‘Glee’ recap: 4×20 ‘Lights Out’

9:15 am EST, April 26, 2013

Miss last night’s new episode of Glee titled “Lights Out”? Check out our recap of what went down as well as some behind-the-scenes info you may have not even realized you missed!

This week’s episode opens with Ryder talking to Jake about how he has never felt so close to someone as he does with Katie. Jake, smartly, reminds him that this person may not even be a girl. Ryder, being the upstanding guy that he is, shrugs it off and basically says “I don’t care, I’m still attached.” Ryder then tells Jake that he opened up to Katie about his past, but after Jake prods for what it might be, Ryder replies with an “I can’t.” Blake Jenner continues to impress us with his amazing ability to juggle major character motifs, but we’ll get to more of that later.

Santana, being the responsible roommate that she is, arrives back at the loft with a torn, ragged (and most likely bed bug ridden) reclining chair that apparently Kurt and Rachel of all people will be delighted to accept in to their living room. It’s deja vu all over again when Rachel commands Santana to sit down because she and Kurt have to talk to her. They tell Santana that she’s throwing her life away, but Santana replies that being a cage dancer is something she loves and tries to dismiss the confrontation.

Back at McKinley, Sam implores everyone to get the hell off of Twitter and the Facebooks and start living life a little more. He begins singing a song that he only recently found out was playing the night his parents conceived him. A little awkward, but right up the Sam storyline alley. He proceeds to start “You’ve Lost That Lovin’ Feelin'” by The Righteous Brothers and is joined in by Ryder and New Directions throughout.

Kurt’s back at Vogue (oh yeah, remember that?) where Izzy (Yay, Sarah Jessica Parker is back!) asks how Kurt’s Dad is, yet again showing compassion and humanity, and yet again proving she is one of the more lovable guest stars in all of Glee. Kurt tells Izzy he thought he was getting fired for not being at Vogue in so long, but Izzy reminds him that she will never stop someone for going after their dreams. She does, however, ask Kurt to bring some friends to a ballet event to help wrangle talent. One little note from the author: internships, especially in New York City, and especially in the fashion industry, do not work on a come-as-you-please basis. If Kurt hadn’t showed up to Vogue in weeks and weeks, he would have simply been fired and replaced. Not to nit pick, but don’t aspire to be a come-as-you-please intern, kids. I digress.

Sue is back and reveals that she is a freelance champion as she writes in her journal saying that “life could not be better.” It’s interesting to hear this inner dialogue, the confessional of characters on Glee, and hear her clearly lying to herself. It’s clear that Sue misses what she truly believes is her passion. It turns out she’s a personal trainer as she is seen coaching an aerobics class with one Mr. Blaine Anderson attending in some very short shorts. Here are some screen shots we found from amazing people on tumblr:

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And yes, we will be pausing and rewinding when we replay this episode. Blaine also sees some guy smirking at him and is thoroughly unimpressed. Watch:

Sue mentions her trademark Sue90x, and Blaine tells Sue the Cheerios need her back and admits that he knows something went down when she left McKinley.

Artie, being the musical genius that he is (what?), tells Sam that when he ran over a plastic bottle, he thought a great idea for regionals would be to do a song entirely with “a water bottle, pencils, zippers” or whatever else they could come up with. Sam’s all like “okay,” and that’s the abrupt end of that scene – one of the many choppy sporadic segues throughout “Lights Out.”

