At number 47!
47. Glee changes the world in nine seconds
We know them now as Klaine, the most adorable couple in the universe, but until this moment, they were simply Kurt and Blaine, Golden Boy and groupie, and the bottomless chasm of longing that separated the two. Well, not so much, it turns out. In Season 2’s “Original Song,” Blaine finally admitted why he chose Kurt as his duet partner for Regionals: “There’s a moment when you say to yourself, ‘Oh, there you are. I’ve been looking for you forever…You move me, Kurt, and this duet would be just an excuse to spend more time with you.'” Then he planted The Kiss. Nine long seconds. You can hate on Glee, but just knowing that millions of conservative parents were gasping in horror as their children were squealing with delight right next to them gave us some kind of hope for the future.
Thanks to the folks at Teen.com for sending this great run-down my way!
After last night’s episode of Glee where Kurt and Rachel lost their v-cards, we’re sure we’re not the only ones who were hoping for just a little more, oh, we dunno, sexappeal. Amirite?
So to whet our appetites a little bit, we decided to take a stroll down McKinley lane and rehash the sexiest Glee moments ever. We think we’ve got all the couples covered — Wemma, Finchel, Quam, Klaine, plus one who you’re probs not expecting — and trust us when we tell you that these moments are totally up there on the sex appeal scale. But tell your mom not to worry too much — they’re still all PG-rated. Swear.
1. This scene came at the end of season 1 during the Madonna episode. That “Like a Virgin” performance was a total classic. We just can’t decide which couple-at-the-time we like more…Will and Emma or Jesse St. James and Rachel?
2. Who can forget the “sweet lady kisses” between Brittany and Santana? This was back in season 2 when the girls were kind of just experimenting with their sexuality, but we know now that that smooch led to their eventual couplehood. So cute.
3. And speaking of Brittany, remember Britney? Granted the Britney Spears tribute ep of season 2 didn’t involve kissing or any mention of relationships, but Brittany S. Pearce made the best Britney Spears. And by best we mean sexiest EVER.
4. They didn’t call this season 2 episode “Sexy” for nothing! Even Wemma fans couldn’t help but swoon when Will and Holly, the sex-ed substitute teacher, shared a romantic dance to Prince’s song, “Kiss.” And ya know, that actual kiss wasn’t too shabby either.
5. Some may think that there was nothing sexy about Rachel and Blaine’s drunken makeout sesh in season 2′s “Blame it On the Alcohol,” but here’s the thing — it’s Rachel and Blaine. Aka Lea Michele and Darren Criss. There’s nothing not sexy about those two hooking up.
6. But don’t worry, Klaine fans. We all know that the real sexiest Blaine moment (aside from like, everything), was his first smooch with Kurt during the regionals ep, “Original Song.” “You move me, Kurt,” Blaine says. Um, hello, Sir Darren, you move us too.
7. And also during sectionals? Perhaps the most quintessential Quinn and Sam moment ever was when they sang “Time of My Life” at the show. New Directions tied with the Warblers during the 2010 competish, and we totes think this super sweet moment was part of it.
8. But Quinn sure does get around. Just a few eps after her sweet moment with Sam, she cheated on him with Finn at the kissing booth (and then again in the gym) in the “Silly Love Songs” Valentine’s Day ep. Then she got mono and the whole glee club found out she was cheating, but whatever. That makeout sesh was super sexy nonetheless.
9. And uh, Finn kinda gets around too. But our fave Finchel moment to date (other than this one)? Basically the entire season 2 finale, “Nationals,” where they went on a romantic date in NYCand then kissed on-stage during New Directions’ performance. They came in 12th place due to that inapprops PDA, but come on, we bet even the judges thought it was pretty darn sexy.
10. We know some gleeks might see this final moment as skeevy rather than sexy, but we just had to include Puck and Shelby’s sudden kiss in season 3′s episode, “Pot o Gold.”Next week he professes his love to the much-older teach, and we’re sort of looking forward to more sultry Pelby scenes. Are you with us?!
Ok, now it’s your turn. What do you think was the sexiest Glee moment ever? Did we leave any out? And who do you think is the sexiest Glee couple, past or present? Tell us EVERYTHING (seriously, the more the merrier) on Teen.com!
I want this. I WANT IT. If you guys don’t want it, then enter for me!!
