This week on Glee, everyone’s a diva. Finn and Emma lead New Directions through “diva week,” with the goal of instilling a fierce, competitive spirit in the club.

Tina uses the challenge to go after the impossible, and she’s not taking no for an answer, and Santana returns to McKinley to teach the newbies what true star power looks like. Meanwhile, in New York, Rachel’s rising star has been feeding her ego in a bad way, and Kurt takes her down a peg. You can read our full recap below.

We drop straight in, this week, to Kurt’s inner monologue as he explains to us Rachel’s growing primadonna behaviour as she begins to make a name for herself at NYADA. We see her selfish behaviour in their home, her limelight-hogging in classes, and perhaps most distressingly, the way she is ignoring Kurt on campus and surrounding herself with sycophantic fair-weather friends who follow her around, feeding her ego. Kurt, looking on critically, decides that Miss Rachel Berry needs to be brought back down to earth, quick-sharpish – and that he’s the man for the job.

In the teacher’s lounge at McKinley, it appears that Emma has come to regard Finn as a friend and equal as she vocalises anxiety about making all the choices by herself in regards to her upcoming wedding with Will. We learn that Will is returning from Washington at the end of the week, and as Finn makes a coffee and sits with Emma, he enquires whether the couple will be going on honeymoon – he’s wondering how much longer he will have the glee club for. Emma says that she’s sure Will won’t just turn Finn out, especially as he successfully coached an inexperienced team through to Regionals. This leads Finn to express his concerns about Regionals and his club’s lack of serious competitive drive – the lack of powerhouse voices like Rachel, Mercedes, Kurt and Santana, and more importantly the lack of attitude. Emma suggests spurring the New Directions on by pitting them against each other, reminding Finn that Will had previously made members of the club compete. Finn is delighted by the idea, and invites Emma to be the guest judge of the week’s activities.

Finn brings Emma to glee rehearsal where the pair introduce “diva” as the week’s lesson theme. “The Online Urban Dictionary defines a diva as a fierce, often temperamental singer who comes correct. She is not a trick-ass ho and she does not sweat the haters,” Emma reads from cue cards, going on to explain how she herself has channelled her inner diva as a demanding restaurant customer. Members of the glee club start to bicker behind the teachers’ backs, sassing each other about who is going to win the top spot. Unique, of course, starts marking her territory as New Directions’ prime diva, and Tina challenges this, saying something fantastically transphobic along the way. Marley puts Tina in her place, Blaine tries to interrupt the girls to state that guys can be divas as well, and Brittany claims that they’re all delusional, as she’s going to be winning. Do you know how she knows that? It’s because she’s a-a diva, she’s a, she’s a-a diva.

The girls of New Directions – Brittany, Tina, Marley, Kitty and Unique, as well as Blaine, face off with one another in a fantasy version of Beyonce’s “Diva,” all glammed-up catwalks and extreme rock star formal-wear. The outfits are awesome – especially Blaine’s giant red boa, vinyl corseted jacket and curls, and Marley’s one-sleeved pants-less purple unitard – and the group of wannabe divas return to their seats from their surreal performance just in time for Emma to finish her story: “and that is how I made the manager cry at the Cheesecake Factory – by being a diva.”

It seems that Rachel’s vocal warm-ups have woken Kurt an hour before his alarm, but as soon as she sees him awake she asks him to make her some special tea. He snarks at her, and Rachel demands an explanation for his “very rude no.” Kurt lays some truth on her – that since winning the Winter Showcase, she’s becoming hard to deal with. Rachel immediately accuses Kurt of jealousy at her success, despite the fact that they were becoming inseparable. Kurt rolls his eyes and tells her that they became close because Rachel had become tolerable, but now, with her “weird, naked boyfriend” and all her weird hangers-on, that she has become like “an annoying, self-righteous Lima Rachel on steroids.” He’s not wrong.

