And [Glee] really was what it got credit for being, in that it did things that don’t happen enough: it was a show where an actress with Down Syndrome had a real role in which she got to be funny, and where Chris Colfer sang in the first season in a way nobody was singing on television, and where gender fluidity and grief and loss got to be real.
Chris Colfer was good at picking up choreography but didn’t have the best rhythm, so he eventually convinced the choreographers [on Glee] to let him use props, like brandishing a sword or swinging from the rafters in a cat suit.
[Glee] dealt with something that was revolutionary at the time, which was this young, gay, teenage love story on primetime TV,” he said. Seeing the show’s adolescent fans react to the story of Blaine (Criss) and Kurt (Chris Colfer), he said, “reminded me of who I was, as a young, confused teenager. It was a doorway for them to talk about things that aren’t easy to talk about.
There was a party at Glee’s Chris Colfer’s house last weekend, where he screamed “Mommy dearest!” sitting next to Academy Award nominee June Squibb, doing color commentary with Jane Lynch. You can’t write this stuff.
Chris [Colfer] and I are always very happy when we manage to hear ourselves around Christmastime on (the) radio doing [Baby, It’s Cold Outside]. We always joke, ‘I don’t think they realize it’s two guys.’