You could win:
- Roundtrip airfare and hotel accomodations for four
- Dinner for four
- Four tickets to The Book of Mormon
- Backstage tour at The Book of Mormon
- Four Book of Mormon t-shirts and hats
- Four Book of Mormon cast albums
- One Flip HD 8GB video camera
Ten runners-up will receive t-shirts, hats, and albums!
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This is a fun little read. I would love to see some Springsteen on Glee!
Glee‘s done Madonna, they’ve conquered Britney. But can McKinley High’s New Directions take on The Boss? Multiple reports say the hit musical comedy is mulling a Bruce Springsteen-themed episode to air immediately following the Super Bowl, which Fox is televising come Feb. 6. And now the word is Springsteen himself may guest-star — not as himself but as Finn Hudson’s uncle. Check out five reasons Springsteen and Glee should unite:
1. The Garden State needs an image rehabilitation via TV, and The Boss can deliver it
We love GTL and table-flipping as much as the next person. But between The Real Housewives of New Jersey, Jersey Shore, Jerseylicious and Jersey Couture, reality TV has now painted New Jersey locals as a bunch of overly tanned, overly dramatic guidos and guidettes with accents as thick as their hair. (It’s really not that bad depending on where you’re from.) It’s time for Springsteen to step up and help out his neighbors with a quality program (one that doesn’t take place 80 years ago, sorry Boardwalk Empire). Who wouldn’t want to hear Mr. Schu belt out “Thunder Road” as he continues to pine over Emma.
2. Glee did such a good job with “Born to Run” … why not take it all the way?
In August, Jimmy Fallon recruited much of the Glee club (and a slushy-happy Jane Lynch!) to help perform an upbeat and uproarious rendition of Springsteen’s “Born to Run.” The performance not only earned Fallon high praise from critics, and not since “Don’t Stop Believing” have they show-choir’d up a song like that. It’s about time the cast got back into the Glee mode and took The Boss to the next level.
3. Between “Darkness on the Edge of Town” and “The Rising,” Springsteen’s catalog is full of possibilities
Although Heather Morris completely killed it last week in her performances of both “I’m a Slave 4 U” and “Me Against the Music,” the Britney Spears episode, let’s be real, they were all a bunch of hallucinations. Puck, lost without Quinn, could so rip up “Hungry Heart.” The whole club could use a crowd-pleaser like “The Rising” as an inspiring way to win over the judges at sectionals.
4. Both Springsteen and Glee aren’t afraid to stand — and sing — for something
Springsteen has always prided himself as being the voice of the working man. In recent years, he’s publicly opposed the war in Iraq and campaigned for Democratic candidates such as John Kerry and President Barack Obama. The Rising was one of the first records to address the 9/11 attacks. Glee has tackled social issues such as abortion, disabilities and religion. The show also plans to dedicate an upcoming episode on the day-to-day fear and isolation some gay teens face.
5. Because Cory Monteith is the spitting image of The Boss
OK, dimwitted but still completely lovable Finn Hudson (Monteith) doesn’t really bear that much of a resemblance to the aging rocker. But after Kurt’s dad had a heart attack, Finn needs a father figure now more than ever. Plus, some of Monteith’s best series performances have been covers of classic rock songs like Van Morrison’s “Hello, I Love You” and the Pretenders’ “I’ll Stand By You,” which means he’s completely capable of handling The Boss. Our dream pick? “4th of July, Asbury Park (Sandy),” which he’ll sing to his neurotic love Rachel, of course.
“Glee” became an instant sensation when it first aired in September 2009. Since its pilot episode – the brainchild of Ryan Murphy, formerly known for “Nip/Tuck” (2003−10) – it has turned into something of a cultural phenomenon, evidenced by its 19 Emmy nominations and four wins.
“Gleeks” have rejoiced to see this musical−dramedy back for its second season – but has it lost some of its spark?
Led by the overly ambitious Rachel Berry (Lea Michelle), students of McKinley High’s New Directions glee club cope with their personal lives while facing harassment by fellow students for their membership in this unpopular group. Even teachers attack these unfortunate teens: The comically sinister cheerleading coach Sue Sylvester (Jane Lynch) tries tirelessly to disassemble the club. Will Schuester (Matthew Morrison), the corny glee club teacher, inspires the students to continue expressing themselves through music, regardless of the adversities they face.
