you've got yourself a sudsy multi-episode arc that will not be lacking in conflict.  

There are two other multi-episode arcs that round out what "Preggers" presented to its viewers, that are very smartly interconnected.  Let's deal with the simpler one first, shall we?  Sue Sylvester's on top of the world!  She has a featured spot on the nightly news called Sue's Corner, wherein she shares her ultra-conservative views with Western Ohio, and is still sitting on her championship status as Cheerio captain.  But in sending her top Cheerios to the glee club to spy on them, it's raising questions that she'll be able to coach her cheerleaders to victory when Quinn, Santana, and Brittany are splitting time.  Obligatory stakes: if she loses the National Championship, her TV spot will be pulled.  So, she has to ensure she wins Nationals, and somehow this means taking down the glee club at the same time.  

Okay, so the logic is a little shaky here.  There is indeed some part of me that wishes Sue's S1 arc had to do with the pursuit to win Nationals and not tear down the glee club, but perhaps that's wishful thinking.  Regardless, it still would have been a nice venture for S2, when Sue-as-villian storylines began to grow irksome and tired.  Plus, as "Preggers" endeavors into the world of football, it would only be fair that cheerleading get its due as an extracurricular at McKinley.  But alas, hindsight proves that three-dimensionality and Sue Sylvester are not things the writers like to mix often. 

So, to destroy the glee club, Sue Sylvester decides to take it out from within - and lure Rachel Berry away from the New Directions.  I feel like in later episodes, this would involve Sue taking matters into her own hands or confronting Rachel directly, but "Preggers" finds her going through a middleman, Sandy Ryerson, who has an axe to grind due to his firing from what is now Will's position.  (He also has perhaps the episode's best line: "I'm living in a cocoon of horror!")  Sue offers Sandy a position as Arts Administrator at McKinley (with some convenient blackmailing of Figgins to get around the whole reason Sandy was fired in the first place) and convinces him to put on Cabaret so that Rachel Berry will have no choice but to audition and defect from ND.

This plot connects to the last storyline of the night: Will gives Tina a solo instead of Rachel, and Rachel threatens to quit the club.  Of course, Sue's plan capitalizes on this soured relationship, and I wish there had been some indication that Sue was aware of it - maybe a scene where she witnesses Rachel's discontent or Will's determination or Tina's hesitation, or hears about it from Quinn or Santana or Brittany.  In fact, the whole storyline could be described this way: it was well-done and in-character for all parties involved, but I still wish there had been more.

I wager that Rachel Berry haterz are quick to point out that Rachel is completely ungracious about losing a solo in this episode.  But here's the thing.  I don't care.  I've never cared.  To me, the point of view "Preggers" gives Rachel is completely understandable.  Never once does she hate on Tina or demean her abilities.  She simply says that she knows she's the best, and doesn't like being held back so that Will can provide teaching moments.  And she knows it: Rachel's conversation with Will after ballet is a fantastic demonstration of her early characterization.  She is completely aware that she's "bossy" and "abrasive," but she still deserves to be a star.  She has to believe that, because she's still getting bullied from her peers.  Never once did I not think Rachel Berry had a completely valid point to explain her behavior.

I will say, though, that I wanted more from Tina in this episode.  I appreciate Will's dedication to spreading the wealth with solos (something which is laughable now, as long as you can do so through your tears) and I appreciate that the episode never stakes out a purposeful Rachel vs. Tina conflict.  At the same time, I wish Tina's character motivations were more present.  She's still Shy Girl Tina here, and she willingly backs down when met with force.  Why is that?  It would have been nice to get a glimpse into Tina's POV, and maybe even have a direct conversation between her and Rachel where they could relate to one another as two girl Gleeks in the school.  

This leads me to my final point, which of course has to do with the treatment by Glee of its lady characters.  We all know it's grown to be nauseatingly bad, and now I can't look at any episode without paying attention to the females in the narrative.  And truthfully, "Preggers" does not get off scot-free under this lens.  It was perhaps innocuous at the time, but rewatching the episode leaves a bitter taste in my mouth realizing that "Preggers" planted seeds for Glee's self-righteous hero boys and the ambitious girls with their devious plans.  In this episode, there's Terri and Quinn telling lies to their unwitting significant others, Rachel cutting off her nose to spite her face, and Sue plotting to destroy the glee club.  On the flip side, Finn stands up for football and glee and chooses to support Quinn through her pregnancy, Will helps foster the football crossover and supports Finn, Burt supports Kurt, and Kurt gives the football team their first win.  (You could argue, though, that Kurt wasn't able to achieve the win without the support of Finn and Will, as straight guys with straight guy cred, who got him on the team and backed his dancing technique.  It's iffy territory, although I think it works based on the parameters the show has created concerning Kurt's lack of power in the social hierarchy.  And ultimately, he is the reason they win.)

When it's lined up superficially like that, it doesn't look good, and it definitely points to portrayals that do become a real issue later on.  However, "Preggers" saves itself from completely and utterly shutting down their female characters by providing them with a point of view and not denying them their agency in the storylines.  Rachel's opinions are explained and perfectly valid, especially from an emotional standpoint that's congruent to her character.  She chooses to leave New Directions, for reasons we understand.  Quinn is understandably terrified of a teenage pregnancy borne of one single mistake, made when she was drunk on wine coolers because she felt fat that day.  She chooses to lie, for reasons we understand.  Terri is terrified that Will has one foot out of the door of their marriage, and can't bear to tell him they're not actually having a baby.  She chooses to lie, for reasons we understand.  No one is yelled at, or scolded - yet.  Unfortunately, these ill-advised choices are going to collapse under the consequences eventually, and each of these women will have their noses rubbed in their mistakes by a parade of male characters.  So even though they're well-supported within the walls of "Preggers," and Sue Sylvester delivers the best advice about tuning out haters that the show's ever given, and the curtain falls on a single shot of Quinn Fabray, worried and alone by her locker... it's hard not to be frustrated by the conceptual existence of these issues and the knowledge that the shoe is one day going to drop for these flawed and fascinating ladies.

