In the choir room, Emma and Finn announce the week’s winner, as the most diva-licious – Tina, much to her surprise, wins. The club cheers for her, and after the lesson, Blaine catches her and presents her with a chocolate flower, saying she really deserved to win. He also apologises for seeming ungrateful. I think he was a fine amount of grateful, the expected amount of grateful for a friend, and was trying to help Tina in return, but this is Blaine, who is absolutely crippled by the idea of causing offense or not being perfectly polite, so this does not surprise me. He tells her that her cold-kit not only helped fix him but also made him realise that she’s his closest friend, and that he hasn’t felt that close to anyone in a long time, and he apologises for not recognising that. He invites her to be his date to Mr. Schuester’s wedding, she accepts happily, and I do not think we are out of the danger zone here, as he is either still oblivious or purposely ignoring Tina’s deeper feelings.
Rachel is still mourning and sulking, her confidence shot through, when Kurt finds her wrapped up in a blanket in her room. He pragmatically tells her to get over it and that he’s scored her a spot at the Funny Girl auditions. Rachel says that she’s not trying out, and Kurt continues to practically explain that all the Midnight Madness win means is that they’re even now, that it doesn’t even matter, and that it doesn’t change the fact that Funny Girl is Rachel’s favourite musical and that she can’t miss the opportunity. Rachel, still in her blanket, asks him what if she does get the role? What then? Will she turn into even more of a diva and a nightmare? Kurt tells her that she is a diva, but that being a nightmare isn’t what’s made her a diva – her talent and uniqueness and ambition. “So hold the nightmare, and bring the diva.” He tells her that she doesn’t need any of the dramatics – her work speaks for itself. She weeps and hugs him, and they properly make up.
Finn finds Emma, manic, looking through more magazines and her office full of new floral centrepieces. He asks what happened, didn’t they already check this box? Emma, close to tears, tells him that Will had called their choice “fine,” and says that she knows that means he didn’t like them but was being polite. Finn tells her that it may not mean that, and she crumbles, saying everything needs to be more than fine – it needs to be perfect. When Finn says that Emma may be too hung up about it, she says that isn’t true, because with her wedding to Carl, she had tried to be chill – told herself that details didn’t matter, that her OCD wouldn’t matter, and that marriage was completely ruined. She starts to become hysterical, and Finn is slightly taken aback but handles it very well, assuring her that Carl just wasn’t the right guy. Emma starts packing up her wedding things, talking to herself, saying she can’t do this, can’t get married again if everything isn’t done right. She sobs as Finn tries to assure her. “Miss Pillsbury, please.” “What about the colour white? What if Will hates the colour white? Then he’s going to hate my dress…” She starts throwing things in the trash, becoming caught up in her own head, losing control.
“We make a great team,” Finn tells her, taking her by the shoulders, and he has never been more grown-up than he is here, even if he doesn’t realise it. “We’ll figure this out together. Emma, stop, stop, stop.” She does stop, when Finn cradles her face in his hands and kisses her. He looks startled by what he has done, and they stare at each other before he quickly walks out, and I am head over heels in love with this ship already. In that one moment I got the entire picture of how this could work, this isn’t a high school boy trying to forge a connection with the mother of his child, this isn’t a shady cougar scenario – this could be a legitimate “despite the odds, we are an unconventional couple with a real connection” situation and I want it so, so badly.
Finally, Santana finds Brittany sitting alone and assumptively snarks that she knew Brittany would “come around” in regards to Sam. Brittany tells her that she is not breaking up with Sam, and defends her relationship with him. Santana claims that she’s not expecting Brittany to date her again – she’s taken, remember – she just wants Britt to aim higher than Sam. Brittany rolls her eyes while Santana talks, and then gently tells her that she knows Elaine isn’t really Santana’s girlfriend – that Santana paid her to pose as her girlfriend – and that she knows Santana dropped out of school. Santana, vulnerable now but pretending to be tough, says that she’s got better prospects – Sue’s job offer – and Brittany, gently still, tells her that she can’t do that. “I think you need to be somewhere that’s as big and hot as you are. It’s okay to follow your dreams,” she tells Santana, meaning New York. Santana, who’s scared, and unwilling to let go, says that the real world is too hard, that no one will care about her, but Brittany says that Rachel found a new guy, so did Kurt – (New Directions knows about Adam? Hmmm.) – and that Santana deserves the opportunity to be around people who are “like her.” “Why can’t you have a real girlfriend? But not a best friend, because that part’s already taken,” Britt asks her, posing many, many questions about the dynamic and power balance in the Brittany/Santana relationship over the past three years.
They hug, and lightly kiss, and Santana unsurprisingly turns down Brittany’s invitation to join her and Sam for dinner. She begins to sing “Girl On Fire” alone on the stage in a performance that takes her from the auditorium, through McKinley, and then shows her, happy, exiting a New York subway station and climbing the stairs to Rachel and Kurt’s apartment. She finishes the song and knocks on the door. “I have no life goals, but I came to New York to find a girlfriend!” she announces to Kurt and Rachel, who look very shocked. “Can I move in? Actually, screw asking. I am moving in!”
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