Rachel ignores his insult and bitches back at him, telling him that the only reason Carmen had let Kurt audition at the Winter Showcase was because he was Rachel’s friend (probably not true, hey) and Kurt scoffs derisively, saying that even though she won the Showcase, that his performance was the one everyone was talking about – that he’d blown her performance out of the water. Rachel goes stone-faced at this, and Kurt continues, saying that he could out-perform her again, and challenges her to something called “Midnight Madness.” Rachel, full of condescension, tells Kurt that he shouldn’t bother, and Kurt, matching her fake sweetness note-for-note, asks why. Rachel reminds him that she already beat him once, in a diva-off. Season 1, “Defying Gravity,” remember? Kurt smiles all through her spiel, and then drops some knowledge that apparently he’s never revealed to Rachel before – that he’d purposely thrown that competition. Rachel is nearly speechless, not believing him, but when he elaborates on why he’d done it, she realises that he is telling the truth and is completely horrified, wailing that it was her first big win, something she’d based her confidence on. Kurt’s unsympathetic, sighing with pretend pity and telling her to get ready for “Diva-Off: Part Two.”

Back at McKinley, Blaine’s coming down with a bit of a cold, and Tina has noticed, because Tina is a stalker. Tina quickly provides him with a care package, obviously doing anything she can at the moment to get noticed and needed by the object of her affections. Blaine accepts the offering, but says he probably won’t use the night-time cold medication, as it affects him quite badly in the drowsiness department and he can’t afford that right now, due to needing to focus on diva week. Interestingly, his drive does not seem to be based in his own competitiveness, but more in standing up for open-mindedness and the idea that men can be divas too.

He decides to show the rest of the guys how to bring some diva attitude by channelling the late, great Freddie Mercury, and we cut to the choir room, where he begins his performance of “Don’t Stop Me Now” in full Freddie get-up, including the hat (but thankfully sans the mustache). It is about time the show made more use of Darren Criss’ skills as a musician – remember how Cory Monteith used to drum all the time, and Mark Salling played guitar? – and he opens the song playing piano himself, kicking the piano stool out to stand and rock out when the song hits its full speed. It is an absolutely awesome performance – Blaine Anderson was made to sing this song, and the way that the club joins in on the backing vocals feels like a natural singalong, and it is just damn cool. Everyone – teachers, students, Blaine, and most importantly, me – is delighted with this rendition of a legendary song.

The next day, Finn and Emma discuss the concept of the intangible, immortal quality of a diva – the way they walk, talk and breathe brilliance – and they introduce a special guest diva to demonstrate this: Santana Lopez. She flounces into the choir room with a few of her Louisville Cardinals cheer squad team mates and blows the room away with a fantastic performance of “Nutbush City Limits.” Rather confusingly, the impressive choreography does not include even one repetition of the Nutbush’s traditional, well-known dance routine, so it’s kind of like singing the Macarena without doing the Macarena… but it still sounds and looks amazing, though Glee has clearly been missing its old, frequent opportunities to include many specaiily framed shots of shaking cheerleader butts. The show makes up for it here, don’t you worry.

Brittany looks confused and a bit distressed from the moment Santana walks in, but she gets up to high-five her ex-girlfriend at the end of the song. She compliments the performance but asks why Santana hadn’t told Brittany she was coming to town, and Santana poses what she deems to be the more important question – why hasn’t Brittany told her that she is dating Sam? Brittany continues to look uncomfortable as Santana explains the way she’d found out – we see a flashback of Tina rather bitchily calling her to tell her – and Santana then defiantly introduces one of her fellow college cheerleaders, Elaine, as her “out-and-proud, lipstick-loving, AfterEllen-reading” girlfriend. Glee, I’m not 100% sure that name-dropping AfterEllen is going to make it up to the “lesbian blogger community” you managed to insult in this whole Bram debacle, but gold star, you tried.

Rachel, arm in arm with Brody, asks him to explain to her exactly what happens at the “Midnight Madness” competition that Kurt challenged her to. Brody describes it as NYADA’S “fight club” – with singing instead of punching. Twice a year, the students break into the school in the middle of the night for an illicit, underground sing-off. The winner of each challenge gets ultimate bragging rights forever and is the new king of the world, while the loser is shamed and humiliated and loses status. Rachel’s new little gay BFF minions overhear the tail end of their conversation, chiming in to add that there’s no way Kurt will beat her, and going on to make further fun of Kurt, his clothes, the fact that he joined Adam’s Apples, and question his placement at NYADA. The way they talk clearly makes Rachel uncomfortable and she defends Kurt, saying that he earned his place at the school, and Kurt, who’s overheard all this, comes up to tell Rachel not to bother – that he’s dealt with much worse than their bitchy gossip. Looking back at Kurt’s high school career, it sinks in how true this is, and it’s unsurprising that all of this just runs off his back, causing nothing more than a mild sigh from him.