Even despite these early-incarnation lady issues, "Preggers" remains one of the best episodes Glee has ever put forth, with authentic character moments that both propel the plot and are affected by it.  It puts a spotlight on both the underdogs and the cool kids struggling with their own problems, and finds a way to naturally communicate that the difference between them is not something that can't be overcome.  In turns funny and heartwarming, it's still engaging even without glitzy musical numbers or Top 40 solos, and a guidepost for what all Glee episodes should strive to achieve.  Ultimately, it may not warrant its status on my memory pedestal, but it encapsulates this show as a whole - and why we love it.  So even with critique, "Preggers" will always embody that original magic.

The RBI Report Card...
Musical Numbers: A

Dance Numbers: A+

Dialogue: A

Plot: A-

Characterization: A

Episode MVP: Who else but Kurt Hummel?

TV Report Card: Smash 1x07 - "The Workshop"

Finally, "The Workshop!"  Or, I guess I should say: finally, the workshop!  The time has come to see the first run-through of Marilyn the Musical, for family and friends and - more importantly - potential investors and financial backers.  Talk about pressure!  Of course, the workshop couldn't go off without a hitch, and naturally, there were personal problems abound - with the pesky addition of a heating problem to make everything super uncomfortable.  

The main event in "The Workshop" was Bernadette Peters - er, Ivy's Tony-Award-Winning mother - showing up and overshadowing everyone in sight, Ivy included.  Turns out part of Ivy's insecurity comes with the fact that she feels she'll never live up to her mother, who is not only extremely successful in the same field but also incredibly overbearing and slow to compliment.  She tells Ivy she won her Tony without the help of medication, which only spurred Ivy to down a sleeping pill to chase her Prednizone.  Combining that with the blow-out argument in which Ivy compared their relationship to that of Marilyn's with her mother, and we're clearing carving out an "Ivy-becomes-Marilyn" construct here.  Which, I will say, is not necessarily bad, it's just... not terribly interesting?  To me, personally.  There's worse things that the writing could be doing with Ivy at the moment, and honestly my reigning sentiment towards this character is sheer pity.  I'm still invested enough in Ivy as a character to go along with a "Marilynization" and see where it takes us.

It was good to see the support that Ivy does have in "The Workshop," because I can't believe how unencouraged she is sometimes as the shoulders this show is resting on.  You'd think the minds behind Marilyn would want to invest a little more in their lead, considering she's, well, their lead, and it's here where I can't blame Ivy for being paranoid as all get out about Karen Cartwright, even if it defies logic.  Derek was an unequivocal [insert your favorite synonym for jerk] again this episode, and I'm starting to wonder if Smash is simply intent on portraying him as an insensitive [another synonym] when it comes to the way he relates to creative colleagues.  Only Eileen seems to earn any respect from Director Grumpy-Scruff, and therefore those are the only interactions where Derek is the most wholly likeable.  Even when he gives Ivy any kind of encouragement, it's usually as an afterthought to his original message, which is usually some form of "you're not at your best" or "you can do better."  (Note to writers: this could all be fixed if we got a glimpse into Derek's POV, or at least with an introduction of some stakes to remind us why Derek is so hellbent on perfection.)

But luckily, Ivy had a good emotional moment with her mother by episode's end, where Ms. Peters - er, Conroy - reiterated that she believes her daughter is a star, and that her day will come.  There's also Tom, whose relationship with Ivy has quickly skyrocketed to favorite status.  Tom not only encouraged Ivy as a boss, but also as a friend - and was quick to defend her against Derek and his questionable directing techniques.  Go, Tom!  I'm still not sure what's really going on with his lukewarm-but-cute relationship with John, but I'm rooting for them.  Although I would root for a relationship with Sam too, if that Big Hint dropped last night is anything to go by.  But don't Michael-and-Julia us, Smash!  If you're gonna put Tom with Sam, then please, break him up with John first.  Especially when John is sweet enough to applaud Tom loudly in absolute silence.  He's a darling, supportive, and proud boyfriend, so either make it work or be nice about its end.  Please and thank you!

Of course, if Michael and Julia are indeed the paradigm for relationships on this show, then I would like to invoke a vow of platonic interactions over EVERYONE.  Because goodness, Michael and Julia are being written with maximum awful.  Smash tries to show us that they're happy, with those first glimpses and smiles and tangled fingers, but when Julia literally looks two seconds from emotional breakdown every time she's confronted with reality, it's hard to believe that this situation could ever be good.  Especially when her teenaged, pot-smoking (I KNEW IT) son knows about the affair and treats her like dirt because of it.  No amount of "hot" making out in empty rehearsal spaces (nice try with the extra-sexy leg lift, but I'm not buying) can change that.  Especially when (ooh, another one!) Michael and Julia are so not on the same page about this.

It was clever, though, to substitute Julia and Michael into Marilyn and Joe's story and let them air their grievances under the guise of running dialogue.  That was a nice touch.  This show is strongest when it's exploring the intersection between these people's real lives and their professional lives, but I realized that Smash only utilizes one aspect of this.  They've really only drawn comparisons from the characters to the text itself - showing Ivy spiral similarly to Marilyn, putting Michael and Julia in Joe and Marilyn's shoes.  This works, but truthfully, I'd like to see the characters interact with the process of creating the text just as much as with the text itself.  Of course, I'm basically a broken record with this request now, so I'm not sure it'll happen.  But I still wish we could've seen Tom and Julia pen more of the songs and the lyrics, and more of Derek sorting through his ideas for direction, and maybe even more of Ivy's process in mastering the lead.  We've had so many episodes where Julia's writing capability is paralyzed by the events of her personal life, and we didn't see her work through that at all.  This oversight only lends itself to the idea that Julia started out a capable, self-confident woman framed equally in her personal life and her working life, and has now become a woman fraught with personal mistakes, harangued by her lover and shamed by her son, with no exploration of her professional responsibilities and how she manages them.  It's tanked Julia in terms of her representation of a female character on this show.  I had hope that with Julia's seeming awareness of Ivy's discomfort and embarrassment over her mother performing that we would get the Julia/Ivy dynamic I've been wanting, but alas, Julia is stuck in Distraught Lover/Mother/Wife mode.