Back in Bushwick, Kurt tells Rachel and Santana that they are invited to help wrangle talent at the ballet and after a couple of tugs, Santana agrees to go. We get to flashback to Rachel and Kurt in their ballet classes at a tender age of six. Kurt talks about how his mom enrolled him and is seen gallivanting around with a magic wand, and it’s definitely the cutest thing you’ve seen on TV. Santana knocks the daydreaming back to reality with “I skipped all that crap to study the timeless art of crunk.” Is that a GIF yet? While we wait for that to get made, here’s her reaction:

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Back in the choir room, Ryder admits that he wants to “unplug” his feelings and let everyone know what’s going on with him. He sings the song “Everybody Hurts,” which Blake Jenner and company sang on the second season of The Glee Project during Vulnerability week. It was an impressive performance, but the acting that followed was even more impressive. Ryder admits, in front of the entire glee club (minus Joe, Brittany and Sugar…where are they again?) that he was molested by his babysitter when he was young. Sam and Artie don’t find this to be an issue at all and proclaim that this is every guy’s dream: to have a 17 year-old girl touching him in the shower. Will, being the mediocre educator that he is, somehow let’s this go on without interrupting or getting upset. In fact, he got more upset that Marley wrote her own song than two guys clowning around and poking fun at someone who has been sexually abused. Why? Ryder sarcastically high fives the guys and walks away, but Kitty clearly connected with Ryder’s vulnerability.

Kitty asks Ryder to dinner where she tells him that she not only has had trouble with guys in her life, but that she was also molested when she was younger. She retells the story of a sleepover and her best friend’s brother touching her in “places” and that she told her parents later on, but they thought the brother was too nice of a guy to do such a thing. She tells Ryder that she thought the easiest thing to do was to switch schools and so she did. She says that she understands what it feels like as a teary-eyed Ryder holds her hand and says “thank you.” Ryder is now juggling more interesting story lines than some of the veterans of this show ,and he’s doing it in style. It’s a hard argument to say that Blake Jenner isn’t one of the top 2 best things about Glee in season 4.

Back on stage, the glee club performs Queen’s “We Will Rock You” acoustically without any instruments. Meanwhile, Jake does some tap dancing and some of the most beautiful pirouettes you’ve ever seen a man do:

Sue, who has been fired from McKinley for causing a school panic with having a loaded gun in school, somehow manages to get back on school grounds and is illegally awkwardly watching Roz “coach” the Cheerios. Becky joins her and tells her that she misses her “so bad it hurts.” Sue’s over it and says “Becky, I’m sorry, honey, but I’ve moved on. I can’t go back to babysitting brats,” as she begins singing “Little Girls” from the Broadway musical Annie. This is fun because for those who don’t know, Jane Lynch will be starring in Annie on Broadway this summer!  Sue tells Becky that you couldn’t pay her to go back to coaching the Cheerios.

At the ballet, Izzy tells Rachel, Kurt, and Santana that they get to watch the ballet from the wings. Santana admits that she was in ballet when she was younger and that she felt safe, not different and a part of something there. All four of them then begin a long, beautiful performance of “At The Ballet” from the popular Broadway show A Chorus Line. At the end of the performance, Santana admits to Izzy that she doesn’t know what she wants to do in her life or how to get there. Izzy, again being the amazing person that she is, tells Santana to find “Something that you love. Something that feeds your soul.” Sarah Jessica Parker sounded amazing in this performance (it’s no “Turkey Lurkey Time/Let’s Have a Kiki” let’s put it that way).

Roz, who is sick of Becky (which really means impatient) brings her to Principal Figgins’ office for him to discipline her. Becky ends up telling Figgins that she’s got something she needs to tell him.

Back on the iMac in the library, Ryder is talking to Katie. And in a twist of events that probably no one say coming, Katie suggest that the phone that rang in the choir room may not have been hers. Yes, that’s possible, but how could you do that to us Glee!? Katie says she’ll be right back and right on cue Kitty appears next to Ryder, inviting him to lunch. When Ryder says he’d rather wait for Katie to return, Kitty gets pissed off. “How can you pick an online fantasy over an actual fantasy?” she yells. The moment Kitty walks off camera, Katie is back with a “hey babe.” The timing of this would lead one to believe that despite what you may be feeling, it looks like Katie isn’t Kitty.

