The fifth season begins again to offer a wide range of comedy and drama scenes where Rachel suggests an idea for Mr. Schweister to improve the club's chances of inviting. Meanwhile, Sue conjured up a plan (with the unintentional help of Sam) to destroy the Glee Club again. On the other hand, Sue is concerned when Becky brings a surprise guest to the city. Rebuilding the Glee Club proves difficult for Rachel and Kurt.
At a time when so much highly esteemed television equates excellence with darkness, cynicism, violence, and despair, there's something to be said for sweetness and light. Glee was a sweet-hearted show.
While the new kids at McKinley get a few quirky gags, they feel half-hearted, as if only real remaining mission is to follow our old friends to the finish line. That's fine. But we could have done it two seasons ago and not missed much.
Allowing the series to get back to its roots and accentuate key original cast members [feels strangely liberating.] Those dynamics should make this closing number worthy of attention, despite Glee's continued irritants and excesses.
If this two-hour opener is anything to go by, we're in for a treat. The bigger the challenge, the more the bow bends and the more potential you create to do something amazing, after all.
Despite the "meh" of the return of Puckerman and Santana et al, by the end of the premiere, I found myself smiling along and almost happy that Glee is back.
Although it's taken a step in the right direction, the show's previous ubiquity in high school pop culture leaves it as a pale imitation of its former self in the sixth and final season's two-hour premiere.
It's fitting, then, that the first hour ends with a Frozen cover that's over a year late to the zeitgeist... making it feel just as the show does: dull, overextended, and irrelevant. It's Glee's time-time to let it go.