Anyways, this hopefully will all go away with Michael Swift getting the boot by episode's end.  I can't say I'm sad to see Michael and Julia's "relationship" splinter apart, but I can say I don't think the firing is entirely fair to Michael as a performer.  This show has no issue mixing up the character's professional and personal lives, but doesn't do anything to delineate the idea that any of them knows the line between them.  Firing Michael over a personal transgression is really rough, and I can't help but think that the production will suffer from it.  I would much rather see Julia pull herself up by her bootstraps and put Michael in his place, emotionally - not professionally.  But, I tend to like "stiff upper lip" characters a little more anyways, so perhaps it's just my personal preference.  I do think it would be more rewarding to see the problem through, though, and let Julia work it out competently and with credence given to her objectives and emotional agency.  Where's Eileen to stomp a little professionalism into this troupe?

Speaking of Eileen, I must thank her for giving me my first positive emotions towards Ellis since the show began.  I swear I wanted him to spontaneously burst into flames upon seeing him eavesdrop on Michael and Julia's totally inappropriate at-work makeout - and once again when he ran to his new friend-in-high-places Eileen and dropped the bomb a little too eagerly.  But Eileen shut him down, and I could have leapt through the television to kiss Anjelica Huston's face.  I loved that someone finally (and effectively!) put Ellis in his place, and suddenly I'm totally okay with Eileen and Ellis hanging out all the time.  They have a strange mentor/mentee relationship that I can get on board with, if it means that Eileen has someone to talk to and Ellis has someone to explain to him how not to be a little weasel.  I still don't love Ellis completely, but hey - I'll take this dynamic, for sure.

I also confess to going a little Regina George in this episode, right about the time when Karen imagined herself in Ivy's place during the workshop - in fantasy sequence, no less!  Yes, I admit to yelling out loud at the television, "Stop trying to make Karen happen; it's never going to happen!"  And then I felt a little bad, because channeling Regina George is not necessarily something to be proud of.  I don't even dislike Karen!  I want her to have another opportunity, like a recording contract with Raskin or Reskin or Ruskin, or whatever his name is!  I'm just frustrated that this show in insistent on finding paper-thin excuses to keep Karen as a member of Marilyn in some way for the purposes of what's supposed to be drama, but really is, in fact, boring.  Ivy has no real reason to hate Karen, and Karen has no real reason to keep loyalty to a Marilyn workshop over a potential opportunity for personal success.  Why is Smash trying to make me think otherwise?  It's just forcibly prolonging the Ivy vs. Karen debate, which is silly and sexist and tiresome.

I will say that the highlight of "The Workshop" was, well, the workshop, in all its glory.  I still don't understand why the writers can't figure out that half the fun of this show is seeing the process of putting on a Broadway show, from all angles.  So again, I plead: why can't we see more of this?  All of the comparisons between Ivy and Marilyn and Joe and Michael are great and all, but I still have more vested interest in the combined product of these people's hard work and creativity than I do in poorly-written crappy relationships.  (Sorry, Derek-and-Ivy and Michael-and-Julia.)  Plus, with damn catchy songs and great performance value from Megan Hilty & Co., it's hard not to want to focus on that talent and what can be narratively constructed around it.

In all, though, "The Workshop" was one of Smash's stronger fares, with several well-done (if average) storylines threading through.  And I must say that the promo for next week piqued my interest more than this show has done in awhile.  Factions?  Sneaking around and professional betrayal?  Derek and Karen vs. Ivy and Tom and Julia?  Bring it, please.  I almost think this show is more entertaining when Marilyn is portrayed to be doomed instead of destined for Broadway glory.  Throw in some earned character interactions, with focus each person's professional talents, and Smash would be a stronger show all around.

The Report Card:
Dialogue: B
Plot: B
Character: B

Musical Numbers: A+
Episode MVP: Eileen

TV Report Card: Smash 1x06 - "Chemistry"

I'm not sure why exactly last night's Smash was called "Chemistry," because the only compelling evidence of such a phenomenon that I witnessed was scrawled across the cover of Frank's bedtime reading, and peppered through scenes with Tom and Ivy.  You would think that "Chemistry" would want to deal with couples getting together, bonds being made, maybe even demonstrations of synchronicity and likeability when two people interact.  Alas, "Chemistry" came short.

I'm wagering that the couple who was supposed to bear the title's standard was Michael and Julia, who capped last week's "Let's Be Bad" with a curbside makeout session that could potentially renew their affair.  If you're talking basic sexual chemistry, sure; I guess Michael and Julia fit the bill.  But putting Debra Messing in a men's-style pajama shirt and removing Will Chase of his shirt altogether is cheating.  (No pun intended.)  The reality of the situation is that Michael and Julia are really unlikeable in each other's company, and there's basically only a tiny sliver of opportunity for the audience to want these two to get together in any way.

The fundamental problem is Michael's pushiness.  He spent all episode pursuing Julia, browbeating her to agree to meeting him in private.  He tells her he can't sleep.  He calls her at home.  He needs to see her.  He even threatens to cause a scene if she doesn't comply.  I'm sorry, are we dealing with a grown-up adult, or a two-year-old here?  This automatically makes Michael extremely unlikeable, especially when we see how distressed Julia is in her home life.  She's having difficulty finishing the lyrics to Marilyn; she's distracted and upset.  We are far more likely to understand what's going on with Julia, emotionally, because we're witness to it - and not only that, but this little bud of an affair seems to be destroying her already.  She tells Michael no, time and again, and we understand that to be in keeping with her emotions as we've seen them.

