4x13 - Diva 4x13 - Don’t Stop Me Now 4x14 - Just Can’t Get Enough 4x14 - We’ve Got Tonight 4x15 - Come What May 4x15 - Shout 4x15 - Old Time Rock And Roll / Danger Zone 4x16 - I Still Believe vs Superbass 4x17 - Wake Me Up Before You Go-Go 4x17 - Mamma Mia 4x17 - Against All Odds 4x18 - Say 4x19 - You Have More Friends Than You Know 4x20 - We Will Rock You 4x21 - Superstition 4x22 - All or Nothing
But actually tho
- Episode 5: Blaine singing Hopelessly Devoted To You and crying and texting Kurt
- Episode 6: Blaine as Teen Angel and him and Kurt talking and it’s bad
- Episode 7: Is basically all Blaine and Blam friendship and the Warblers and Dark Side
- Episode 8: Klaine phone call that gives hope
- Episode 9: CHEERIO!BLAINE
- Episode 10: Christmas Episode that probably has a Blaine solo or duet.
BLEE IS BACK WITH GOOD THINGS BITCHES
Blaine runs for president and Kurt gets coutured-up on one of the more effective Glees in a while.
More or less, Darren Criss’s Blaine Anderson is the best thing about Glee: smooth and charismatic yet understated in his performances, modern but not militantly repetitive with his progressivism, he’s maybe the one character on the show who’s remained blemish-free—spared any of those cringe moments that hit like Scud missiles so often in the Glee world—largely by way of the writers’ uncharacteristic restraint in his deployment. (I guess there’s nothing wrong with Sugar, though it is a tad off-putting that Vanessa Lengies has been playing major roles as high schoolers for a full decade now.) So I’m simultaneously pleased and nervous when “Makeover” opens with a voiceover from the starry-eyed dandy, accompanied by a decent Tears for Fears cover and a vibrantly production designed montage of McKinley High’s silly plethora of clubs. Later, as he stands at a podium in a front of a (pretty funnily) sparse audience, getting tremulously hyperbolic as he defends his right to use hair gel—“next thing you know they’ll start burning books… and then they’ll probably start burning people, too”—I begin to suspect that he’s such a good performer that even the writers’ best efforts to throw him into that atonal squirm-zone where most of the other characters sit, shivering and lost, will fail to derail his winning energy.
The Blaine storyline, though—man, it’s like this kid’s embodied charm is magically writing for him—dovetails very well with the New York stuff and, so gratifyingly, with knottier maneuvers of episodes past, as he feels Kurt drifting away from him and realizes his presence at McKinley becomes rather superfluous in his boyfriend’s absence. “Yes, people,” I think loudly at the showrunners. “You can do it.” If Glee could transplant the narrative satisfaction and affecting tone of Blaine, alone at his own party, fruitlessly dialing Kurt’s cell to all the flapping limbs of its ungainly show-person, we’d be having a different conversation about its place in the TV world. And I would have to start trying at my job.