Santana is late to her first dance class at NYADA extension. The dance teacher reminds everyone that being in this class doesn’t mean it increases your chances of becoming a full blown student. When asked what she’s doing there after a couple of snide remarks to the teacher, Santana says “I love to dance.” While Santana is doing plies at the bar, she sees the young version of herself in first position and a tutu, and it inspires her. Santana walks over as the young version of herself pleads, “don’t forget me again, okay?” Santana replies with “I won’t I promise.” To me, this was very American Horror Story for Ryan Murphy, but I buy into this sappy overarching metaphor about fighting self, so I was a bit weepy in this moment.

In the final scene of the episode, the New Directions sing “The Longest Time” by Billy Joel on stage.

After the episode was over, the two actors who portrayed victims of sexual abuse, Becca Tobin and Blake Jenner, gave a PSA on sexual abuse and urged those who may have been victims to seek help at www.rainn.org.

What were your thoughts about “Lights Out?” Did you notice that Cory Monteith and some scenes with Blaine and Sam were meant to be in the episode but weren’t? You can read all about the differences in tonight’s episode from what we were expecting right here!

Though this episode was good, it didn’t leave us begging for more. Our reaction is best brought to you in GIF form from Rachel Berry:

Some awesome celebrities turned out today to support the Women’s March on Washington movement, in order to send a strong message to the Trump administration that women’s rights are human rights!

Massive crowds all over the world today are taking part in the Women’s March to send a message about women’s rights. Here at Hypable we give a big shout out to all of those taking a stand today. To show that you’re not alone in this fight, here’s a look at some of the celebrities who were among the estimated four million marchers who showed up to support you in D.C. and all over the world.

Emma Watson and Bonnie Wright

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Some awesome celebrities turned out today to support the Women’s March on Washington movement, in order to send a strong message to the Trump administration that women’s rights are human rights!

Massive crowds all over the world today are taking part in the Women’s March to send a message about women’s rights. Here at Hypable we give a big shout out to all of those taking a stand today. To show that you’re not alone in this fight, here’s a look at some of the celebrities who were among the estimated four million marchers who showed up to support you in D.C. and all over the world.

Emma Watson and Bonnie Wright

Kristen Stewart

Charlize Theron

Madonna

Nick Offerman

Sir Ian McKellen

Candice King, Julie Plec and Kayla Ewell

Mindy Kaling

A photo posted by Mindy Kaling (@mindykaling) on

Darren Criss and Nick Lang

Melissa Benoist

💪#womensmarchonwashington

A photo posted by Melissa Benoist (@melissabenoist) on

Misha Collins

#womansmarch Jacksonville, FL. Fight on!

A photo posted by Misha Collins (@misha) on

Aja Naomi King and Alfred Enoch

Resistance. Respect. #womensmarch 👊🏾

A photo posted by Aja King (@ajanaomi_king) on

Lin-Manuel Miranda

Joss Whedon

Edgar Wright

Miley Cyrus

Ariana Grande

today filled my heart with so much hope !! got to meet many beautiful, passionate people and march alongside my loved ones. the sun came out for us. we are so much stronger and louder than hatred, ignorance, sexism, racism, agism, homophobia, transphobia, body shaming, slut shaming, prejudice, discrimination of all kinds, patriarchal conditioning and the backwards expectations of what a woman should be! I'm so proud of / inspired by everyone who marched today and thankful that there are so many people on this planet currently celebrating how brilliant and magical women truly are! let's keep our voices loud, passionate & peaceful! let's continue being strong for each other and to build each other up! let us stay connected to our divinity. 🌸♡🌌

A photo posted by Ariana Grande (@arianagrande) on

John Legend

#WomensMarch

A photo posted by John Legend (@johnlegend) on

Chrissy Teigen and America Ferrara

Dame Helen Mirren

Gillian Anderson

Bryan Fuller

Neil Gaiman

Kerry Washington with Natalie Portman

… and with Laverne Cox

Ben Barnes

Amy Schumer and Uzo Aduba

A photo posted by @amyschumer on

Gina Rodriguez

Carlos Valdes, Arthur Darvill, Danielle Panabaker, Caity Lotz and Keiynan Lonsdale