But Smash is apparently expecting the audience to tsk tsk at Julia's protests and say, "You don't really mean that."  Michael even approaches it that way.  Instead of respecting her decision and her privacy, he hounds her until he's got his fingers on her shirt buttons in the middle of an empty rehearsal room.  As self-appointed referee on this storyline, I'm throwing a flag.  Because the result of this construct is a Michael who doesn't respect Julia's wishes, a Julia can't stick to her decisions because a man is undressing her, and a relationship that is textually terrible for both of them.  There is absolutely no reason given to make the audience want to root for these two to be together, and yet the storytelling seems to be nudging its viewers with a wink as if to say, "How hot is this?"  

The fact of the matter is that it's not.  It's actually a serious detriment to both characters - especially Julia, who is an established main on this show and seemed to be built of different stuff but never had a chance to show it.  Boo.  And I can't decide if it's better or worse that Smash tried to cover their "Nice Guy" and "Look, She Totally Wanted It All Along" bases by having Michael ask Julia twice if she wanted him to stop.  Yeah, you know when that question would have been nice?  The entire episode during which you were stalking her.  Not when you've got her shirt off and backed onto the couch.  Not cool, Smash.

Of course, the other eyeroll-inducing part of this is that Leo, Julia's son, knows that his mom's fooling around.  It would have been so much better to give Leo some semblance of  POV this episode, because honestly I forgot that he knew.  I just thought he was bitching his mom out over burnt pancakes, which frankly didn't seem that inconsistent with what we've been shown with the two-dimensionally bratty teen.  It wasn't clear that Leo was pissed about his mom's actions at the end of "Let's Be Bad," and it should've been.  If you're going to have Leo witness his mom kissing a man other than his dad, then Leo deserves a stake in the story.

Another couple that didn't have any chemistry in "Chemistry" was Derek and Ivy.  I'm not entirely sure what they're going for with Derek and Ivy these days.  Derek has been reduced to a paper-thin representation of a moody but "brilliant" (I assume?) director, simply so that Ivy gets caught in the emotional cross-hairs of having your boyfriend yell at you in a professional environment.  This alone isn't terrible, but Smash kind of hid the best part of it - the idea that Derek cares first for Ivy's voice and second for her wellbeing, which upsets her.  We only got a hint at this when it was time to pay that emotion off, and suddenly I realized, a bit bewilderedly, that that was the point of showing Ivy's interactions with Sam and Tom.  Ah!  If only that had been more clearly set up - the payoff would have been much stronger, because the idea itself is compelling for Derek and Ivy and their relationship.

And frankly, how great was it to see Ivy dig her heels in and call Derek out on his bullshit at episode's end?  I loved that Smash didn't try to play it as a "Diva Moment," and instead let it be Ivy standing up for herself and the way she wanted to be treated.  What I didn't love is that this moment was somehow blamed on Ivy being hopped up on steroids.  Honestly, everyone on Smash needs to be this expressive, just to jolt a little life into their characters.  (I felt the same way about Tom walking out on rehearsal in protest of Derek yelling at Julia over Marilyn's incomplete status.  Yay, Tom!  Characters who take a stand are inherently more likeable.)

Ivy-on-meds was a strange but intriguing concept to introduce, especially when she hallucinated Karen-as-Marilyn as the voice of her self-doubts.  Deeply insecure Ivy is something worth exploring, I think, and if Smash is going to go all Black Swan on our asses, I'm okay with that.  But will this continue?  I'm unsure they can prolong Ivy's vocal issues long enough to unravel her - but perhaps they'll find another way.  They're certainly hammering in the fact that Karen unsettles Ivy, which frankly seems unwarranted.  I can't really believe that Ivy would find Karen to be a threat.  This is a girl who's getting Ivy's hand-me-down Bar Mitzvah job, twice removed.  She's Ivy's cast-off's cast-off.  The rivalry feels forced.  I would root for Karen so much more if Ivy didn't have any clue that Karen could be competition for her, in whatever way this show is trying to construct that.

Instead, we just watch Karen sing at a Bar Mitzvah for the episode, as she simultaneously gets yanked around by the producers who may or may not need her to perform at Marilyn's first workshop for investors.  Not a whole lot going on here, except for the business card Karen earned by the end of the hour.  Hopefully this little victory will pay out in success for Karen - something for Karen to do on this show - as opposed to bitchiness from Ivy as Karen lays in wait, although I'm not holding my breath.

In addition to Karen's sojourn to Long Island, there were two pocket-sized storylines in "Chemistry" that didn't amount to much.  The first belonged to Tom and John's budding but awkward romance.  Tom meets all of John's friends, despite his hesitation about moving too fast, and discovers that John only just came out to his mom a year ago.  When he confronts him about it, John replies that he's come out to his mom four different times since he was eight - his mom just has memory problems.  I don't understand this.  Is John being serious?  Or are we supposed to believe that his mom has been in denial of her song being gay, and he just has to keep telling her?  Adding that to the pre-established notion that John's mother set him up with Tom via Tom's mother... I don't really understand what's going on here, but I'm willing to watch and see.  Truly, though, the best product of Tom and John's storyline was seeing Tom tell Julia and Ivy about his new boyfriend.  Julia reacts neutrally and with support, but Ivy reads right into Tom's reservations, and they snark about his minimalist decor.  Giggle!  More of this, Smash, please.  

