We then immediately segue to what’s apparently the rooftop of Kurt’s apartment, shot in a retro, heightened fashion – much like styling of the rooftops of Paris in Moulin Rouge. There’s mist, ankle deep, covering the floor, and fairy lights enhance a pavilion hung with curtains fashioned to look like – you guessed it – an elephant. Blaine, in a tuxedo, nervously enters through the rooftop door, hugging himself against the cold, and begins to sing “Come What May.” As he sings the verse, in great pain, he imagines past moments of Klaine glory, like their first meeting on the stairs at Dalton, and their loving “first time.” This is actually sheer emotional manipulation towards the audience, due to the fact that we come to learn that this is actually Kurt’s fantasy, not Blaine’s, so Blaine wouldn’t be doing any imagining at all. Apparently Glee feels the need to remind us “Hey! You liked Klaine! Remember? We need you to remember this, despite our past season and a half of massacring this couple, otherwise this song will have no emotional effect!” Kurt appears on the roof, also in formal attire, and the two sing the song longingly to each other, waltzing a few steps before Kurt walks away from Blaine, watching from from the other side of his elephant pavilion. As they end, they come together and hug, holding each other as we cut back to Kurt watching the “Come What May” scene in the movie, weeping as he’s nestled between Rachel and Adam. Adam notices that Kurt is crying and comments on it, worried and affectionate. Kurt makes excuses about his contact lenses – even though Kurt Hummel crying in Moulin Rouge would not be the world’s biggest shocker in any circumstance, let’s be real now.
Santana, bored and intolerant, comments that Kurt’s probably crying because of how he and Blaine used to talk about how they wanted to sing this song to one another at their wedding. Adam looks away as Kurt glares at Santana, but she goes on to remind Kurt “I remember you telling me that singing this song to someone was a more intimate act than sex.” Who knows if Santana is trying to be actively destructive or if she’s just sort of a sociopath – she’s certainly not wearing that cruel smirk of hers, so maybe she just thinks she’s speaking some reasonable truths, but she interrupts herself and pauses the film to use this moment to bring up her concerns about another resident of the apartment. “That Brody character is a freaking psycho.” Kurt goes from annoyed at her to on-board, immediately. “Go on.”
“When I first met him, totally thought he was weird. He smelt all talcum-y, like a Cabbage Patch Doll? And then he said I wasn’t a real New Yorker until I’d had my first makeover, and I was like ‘what does that even mean?’” I am SCREAMING by this point because lord, I love when Glee does this – I’m not the biggest fan of when they try to make light of past mistakes or inconsistencies, but when they lampshade an absurdity, like this, from the perspective of another character, it’s the funniest thing ever. Anyway, when Adam says that Brody is a sweetheart, Santana goes on to explain further, and I’m sorry, her lines are just too good not to be quoted directly. She’s this episode’s MVP already. “That’s what I told myself, you know. I said ‘so what if he’s completely hairless and made out of plastic? I’m going to look past the fact that he probably has a disgusting porn-star landing strip. I’m gonna give Lars and the Real Boy one more chance.’” LARS AND THE REAL BOY, readers, I have lost my ability to even.
Santana then explains that, after she’d tried to put her suspicions aside, she’d found a wad of over a thousand dollars in cash in the apartment, which could only be Brody’s. Kurt and Rachel both start to heat up with outrage that Santana has been rooting around the entire apartment “Yeah, it’s a thing I do,” she shrugs, but Adam tries to rationalise the situation by saying who cares if Brody is carrying a little money? “That’s what I thought, right? Who cares if he’s terrified of banks? Cause if I were made out of plastic, I’d be scared of a lot of things too, open flames, barbecues…” Oh my god, they need to stop, I’m dying. Anyway, she then goes on to pull out her second piece of evidence – a pager. She claims that the equation of cash plus pager equals only one thing – that Brody is a drug dealer.
Back at McKinley, Emma’s parents sit in her office, looking confused, and we soon see why. Finn and Artie sit across from them in some serious ginger wigs, claiming to be members of the “Stop Ginger Bullying” club that Emma allegedly founded. They try to gain the pity of the ginger supremacist Pillsburys, claiming Artie needs her help to gain a college scholarship. “You don’t want Emma’s advice about college,” her dad says, “She doesn’t know anything. The kids at this school don’t seem to even think about what college they want to go to until about a week before graduation. That’s weird. You’re supposed to figure that out when you’re a junior.” Burn, Glee. Burn, Okay, okay, I think I’ve figured this out. Maybe there’s a couple of members of the Glee writing staff who are particular sticklers and are less tolerant with Glee’s absurdities and mistakes, so when it comes to their turn to pen an episode, they lampshade the hell out of things they found stupid in past episodes. Do you reckon? Because at this point it’s seeming likely. Nevertheless, poor ginger Artie and poor ginger Finn guilt Emma’s parents into giving them the address where Emma is staying.
We want to hear your thoughts on this topic!
Write a comment below or submit an article to Hypable.