Maggie and Jake Gyllenhaal

Kevin McHale

Chris Colfer

Scarlett Johansson

Blake Lively

Yoko Ono and Whoopi Goldberg

Jessica Chastain

Alicia Keys and Janelle Monae

Katy Perry

Zendaya

That's right…

A photo posted by Zendaya (@zendaya) on

Troye Sivan

Willow Smith

Mark Ruffalo

Yip. Well said. Borrowed sign from @dorisfullgrabe design by @dirtybandits #womensmarch Nyc

A photo posted by Mark Ruffalo (@markruffalo) on

Paul Bettany

Eddie Izzard

Stephen Colbert

Did you turn out to support the Women’s March?

Even though we’re halfway through Lucifer season 2, God has only ever been mentioned by name, so we haven’t seen what he looks like — yet.

God has been a major player in Lucifer since the pilot episode, but we’ve never seen his face. Despite what a huge influence he’s had on all of Lucifer’s existence, the show has understandably continued to keep him a mystery (though we did wonder when we’d be seeing him).

But now, according to EW, Timothy Omundson (Psych, Galavant) has been cast in the role of God Johnson.

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Even though we’re halfway through Lucifer season 2, God has only ever been mentioned by name, so we haven’t seen what he looks like — yet.

God has been a major player in Lucifer since the pilot episode, but we’ve never seen his face. Despite what a huge influence he’s had on all of Lucifer’s existence, the show has understandably continued to keep him a mystery (though we did wonder when we’d be seeing him).

But now, according to EW, Timothy Omundson (Psych, Galavant) has been cast in the role of God Johnson.

They don’t specifically say Omundson will be playing the God, but EW reports he is “a patient in a psychiatric hospital, who is charming, enigmatic, and oh yeah, he thinks he’s the one and only God Almighty.”

Lucifer will certainly take issue with someone impersonating any divine being, let alone his father.

However, EW also says, “As Lucifer (Tom Ellis) tries to prove him a phony, he comes to find that ‘God Johnson’ seems to know things that only Lucifer’s true Father would know. Could he really be the Big Guy Upstairs?”

The trick will be to figure out if God Johnson is the real deal or if someone else is feeding him information to lure Lucifer out. At this point, it could be just about anybody — Charlotte, Amenadiel, the man in the hat, or a player we’ve yet to meet.

Omundson has been signed on for only one episode, but that doesn’t necessarily mean we’ll never see him again.

Are you excited Timothy Omundson has been added to ‘Lucifer‘?

At a time when the divide between the generations has arguably never been greater, The 100 encapsulates the struggle of millennials more than any other current show.

This article was submitted by Hypable reader Stephanie Farnsworth.

The media churns out article after article about the laziness of millennials, and then complains about how we work too hard. Millennials are branded “snowflakes” even as we struggle to pay rent and bear the consequences of the economic fall-out that we didn’t cause.

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At a time when the divide between the generations has arguably never been greater, The 100 encapsulates the struggle of millennials more than any other current show.

This article was submitted by Hypable reader Stephanie Farnsworth.

The media churns out article after article about the laziness of millennials, and then complains about how we work too hard. Millennials are branded “snowflakes” even as we struggle to pay rent and bear the consequences of the economic fall-out that we didn’t cause.

The CW drama The 100, which is entering its fourth season in February, rather bluntly captures that sense of young people paying the price of previous generations; at the beginning of the series, a council of adult politicians literally sent teenagers to a radiation-soaked earth to try to save their own society.

The 100 season 1 Jaha

The pilot episode revealed the extent of the power imbalance between the generations that reflects our society today: Chancellor Jaha presented the project of ‘the hundred’ as a way for young delinquents to fulfil their duty and gain redemption, even if it cost them their lives. They were even expected to be grateful, because they’d been judged as criminals and would have been executed anyway, even for relatively petty crimes.