The second miniature storyline in "Chemistry" went to Eileen, who gadded about town with Ellis and Ellis' Unnamed Real Estate Friend.  This made absolutely no sense to me, because I didn't really see what the trajectory of the storyline was supposed to be until the very end.  It had a great payoff with very little setup - not unlike Ivy's conflict with Derek over his treatment of her.  Eileen's Big Moment came when she got Ralph, the Broadway Investor, to commit to seeing the Marilyn workshop - and she picked up her video game gun and uttered the words, "Watch out, it's my turn."  How great is that?  For a character who's been so frustratingly under the thumb of her ex-husband, it's fantastic to see her triumph over that and taste a little exhilarating success.  But that setup was not in the episode at all.  We met Ralph, never got a clear view of his inclinations, and then hung out at Bushwhack and in empty penthouses until Eileen apparently made the deal - offscreen.  Why couldn't we witness Eileen working through that obstacle so that her kickass moment with the toy gun could feel earned?  It's frustrating.  Even if we're meant to understand that Eileen is now at peace with having less money and getting out of the lap of luxury, it's simply stronger to show her competence as a Broadway producer independent of her businessman husband.

The thing that plagued "Chemistry" the most was the fact that scenes rose and fell without any clear indication of their real purpose.  Do we need to see Karen pick out her Bar Mitzvah outfit with Dev?  What is the point of having Julia and Tom talk about their love lives but not reach any conclusion as to what they're feeling?  Do we need to witness Eileen discover the joys of a video game if we're not sure why it's happening?  There were so many instances in "Chemistry" that felt untethered from character intention and story direction that it was difficult to be involved, as an audience member.  These scenes need to be tighter, with a clear purpose that progresses the story.  That's what was wrong with the Michael/Julia storyline.  They wanted to end the episode with them having sex, but refused to plot anything interesting leading to that - so we just got repeated scenes where Michael pursued Julia and she said no.  Carousel storytelling is not good.  There was no new information given in a huge number of last night's scenes, and that's a problem.  Every scene should be moving the story forward - or else you're just stuck in neutral.  Neutral plot, neutral feelings about the characters, neutral investment about what's going to happen next.

There's still potential.  Julia had writer's block all episode, and could have worked through that in conjunction with her romance issues.  Eileen had the possibility to triumph in business through convincing Ralph to attend the workshop.  We skipped over Leo's POV, Derek's POV, even the interesting part of Ivy's POV - until the very end.  There's so much possibility in dealing with these characters and their emotions, especially as the plotted actions get soapier and more complicated - and Smash just isn't hitting the right notes.

The Report Card:
Dialogue: B
Plot: D
Character: C
Musical Numbers: A
Episode MVP: Ivy

TV Report Card: Smash 1x05 - "Let's Be Bad"

I'm guessing that based on the events of this episode, the title "Let's Be Bad" is supposed to be in reference to Karen getting in touch with her feminine wiles, Leo getting kind-of-arrested for kind-of-smoking-pot, and Julia and Michael resuming their illicit affair.  Now, there's an easy joke here about "Let's Be Bad" taking its own advice, but I'm not gonna make it.  The episode wasn't awful; it was on par with what Smash has been giving us: poorly developed conflict, with a few interesting character moments and strong musical numbers.

Let's check in with Marilyn the Musical's status: Julia and Tom are still writing the script, and it's getting down to the wire, making Eileen nervous.  Turns out Julia's the one holding things up, and it's sort of alluded to that she's getting stuck on Joe DiMaggio's part.  This is kind of a duh, considering that Michael Swift is the real-life DiMaggio stand-in for Julia, and obviously she's conflicted about DiMichael-o's role in her life.  Is this her great love story?  There was a great conversation early on where Michael questions Joe's likeability as Julia is currently writing it, and Julia declares that she wants to make this more than a love story - even though Michael disagrees.  The idea that Julia is having writer's block because of her relationship with Michael is rather compelling, and I wish the writers had brought that concept to the forefront to mine the conflict and create a second layer of tension.  Julia would have pressure from Eileen to finish the story, but she's not sure what story she's writing, or how it will end - just like with Michael.  If handled properly, it could be a sophisticated container to frame Julia's real life with her creative work, which is what they're trying to do anyways.  (And not just with Julia.  But more on that later.)

Instead, we got a poorly realized storyline where Julia's son Leo gets caught with marijuana in Central Park, and she's forced to deal with the fallout.  Cover to cover, it was kind of a snoozer, and the only real consequences we felt for it were in the possibility that Leo's actions could jeopardize the family's ability to adopt.  But we didn't know that until after Leo wound up at the police station.  We should've known before Leo's bad decision what kind of consequence said bad decision could reap, so that we had a stake in the scenario.  Otherwise, we just don't care.  And the overarching idea that Julia missed Leo's brush with the law because she was flirting with Michael Swift, as Tom so deftly pointed out, was not really necessary.  We get that this is a family vs. Michael situation.  It's unnecessary to throw this guilt Julia's way - we already know, as Julia does, that getting into a relationship with Michael is bad because they're both married.  Making Julia look like a neglectful parent already is just salt in the wound, and needless.

I'm not sure entirely how Michael went from zero to pursuant in an episode or so - maybe Julia's propensity for stealing his dessert was charming enough to put him in first gear.  (Though I can't say I blame him.  Debra Messing remains enchanting as ever when acting opposite food.  Miss you, Grace Adler.)  But regardless, I was a bit bewildered by how strongly Michael was coming on this episode, and miffed that he and Julia kissed at the end.  It's not necessarily that I don't want these kids to get back together, but I do want it to be told well.  I didn't think the kiss was earned yet, and beyond that, I am frustrated beyond belief that Leo witnessed it.  As soon as the camera started panning up, I groaned, because it was so predictable in its "drama."  They may as well have had Ellis lurking behind a fire hydrant like a devious troll, watching the situation unfurl as he cackled wickedly into his sweater vest about this new piece of blackmail.  Sigh!

