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“River Deep/Mountain High” (Ike and Tina Turner) **** I feel the heat.“Don’t Go Breaking My Heart” (Elton John, Kiki Dee) *** Finn and Rachel reprise this tune with exactly the same chemistry and sexual tension of the original.How about Rachel gets a gut renovation on her interior to match the one she appears to have had on her exterior, and we turn her into someone we actually care about? Her showtune-al alignment with Kurt seems like an intriguing and fully natural place to dig-in an exquisitely grotesque kind of way. (He’s about as captivating as a sheet of drywall.) Maybe it’s because the selfish shellfish finally succeeds in acting (sort of) selfless. Rachel/Finn: For the first time EVER, I’m actually marginally compelled by a storyline involving these two. But with his hair-bleaching confession and her pregnancy confession both out of the way, where’s the conflict? (Predictions: reclaimed virginity and, hopefully, mean Quinn!) Or, at least, he is: complimenting her in Na’avi, imitating Matthew McConaughey (!!) at dinner, and teaching her to play guitar like that handi-capable banjo-plucking redneck kid in Deliverance. But, they’re just so fucking cute together. Sam/Quinn: I was a little disappointed initially in this partnership, not just because it implies that Sam Evans is going to be batting righty this baseball season, or because I can’t get behind him falling for the conservative Christian girl (particularly because her embarrassment last year likely nullifies the standard evangelical Anal Until Marriage pledge), but because I’m fully exhausted with the flimsy cheerleader/quarterback paradigm. Mercedes/Santana: Though they perpetuate the show’s disturbing trend toward racial heterogeneity in the pairings (white/white, Asian/Asian, brown/brown), like some mad-scientist’s eugenics experiment, this unexpected distich yields intensely entertaining results-and I’m not talking about the dancing midget/French royalty/David Lynch variety. So I was saddened when, after he burned rubber inside Brit, he burned rubber back to his chilly, goth-y ex. But I adore Artie and would much rather see him lose his wheel-cherry (ugh!) to the exquisitely experienced Brittany (whom I also adore) than the frigid Tina. But for an instant, I thought they might finally sing my longed-for rendition of Prince’s “Computer Blue”-or at least stop that weird bird-kissing and take a bath.īrittany/Artie: When this hook-up was initiated, even though it was ostensibly vocals-based, I immediately began to worry that were prematurely approaching Melrose Place, Season 4 levels of reckless pairing. Of course, it ends badly-and dude-ly-like it always does in straight girl soro-mances. Santana/Brittany: Despite overt avowals to the contrary Santana and Brittany finally and fully get their lez on in this episode, horizontally speaking. Please note (vindicated, again!) that I was the first to push Chord Overstreet as the breakout star that he’s clearly becoming this season. Evans is a seemingly perfect partner, aside from not being particularly gay. He even experiences growth (slash, abnegation), and bows out of partnering with Sam-song-wise or otherwise-even though Mr.
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If you have any doubt, watch the intense-and intensely adolescent-conversations he has with Finn, his dad, and himself about his affections, which subtly reveal his personal implication in his dilemmas. Kurt continues to demonstrate his position as the most complex and deeply developed character. Instead, let’s look at the dulcet duplets that made “Duets” (not Duvets, Brittany) such a delight.Kurt/Sam: Kurt gets crushed out, once again, on the quarterback, this time in the form of the Evangelista-maned Sam Evans, whose constantly bared arms appear just fine to me, despite their alleged dislocation by some messianic cheese toast last week. But let’s not spend the whole column harping on how right I always am. (There were also at least three boys’ locker-room scenes.) I would particularly like to point out, with my usual obnoxious quest for vindication, that conspicuously absent from this incredible success was any of the distracting codswallop that are the adult-centric storylines. It was also thematically consistent, and replete with storylines-and, for a change, a musical conceit-that reinforced, underscored, and enunciated the central theme, that of duets, be they of the euphonic or amorous variety.
#BULL BALLS ON GAY MEN MOVIES FULL#
At any rate, the show was full of jokes I laughed at, situations I found poignant, and at least a few songs I didn’t hate. Or maybe it was the bull’s balls, since the episode was all about pairs and pairings, and while there are two eyes on every bovine, the dart-centric analogue is decidedly singular. Glee stuck a stiff and barbed one right in the bullseye this week.