Some of Emma’s fabulous custom pamphlets (So She Moved In With Someone Else… Ouch!) are the first reveal to a scene which lets us know that Finn has found out about Brody moving in with Rachel. Emma gently consoles Finn as they discuss Finn’s new discovery – he’s clearly shell-shocked, especially due to finding out via Rachel’s Facebook relationship status. Classy. Finn elaborates, telling Emma that he hasn’t been interested in any other women since his breakup with Rachel. Emma suggests that it may be time to move on, suggesting he take a look at the new math sub, and it’s quite intriguing because, while it seems that they are settling into being friends, it also seems like Emma considers Finn to be more of an equal adult than Finn does – Finn, who still calls her “Miss Pillsbury” and Will “Mr. Schue,” despite being asked to call him Will.

Finn’s actions and attitude have changed so much unconsciously, but he still cannot seem to make the concious acknowledgement that he is an adult and a teacher in the place where he was once a child and a student. He comments that the woman Emma suggested he pursue is “like, 26,” and that he has nothing to offer a grown woman, that he is a “man-boy.” Emma brushes this aside and says that she knows what it feels like to think you’ll always be lonely – and that he will be, until he gets back in the game. Finn thanks her, saying he’s the only person around who can cheer him up these days, and Emma asks for a little repayment – help picking out floral centrepieces for the wedding, seeing Will is off in Washington not giving a damn. Finn, in his simplistic but thoughtful way, helps Emma pick the flowers giving reasons she completely agrees with, and she delightedly marks the task off her giant poster-board of wedding chores.

Santana makes Sam meet her in the auditorium to argue about who owns Brittany. I hate the Sam/Brittany relationship but I kind of hate this argument even more because I adore both of these characters, and their mutual obsession with a girl who’s not worth either of them really stresses me out. Sam’s quite rational about the whole thing, I guess, though they are both assumptive and possessive about Brittany to the point of being offensive. Santana seems to think that Brittany dating Sam is for revenge on Santana for breaking up with her, because Sam is the one person who would make Santana crazy. Why, exactly? Why is Sam such an alleged enemy? Whatever, I hate this, love really does turn people into idiots because both Sam and Santana are a million times too awesome to be bothering with this and I hate that they’re both reduced to being horrible people because of her. They then go on to sing a song challenging one another, “Make No Mistake (She’s Mine),” a lovely ballad about who owns Brittany and gets to control her life. Brittany overhears the end of the song and watches the two fight over who should get to keep her.

Santana’s appearance at McKinley has left someone else feeling pretty unimpressed – Tina. Her voiceover as she wanders, annoyed, through the school halls, complains about how she was upstaged once again – after Grease – by Santana, who doesn’t even go to the school anymore. She gets distracted from her rant when she spots Blaine, swoons over him, and then chides herself for it, saying Mike would totally laugh at her. She then says that she should call Mike. Yes! Yes, Tina! Call Mike, that amazing human, whom you were very, very close to getting back together with and then didn’t, for no reason given so far aside from needing you to be single so this insane plot can happen!

But no, apparently divas don’t call their ex-boyfriends, divas go after what they want, even if what they want is a possibly genderqueer gay male. Said gay male has gotten sicker – “my whole head feels like it’s a shrink-wrapped fist of ham,” so Tina supplies him with some vapour rub for his chest. Blaine thanks her and calls her sweet, which Tina doesn’t like, complaining that no one will look at her and see a diva. Blaine assures her that that’s not true and that there are lots of Asian divas – Lucy Liu, Bai Ling, and B.D. Wong. This is slightly weird, as I had assumed Tina’s statement was more to do with her individual personality than her race in general, but there is no denying that B.D. Wong is a total badass, so, you know. Blaine invites Tina over to his house to help her find the perfect song to channel her inner diva, and Tina coos at him. She needs to stop with the terms of endearment. Now. “Blaineydays” sounds like something out of bad Mary-Sue fanfiction, which I suppose this kind of is, let’s be honest, but I just need her to stop.