Speaking of cartoons, let's talk about Derek.  Monsieur Directeur was so broodingly pissy this week it was difficult to take him seriously.  See, he was frustrated with Ivy's shortcomings, and lashed out at both her and Karen when he was met with questions instead of blind obedience.  Look, I get that the guy's Mr. Dark Artist about his material, but it was too much for me.  Seeing Ivy become a mess of insecurities because she's not getting positive feedback from her boss-slash-boyfriend is not the strongest incarnation of her character, especially when she just falls back into his arms at the end.  (And fondly looks on while he works on the play during the midnight hours.)  Truthfully, the episode's strongest moment for Ivy came when she nearly fell apart in rehearsals, but, with tears in her eyes, she pulled it together and performed her heart out.  That was a great character moment, and I almost wish we didn't have such a blatant cutaway to fantasy, so we could revel in Ivy's triumph a little more.  But, the "Let's Be Bad" fantasy sequence seemed to serve a different purpose: to almost draw a parallel between Ivy and Marilyn herself.  Based on Ivy's fragile psyche and sex appeal, I wonder if the show will really turn Ivy into Marilyn, for all intents and purposes.  It could be interesting, in a Black Swan kind of way.

But frankly, I think there's something more interesting afoot - or at least, more grounded in reality and character-based drama.  Before, I mentioned that Julia is penning this musical - Joe and Marilyn's relationship in particular - while putting herself in Marilyn's shoes and trying to make heads or tails of the love story.  It's incredibly personal, right?  Julia is overidentifying with Marilyn.  There's this potentially fascinating idea that both Julia and Ivy are projecting themselves onto Marilyn's identity and vice-versa, and it allows for the possibility of these two characters having a rather intriguing dynamic.  It's not really there yet, but it could be, if the writers tried it, and I'd honestly rather see a parallel drawn between Julia and Ivy through the nature of their creative work as opposed to the one between Michael and Ivy through their troublesome relationships.

I will say, I enjoyed that "Let's Be Bad" allowed us to witness Ivy and Karen actually interacting, one-on-one.  We got to see face-to-face competition and animosity, instead of just the random cloud of catfight surrounding these two ladies.  It's much better this way, even if Ivy is still bitchily threatening and Karen just trying to be nice.  Smash seems to be toying with the construct that these ladies can learn something from one another - Karen learns to understand "what she brings to the table," and Ivy has to learn a little humility.  I feel like the show could bring something even deeper to Ivy and Karen's dynamic, and I hope they find it.

As for Karen herself, she got in touch with her sexual side, as Marilyn would, and inadvertently gained some important work information for Dev as a result.  I didn't mind this storyline terribly, considering that it played out simply and in the background, but I'm not sure I get the whole "Karen-isn't-sexy" thing.  Haven't we been over this?  Didn't Karen work on that during her audition process, and didn't she sing "Happy Birthday Mr. President" on Derek's lap, and wasn't that referenced in this very episode, reminding us that Karen is sexy?  I do not get it.  It's also not cool to make Karen the conservative Midwesterner who actually says out loud that she looks down on overtly sexual women.  Party foul for slut shaming, Smash!  I don't understand why this show is going to great lengths to make their creative piece about Marilyn Monroe, showing all sides of the real woman, and then only bring the sexuality aspect to Ivy and Karen's foil relationship.  It's unclear, and could really be more three-dimensional and meaningful for both character's relationship to Marilyn Monroe and her identity.  There's potential there!  But unfortunately, Smash just isn't pinpointing it - yet.

Finally, there was Tom.  Tom was the charming scene-stealer of the hour, as he (with his lawyer date) saved Leo's butt, then merrily turned the teenager's woes into Broadway riffs at the piano.  How great is that?  He's firmly ensconced himself, alongside Julia, as the most likeable character in this ensemble (it of course doesn't hurt that their dynamic with one another is delightful as well).  He's even managed to make a trope-filled work-vs-date storyline intriguing.  Trying to date Lawyer John is difficult, because of Tom's schedule and their career differences, but they try to make it work - and gamely admit to each other that the sex is bad.  These two are charming, even though we hardly know Lawyer John, and I hope their motto becomes "try, try again."  They deserve a chance as a couple on this show!

In all, "Let's Be Bad" was marked with some good character work, but still left a lot of stones unturned in what's really interesting about these characters and their interactions.  The conflict is still only engaging about half the time, and Smash continues to create drama in all the wrong places.   

The Report Card:
Dialogue: B
Plot: C
Character: B
Musical Numbers: A
Episode MVP: Tom

TV Report Card: Parenthood 3x18 - "My Brother's Wedding"

Last night, Parenthood finished off their third season by tying up so many loose ends so swiftly and cleanly you have to wonder if the writers are nervous about their chances of renewal.  I certainly hope they get a fourth season - this is one of the best-scripted television shows on air today.  There are no bells and whistles, no false moments, no sensationalism; just good, authentic, well-constructed characters and drama.

Of course, what's ironic about this assessment is that the third season finisher "My Brother's Wedding" didn't quite demonstrate these usual hallmarks of the show, perhaps because the writers were trying to do too much to wrap up as many storylines as satisfyingly as possible.  While there were still plenty of great moments, it also felt far more rushed than usual, with the rare feeling of being able to feel the hand plotting the action.

Basically, this stemmed largely from the idea that Crosby and Jasmine decided to get married in the closing moments of last week's episode, and this week, the wedding's on.  Too fast, too fast!  I have no problems whatsoever with Crosby and Jasmine marrying one another - in fact, I've really appreciated the steps Parenthood has taken to show these two finding a way to function in each others' lives in an even-footed, diplomatic, and caring way.  Too much of the first two seasons saw Crosby playing the "fun dad" and Jasmine playing the "uptight mom" and the arguments that dynamic created didn't sit well with me - especially because it flattened the characterization of one of the show's few persons of color, and ostracized her from the core cast.