And as The 100 season 4 approaches, the adults’ attitudes towards the kids haven’t changed that much from the show’s premiere.

Related: Previewing The 100 season 4: What to expect when you’re expecting an apocalypse

Generational conflict and tension has remained at the heart of the show throughout the series. The generational focus has not been diluted even as the world has expanded to reveal far more of the culture of the Grounders; in fact, this has only given rise to more conflict as the older members of Skaikru have struggled to accept not only the Grounders’ belief system, but the young age of their Commanders.

As the figurehead for all of the delinquents, lead character Clarke has been undermined and derided at every turn. In season 2, her own mother scoffed at the idea that Clarke and Lexa could lead their people to safety, mocking the Grounder Commander’s age and commenting, “They’re being led by a child.” It was up to Kane to point out that Skaikru were, too, because none of the adults had managed to think of a solution, and it was up to Clarke to save them.

Both Abby and Kane’s attitudes play into the infantilising of the millennial generation. Neither Clarke nor Lexa were children. They were young adults, and they were working towards making a better society where all of their people could survive while the adults were focused on internal power plays. Jaha was ready to leave the young adults in Mount Weather to die, but that’s no surprise; he’d made that decision before.

Abby couldn’t bear losing power to her own daughter, to the extent that it culminated in a scene where she assaulted Raven. The young mechanic was cool and composed in her response, pointing out that Clarke stopped being a child when Abby signed off on her daughter being sent to Earth to die.

Raven’s positioning was clear: Although not condemned by any crimes (even if she had committed the crime that Finn was convicted of), she chose to align herself with the hundred and was the one who chose to come to Earth simply to help. The younger generation, in short, pulled together, and when the older generation landed they brought down their old rules and oppression.

The consequences were overwhelming for the younger characters. They were tasked with saving everyone at the expense of any peace to their own souls. Clarke demonstrated this more than any other character and she ended up fleeing her people, unable to carry the burden of expectation they all had for her. It’s something she wrestled with throughout season 3, and with Earth facing a nuclear apocalypse again, Clarke will have to make peace — not with herself, but with how everyone else sees her if she is to survive.

The 100 season 4 Bellamy

Bellamy, too, will have to find his own identity. Last season, he effectively turned his back on the hundred to win the praise of Pike, and Bellamy upheld and supported his bigotry.

His part in slaughtering the Ark survivors’ 300 Grounder allies will not be easily forgotten. Bellamy wanted to be the hero. He wanted to protect people (specifically the women in his life) who never asked for that, and he wanted to be a part of the establishment.

If The 100 presents a metaphor for the real-life relationship between millennials and Gen X, Bellamy is the one wearing the rose-tinted glasses that younger people are supposed to wear when viewing an establishment that has been willing to regularly criticise later generations.

He had longed to be part of the Guard since he was a boy, and he saw a way to fulfil that old dream and become part of an order that had caused his entire family so much suffering. Bellamy was never quite the hundred: He was older, and his sole concern initially had been protecting his sister. It was easier for him to flit between the different groups within Skaikru than it was for any of the rest of the hundred.

After the events of last season, however, Bellamy now knows the pain he’s caused by his choices. And in season 4, he will have to choose exactly who to put his faith in: Clarke or the old order?

But maybe, in light of the external threat that now threatens humanity’s survival, the two generations will finally be able to pull together. There have been many hints that Clarke and Jaha will find some common ground this season due to the pressures they are facing, and Jaha knows well the cost of leading. Through Clarke, we will see whether lessons can be learned from the mistakes of the generation before.

Octavia once accused Clarke of being just like the council by deciding who was worthy of life. Clarke now must show whether she will follow that path or whether she can be better. The millennial dream of whether we can learn from the repression and conservatism of the past will be on trial in The 100 season 4, as we see just how Clarke plans to lead her friends into this new battle.

The 100‘ season 4 premieres February 1 at 9/8c on The CW