At Blaine’s place, Tina gazes wistfully at his framed bedside photographs – Kurt, Kurt, more Kurt – as he enters the room with some drinks on a tray. “Have you ever been with a girl?” she asks him, somewhat out of nowhere, and he looks taken aback but remains polite, saying he hasn’t and referring to himself as a “perfect gold-star gay.” He elaborates, saying that he adores girls – their kindness, sensitivity and beautiful bodies – but that loving them “that way” is just not who he is. Reasonable, fair, yes? Not if you’re Tina, who dismisses this with a crafty and suggestive “we’re young, we still have time to find ourselves.” Blaine is either oblivious or purposely ignores this, turning the point around to Tina finding her inner diva and showing her the playlist of song options he has created. Tina is uncertain about her ability to pull off some of his choices, and as he begins to reassure her and explain costumes he yawns, apologising for the effects of the very strong cold medication he’s still taking. Tina suggests he lies down, in a way that sounds like a prostitute inviting a client to get comfortable.

As he lies back into his pillows, she sits up and stares into the centre of the room, somewhat bravely, I suppose, beginning to reveal her feelings for him, since divas are meant to be brutally honest. She tells him that she’s falling in love with him, and while it could be a “tragic, one-way thing,” she’d find it super awesome if he’d like to date her, even in a sexless relationship – which many Asian girls and gay men do, apparently, er, okay. Tina implores Blaine to respond in some way before she is totally humiliated, and turns around to find Blaine asleep. Thank God. I am grateful, for his sake, that he did not have to hear that, however, things go from awkward to plain shady when Tina, seeing Blaine passed out, uses the opportunity to unbutton his shirt, straddle him in a very sexual manner, and sensually start rubbing the vapour rub into his chest.

Unlike Blaine’s “sucking-up-crush-to-help-my-friend” sweet behaviour towards Sam, this feels very creepily like she is taking any chance she can get to touch Blaine, and call me old-fashioned, but if you’re interested in someone and you know they’re not interested in you, undressing them and touching them while they’re asleep comes within the boundaries of straight-up non-consensual. If you disagree, I invite you to picture this scenario with any other mix of genders – imagine Blaine doing this to another guy, or a male doing this to a passed-out, unaware female. You’d never call it anything other than predatory and inappropriate, so if that squicks you, then so should this. It’s definitely one of the most uncomfortable moments in the show’s history and I seriously hope this ends up being addressed in some way and that we’re not meant to be seeing this as sweet and sad. Once Tina is done fondling the unconscious Blaine, she curls up beside him, sorrowful, and this would have been sweet and sad, if she’d just said her words, found him asleep, and gone to sleep beside him; but no, she had to go with the creepy touching first. Awesome.

It’s Midnight Madness time and a small mob, including Rachel, Kurt, Brody, Beautiful New Adam, Rachel’s Gay Sycophants, and about thirty other students, sneak into a NYADA studio. Brody is the Tyler Durden of the situation, commanding the set-up and reading the rules – both singers sing the same song, one after another. At the end, the group is to stand behind the person they consider the winner, and majority rules. Only silent applause is allowed, for reasons I can’t quite put my finger on, seeing as if they’re going to get caught due to noise, they’re going to get caught because of the loud and piercing singing they’re going to do, but maybe it’s some time honoured tradition that once the contest starts, no sound is to be uttered besides the competitors’ voices. Kurt and Rachel are the first challenge, and Brody issues them their song, which seems to have been drawn at random. It’s “Bring Him Home” from Les Miserables, and to Glee‘s utmost credit, it makes no “Today’s Pop Culture Reference!” to the new film – “Bring Him Home” is a famously difficult song to sing and it makes legitimate sense that it would be on the list of “challenge songs.” When Brody confirms that both Kurt and Rachel know it, Kurt, as tradition dictates, goes first as the challenger.

Much like their first “Defying Gravity” diva-off, we cut between Kurt and Rachel’s performances line-by-line, and they’re both good, but Rachel’s is a tad over-dramatic and Kurt had that glassy-eyed, ethereal quality to him that he gets when he’s being uncontrollably raw, where he is transported to that place it is he goes in his head where no one can follow, and I know he’s going to win. As he and Rachel stand up to be voted in, he whispers “that was good” to her, and she thanks him with a smile, but, I mean, this fight was over when Rachel stood up for Kurt in the hallway earlier. One of Rachel’s new “friends” sneers at her when she smiles expectantly at him, and goes to stand behind Kurt, and both Kurt and Rachel gape at him. Brody counts the votes and announces Kurt as the winner, by the closest possible margin. Kurt laughs delightedly as he receives more silent applause, including from Rachel, who looks ashamed and upset.