But this season saw Jasmine and Crosby finally finding their rhythm as separated parents, and in doing so, rediscovered their natural chemistry and attraction.  It was rewarding to see Jasmine move out "bitch" territory, and equally as rewarding to see Crosby shift out of "man child" territory as well.  Of course, they both picked up pesky significant others in the process - both of whom had to be done away with swiftly and cleanly in last night's episode.  And boy, was it quick.  Cello Girl and Dr. Joe both got the boot in a cross-cut montage over song, and we only heard enough to catch the apologies and the contrasting reactions.  The idea that Crosby and Jasmine want to marry is not that foreign a concept considering the road towards emotional maturity they've been on all season, but it still felt out of left field - especially when they're dating other people and then rush into a wedding within the week.  

Couldn't we have had more time to prepare?  Especially when one of the most charming scenes of the evening was watching Zeek bark out the delegations for Backyard Wedding on a Whim.  Funnier yet was the adult kids snapping to attention - Julia's "Sir!" cracked me up in particular, perhaps because no part of Julia's life has been laugh-worthy as of late.  But more on that later.  The more pressing issue belongs to Crosby and Adam, who got into a huge fight over the Luncheonette.  This is nothing new.  One of Parenthood's go-to sources of drama is in the clashing attitudes of the family's Responsible Brother and Immature Brother.  This entire season has been devoted to the rehashing of this conflict, and the finale was no different.

Necessary back story: last week, Adam and Crosby met with a businessman who wants to purchase their homegrown recording studio for the hefty sum of $1 million.  To Crosby, you can't put a price on a dream.  To Adam, this is a business decision, and he's a man with a new baby and a kid about to go off to college - $1 million looks pretty good.  So he met with the man again, got a higher offer, and wants Crosby to consider selling.  This does not sit well with Crosby, who revokes Adam's status as Best Man, and also throws beer on him.  Then Parenthood cheekily launches an all-out food fight far too immature for the salsa-slinging brothers - a welcome moment of levity in a tear-jerking episode.

The Adam vs. Crosby conflict is something that I personally find tiring after awhile.  The formula is the same: Adam and Crosby encounter a situation, react in completely opposite ways, insult each other, and then make up.  Although it's good drama, and would be unrealistic if it went away completely, it starts to feel repetitive after a few rotations.  And what I found to be a misstep in the finale was the decision the brothers reached.  For once, I had actually sided with Crosby in a debate, and everyone convinced him he should sell - until Adam's Best Man speech, wherein he tore up the napkin and proclaimed his love for working with Crosby every day.  Thus, the Luncheonette would live on in the Braverman family.

I actually wish that Parenthood had done the exact opposite.  While I want Crosby to have his dream, I think Adam needs the money more.  This entire season for Adam has been about being able to support his family financially, after being laid off with a baby on the way.  Kristina had to go back to work to help out with costs, and Haddie faces financial obstacles in getting her college education.  This has been explored and highlighted all season long for Adam.  The best resolution for his character would be to get that money and feel the pressure come off for a bit.

Now, I don't think this necessarily means that Crosby has to have unfulfilled development if he lets the Luncheonette go.  On the contrary, by capping with Crosby's wedding, we realize that Crosby's season arc has been about his relationship with Jasmine and his emotional maturation, as he dealt with the fallout of his own mistakes.  Crosby really grew up this season, and the development was natural and rewarding - in no way did I feel like Crosby was losing his identity by handling situations more maturely in his relationships with Jasmine and Jabbar.  So getting married and selling the Luncheonette is actually a fitting conclusion to Crosby's S3 journey.

But instead, we got a Big Moment for Adam, as he stepped up to give the Best Man's speech in place of Drunk Billy (Riggins) and announced that he'd rejected the offer.  It was a little too Benevolent Big Brother for me, and gave agency to Adam and not Crosby, which happens all too often in the Responsible Brother/Immature Brother dynamic - and kind of kicked the legs out from underneath Crosby's character arc this season.  Not only that, but I have to wonder what fresh storylines the writers can mine out of keeping the Luncheonette for another season.  Will we be retreading the same Adam/Crosby conflicts for another year?  I hope not.

The other season-long storyline that wrapped up last night was the Zoe-Julia-baby thread, which unraveled so quickly I had to do a double take.  As such, I actually found the resolution to this arc supremely disappointing - by far the most issue I've ever taken with this consistently-amazing show.  I know many have viewed this plotline as just that: plot.  Watching Julia hound a young woman for her baby is not terribly riveting in and of itself.  However, the relationship that the writers created between these two women was the most rewarding to watch, all season long.  And it was disappointing to me to see the resolution come in plot only, without really giving the characters' relationship its due.

There are a few things that irk me.  Firstly, by having Zoe waltz off with the baby and no ties to Julia, it feels a little like everything - 18 episodes' worth - that went into building that dynamic just evaporated in a split second.  And while it was extremely powerful to witness Joel and Julia back at Square One, I dislike strongly the idea that they were wronged or betrayed by Zoe.  This is another case of Parenthood penning a situation where a female POC supporting character could too easily be called a bitch by an audience member not paying close attention to their side of the story.  

Look, I know this is a show about the Bravermans, but the fact is that the first two-thirds of the season were developing Zoe into Julia's family and mining conflict and establishing a relationship in a "strange bedfellows" kind of situation.  And I know that Julia wanted Zoe's baby and because Julia is a Braverman on the Braverman Show, we want her to get what she wants.  But the character development that occurred in this storyline came not because of the baby, but because of Julia and Zoe interacting.  These are two women who have been thrown together, and who change a little bit since knowing one another.  But unfortunately, Parenthood ultimately downplayed Julia's change and zeroed in on Zoe's, only as a result of Julia's benevolence, and simultaneously played up Julia's commitment to getting a baby.  Plot, plot, plot.