“Audition,” the second−season premiere, presents a new soiree of drama.
Fresh faces add to the intrigue of the plot: A new football coach siphons off Sue and Will’s club budgets, and two new students come into town, both coincidentally with fantastic singing abilities. The appearance of the latter two on the scene is convenient enough, as the glee club needs new members.
The second episode, “Britney/Brittany,” featured the music of Britney Spears and brought back the old love triangle between Will, his psycho ex−wife Terry (Jessalyn Gilsig) and Emma (Jayma Mays), the neurotic guidance counselor. The glee club wants to perform Britney Spears’s songs for the homecoming assembly despite Will’s insistence that Spears is not a good role model.
These opening episodes unfortunately seem to indicate that this lauded series has become a victim of its own hype. The first episode was extremely ambitious in establishing characters and plots while simultaneously trying to woo a new audience turned on by the show’s rise to fame.
Something that many dedicated viewers found appealing about “Glee’s” music was its mixture of old and new songs. As part of its attempt to attract a new audience and still maintain its loyal fans, the show integrated five Top 40 hits into the first episode.
This change might have come off as effortless if it had been done in the right context, but the show seemed too rushed and eager to show off its new “cool” pedigree, and little attention was paid to the logical segueing into song.
Even so, the first episode was not without its rewards.
The songs performed by the glee club were executed as excellently as ever. The introduction of the new football coach, Bieste (Dot Marie Jones), added a healthy and much−desired dose of drama. And, of course, no “Glee” episode passes without imparting a moral: Sue’s failed plan to tarnish her new opponent’s reputation teaches the audience a valuable lesson about treating others with respect.
As for the highly anticipated Britney episode, fans may have hoped for the same success evident in season one’s Madonna episode. The strength of the latter was its successful incorporation of Madonna songs into the established plot.
The Britney episode unfortunately lacked that integration, and it’s just too early in this season to have an episode take a break from plot arcs that have barely been established. Although the episode’s cabaret−style theme was highly entertaining, Murphy made a poor directing call by offering this episode so soon in the season.
Not all is lost for “Glee.” The show still brings the novelty of musical comedy to the homes of millions every Tuesday night. The characters, including Mercedes (Amber Reilly), Kurt (Chris Colfer) and Artie (Kevin McHale), still have lessons to teach us about how to deal with our differences in the context of a myopic society. And, of course, viewers look forward to the melodrama created by the relationships, alliances and enemies made through the glee club.
Hopefully, the show will return to what made it so famous in the first place: its authenticity. “Glee” is about being an individual, a character and even an outcast, and on some level, everyone can relate to that.
This is an exceptional article – check it out…
Here’s a test:
If you’re reading this article on AfterElton.com, answer this question: Did Rizzoli and Isles end up together on the season finale of Rizzoli & Isles?
If you’re reading this article on AfterEllen.com, answer this question: Did Sam and Dean end up together on last season’s finale of Supernatural?
Odds are, if you are a gay man or a lesbian you were easily able to answer one of those questions. You probably had difficulty with the other. (FWIW, none of those characters wound up together as they are straight and/or related! Supposedly.)
Similarly, if I asked AfterElton readers what happened to Bette and Tina in the series finale of The L Word, they’d have no idea. Or if I asked AfterEllen readers what’s happening with Kevin and Scotty on Brothers and Sisters, they’d have no idea. And those are legitimate (fictional) gay couples.
When it comes to LGBT entertainment, there’s a canyon between what the L and the G want to watch on TV — except when it comes to Glee. Those singing and dancing shenanigans are something we can all agree on: We love it!
Here are five reasons why we think Glee bridges The Great Gay Divide.
1) We’ve all cried Kurt Hummel’s tears.
The difference between a coming of age story and a coming out story is that one is contingent on age and the other is timeless. Some of Kurt’s internal turmoil is pure adolescence: His struggle with the social hierarchy of youth, his goals and dreams juxtaposed to his father’s hopes and dreams for him, his first pangs of puppy love. And while many Glee viewers — lesbian and gay teens among them — are right there with Kurt, others of us barely remember the awkward struggles of high school. But Kurt’s internal turmoil over his sexuality? That’s something with which lesbian and gay people of all ages can identify.