“What is with you glee club ex-pats? Don’t you have jobs? You have to have some source of income so you can pay the staff of scientists who service your teleporters that you all clearly own since you’re constantly showing up here.” PREACH, Sue. Santana tells her that she simply has a light schedule this semester, but Sue knows she’s lying – she got Santana the scholarship, so she’s had progress reports from Santana’s new coach. She dropped out of college a month back and begs Sue not to tell her mother. Sue seems unphased and offers Santana a job as her “heir-apparent,” to take over the Cheerios someday. Santana is impressed by the offer, and considers the fact that she would be close to Brittany. Sue asks her to decide by the end of the week.

Tina, who is now an official psychopath, watches Blaine happily discussing something with Artie across the hall. When he spots her, Blaine greets her happily, and calls her over. She stares angrily at Blaine, rips the photo of him down from her locker, slams the door and stamps over to Blaine and Artie, asking Artie to bugger off so she can yell at Blaine. Both Blaine and Artie rightfully look very confused, and when Artie leaves, Blaine starts thanking Tina for the soup, saying he feels better. He also produces the tub of vapour-rub, saying “I guess I used most of this? I don’t know how that happened.” This is the tipping point for a fuming Tina, who starts laying into Blaine like a jaded lover, ranting about how she gives him everything, all of her heart, and he doesn’t even appreciate it. Blaine takes a while to process that Tina is legitimately pissed at him as she rants about how a diva shouldn’t apologise for wanting what she wants. It is, to be fair, a very confusing statement to be hit with, especially if you’re a fairly oblivious boy whose only crime is falling asleep. But it is a truly wonderful parallel to Blaine’s help of Sam in the last episode. Blaine helped Sam because he loves Sam, as a friend, regardless of his crush, and he didn’t help him to try and edge his way into Sam’s heart. Tina, it seems, tried to help and look after Blaine with the end goal of getting something back in return, something more than his friendly appreciation, and when her soup and molestation doesn’t make Blaine fall in love with her, she’s angry at wasting her energy on helping him. Nice.

Blaine is thoroughly confused – and possibly a little offended – by Tina’s behaviour as he calls “That seems a little.. crazy” after her. She wheels around and retorts “no, that seems a little Tina Cohen-Chang. Respect.” She then launches into her diva performance, “Hung Up” by Madonna. The number mostly takes place in the courtyard and is not, aside from the start, a fantasy sequence – it’s her actual weekly glee club assignment, performed bold and brassy in public as the club, Finn and Emma watch. When Emma and Finn try to praise her, she cuts them off, flicking a towel over her shoulder and saying “don’t even worry about it” as she walks off. Blaine is quite amazed and impressed but continues to carry a look on his face that says “but what has this got to do with me?”

Back at NYADA, Kurt discusses his win with Adam. He calls it a lucky break, seeing as he’s been singing the Les Mis score since he was in seventh grade – “literally the entire score” (you and me both, Kurt) – but Adam assures him that, despite Kurt feeling conflicted, he won fair and square. Rachel’s two hangers-on rush up to him, gushing over him and inviting him along to their elite social plans, including signing up for the new Funny Girl open calls. Adam just stands there, and Kurt gives them that trademark Hummel horrified stare, wide eyes and drawing his head right back as they speak. When they finish, and look at him expectantly, he’s quick to tell them what he thinks – that they’re shallow and obnoxious, that they hang on to other people because they know they will never make it anywhere on their own, and that if they say another mean thing about Adam’s Apples, Kurt will challenge them at the next Midnight Madness. “And we all know how that will end.”

He shoos them off with a flick of his beautiful eyes and Adam laughs as Kurt turns back to him, dropping his normal face back on and favouring Adam with a tiny smile. Kurt Hummel is diva perfection – no misguided egocentric attitude, just a precise awareness of his power and control, knowing when to use it, and knowing it doesn’t consume him. Adam sees it, and calls it very impressive, but Kurt notices Rachel, sad and alone, and goes to her. He asks her to come with him to the Funny Girl open calls, trying to mend some bridges, but Rachel shakes him off, clearly disheartened and saying that he, Kurt, would make an amazing Fanny Bryce.

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!”