Like I said before, it's not compelling to watch Julia obsess about an unborn child.  It is compelling to watch Zoe bring a different side out of Julia, wherein she defies High-Strung Working Lady Wants a Baby stereotype and becomes more nurturing, calm, and vulnerable.  And what's frustrating is that we had so many moments reinforcing this idea all season long!  The first two acts of Season 3 were about Julia and Zoe awkwardly finding a common ground to exist on, and learning to open up and trust one another.  Julia set a place for Zoe at the dinner table without knowing if she'd show up, and took care of her at the hospital when no one else was there.  And Zoe feared Julia's disapproval so much that she dumped her dead-end boyfriend to ensure that she and the baby could stay in Julia's life.

Of course, once Zoe moved in with Joel and Julia, the storyline started fracturing a bit, with Zoe distancing herself from the Grahams and behaving erratically enough to cause Julia to freak out.  This is the least interesting aspect of their dynamic because it actively works against everything they'd built together so far, and only serves to introduce an over-sensationalized plot suggestion: could Zoe back out on her promise?  And the idea that the answer to that question was yes made the season finale so upsetting to me.  Every fascinating layer of this complicated relationship was completely thrown out in favor of Zoe's "betrayal" and Julia's heartbreak, and the writers ended everything even more tragically with the idea that Julia changed Zoe's life, and the return of Zoe's grandfather's watch to its rightful owner.

I just don't understand how the most compelling relationship of Season 3 could spiral apart so quickly and come to a close without any tether between them.  I'm insulted even further that the last word on the matter was "You changed my life."  Sorry, Julia, you don't get a baby, but you do get to be the White Savior to an at-risk Hispanic youth!  Grumble.  It's not like Julia didn't change Zoe's life, but there's so much more to this dynamic that having it reduced to that simple summary is a disservice to the characters, the audience, and to the actors that supplied an masterful balance of familiarity and tension to every scene they participated in together.

In the end, though, Joel and Julia got a surprise adoption in Victor, a six-year-old kid whose mother was incarcerated and is now in need of a home.  Presumably this was intended to hastily wrap up Julia's S3 objective, while providing potential for S4 storylines, but I was still reeling from the sting of Zoe's swift and upsetting departure, and frankly I found it difficult to care.  It felt like the writers had just shot themselves in the foot, and were now trying to put a band-aid on the bullethole.  I call Party Foul on this whole scenario, which is such a shame considering how strong its origins were.

As for the Sarah-Amber-Drew arm of the Braverman clan, we got heaps of relationship drama with these three.  Let's start with the most basic: Drew had sex.  That's it.  That's all you need to know.  I'm not sure why Parenthood felt the need to make good on Drew's back-back-back-burner relationship with Amy, but the season finisher included the teenage lovebirds deciding they were ready for sex, and successfully going through with it.  Frankly, this screentime could have been used for something that we're currently more invested in - perhaps in believably breaking up Crosby and Jasmine's relationships, or Zoe and Julia's relationship, both of which could have used the extra airtime. 

Amber, however, only had one real thing to do: choose.  She could either go back to work for Bob Little, or decide to date him instead.  I actually think this storyline was well-crafted, starting with the idea that Amber first decides that she doesn't think she can do both.  I liked that it wasn't immediately assumed that Amber had to choose between a job and a boyfriend.  Secondly, I liked that Kristina chastised Bob for his relationship with Amber, because it's completely in-character, and it's nice to see Kristina's protective side.  Plus, it's not often we get to see the parents interact with the nieces and nephews, and it's refreshing to see less-common character interactions.  Thirdly, I liked even more that Bob defended himself simply by saying he was attracted to a smart, capable young woman.  Even though the two characters were technically at odds, they both came with the same priorities: Amber's feelings.

In the end, Amber met with Bob and explained that even though she wants to be with him, she feels like she only ever makes decisions based on emotions - and that it usually isn't good for her.  I loved this choice, because it feels like it's putting Amber on a character arc.  Not unlike her mother, Amber is something of a wanderer, on a search for herself, and I like the idea that she chooses to explore a professional option as opposed to a personal one.  It makes sense to me, and feels natural, even though it's sad.  And I loved as well that Bob accepted her decision, and reassured her that she'll always have a job at his campaign.  Altogether, it was well-handled, and served up a compelling and authentic mix of emotions.

Sarah's storyline, however, mostly rang with heartbreak.  She herself faced a relationship decision: should she stay with Mark, knowing that they may not want the same things?  Sarah and Mark's relationship has flirted with this construct for the latter half of the season, with the idea that their age difference creates a lot of conflict about their compatibility.  Mark wants a baby, Sarah's not sure she does.  Mark wants to travel, Sarah has kids she wants to keep close.  It's certainly valid and compelling drama, although it's been somewhat redundant for the past few episodes.  But, it was absolutely heartwrenching to witness Sarah breaking the conflict pattern by breaking up with Mark so that he has a chance to have the future he wants.  But, Mark "made a tactical error" (bless this character) and realizes that perhaps they were putting the cart before the horse.  He wants to be with Sarah regardless of what life throws at them - so he proposes.  I love these two characters individually and together, and while I'm not sure exactly what marriage will bring them, I want to see them happy together.  I'm along for the ride on this one, Parenthood.

Phew.  Is that everything?  I think it is.  Ultimately, I am along for the ride on this show, because the writing has been so consistently solid since Day 1, even if I occasionally disagree with the choices they make for the characters.  I love Parenthood dearly, and want to see it renewed for Season 4.  Although the finale was somewhat rushed and had a few fumbled resolutions, I'm still invested in the characters and their stories.  Plus, if we get a Season 4, maybe Zoe can come back and the writers can undo the mess they left her storyline in.  Here's hoping!  I'll be happy either way. 

The Report Card:
Dialogue: A
Plot: B
Character: B
Episode MVP: Amber
Best Tearjerker: Sarah's breakup with Mark