Should he tell the truth about being gay and risk furthering his social ostricization? Should he confirm his father’s worst fears and drive an even deeper wedge between them? Should he confess to falling for his best friend? Should he voluntarily jump back into the closet when he realizes his dad (read: family) isn’t quite ready to deal with the repercussions of him being out?
It’s a story that resonates with so many lesbian and gay people because it’s a story many of us have lived. Some of us have already navigated the tempestuous waters of coming out and living out, openly. And some of us are still working toward a place of personal authenticity. We mourn Kurt’s personal defeats because we also hope to one day share Kurt’s personal victories.
2) We know what it’s like to hear New Directions jeers.
The lesbian and gay community knows a little something about being outcasts. Whether you’ve always been different (Artie), or you only recently discovered something that sets you apart (Finn), or you just have an unnatural attachment to show tunes (Rachel), you’re not the same as the rest of the world. When lesbian and gay people talk about their childhoods, they often say that they didn’t have the language to describe their sexuality, but they just sensed that something about them was different.
Whether that difference is an internal one (the turmoil of not being attracted to chicks/dudes like your buddies), or an external one (the lack of civil rights equality), the lesbian and gay community sees itself reflected in the characters on Glee. It resonates because it’s real. And, like Mr. Schuester said in the second season premiere, what we really want is to go from a small rebel force to a great wall of sound!
3) We’ve taken a Slushie to the face — repeatedly.
One of my personal frustrations with Glee is the one-step-forward, two-steps-back trope that seems to plague New Directions in every episode.We have enough members to compete at regionals! Oh, wait — no we don’t! Oh, wait — yes we do! We’ve formed a family out of a band of ragamuffin singers! Oh, wait — no we haven’t! Oh, wait — yes, we have! Sue is evil! No, Sue is heroic! No, Sue is evil!
But perhaps my frustration is only an extension of my frustration over the equality dance I face every day. Gay people can get married! Oh, wait — no, they can’t! Oh, wait — yes, they can! Openly gay people can’t serve in the military! Oh, wait — yes, they can! Oh, wait — no, they can’t!
The lesbian and gay community understands what it’s like to gain and lose popularity over the short span of a 42-minute show (or 24-hour news cycle). The lesbian and gay community understands what it means to be granted the same rights as everyone else, only to have those rights jerked from our hands.
And we keep stepping out into the world with bright eyes and fresh faces, hoping that this time, no one is holding a Slushie.
4) We know a little something about good music.
Stereotypes are stereotypes for a reason. Gay men on Broadway, angsty lesbians with guitars: It may not be every gay’s reality, but it’s a reality for enough people that it has become a cliche.
There are plenty of people from all walks of life from all over the world who watch Glee just for the singing and dancing. And there’s nothing wrong with that. There’s an old Greek proverb that says “love covers a multitude of sins.” Roughly translated to Broadway-speak, I’m pretty sure it says “jazz hands cover a multitude of plot holes.”
Lesbians and gays love them some good music, and Glee hits way more often than it misses.
5) Jane Effing Lynch.
Nothing brings the L and G in “LGBT” together like a strong, talented, hilarious, occasionally surly woman, (Bonus points if she’s gay!) And my goodness, if Jane Lynch doesn’t fit the bill for every one one of those things in Sue Sylvester. She zigs, she zags, she zings! Rooting for her is a bit like rooting for Darth Vader. Or the Cylons. But if loving The Lynch is wrong, we don’t want to be right.
Thank you to Steph for sending this my way!
Last year’s debut campaign of the hit series introduced viewers to a core group of earnest teens singing and dancing their way through the American high-school experience. The much-anticipated second season widens the spotlight to the rest of the school.
“Everyone gets a chance to shine this season,” said Glee co-creator and executive producer Ryan Murphy in an interview during the recent TV critics’ tour. “Instead of going bigger and overstuffing Season 2, which people would expect, we’re going under it. We’ll pick up on the stories of our main cast, but we’re also going to spend time on the support characters. Everyone gets their moment.”
This notion of everyone getting their chance to shine probably runs opposite to the way things work in real high school and partly explains the show’s freakish appeal. For many viewers, Tuesday night’s return of Glee (Fox, Global at 8 p.m.) is a much bigger deal than any of the new fall arrivals.
With the possible exception of Mad Men, no network program in recent memory has generated its volume of viewer buzz or spawned more fan websites. The very uniqueness of the concept –was it a comedy, music or drama? – knocked the TV world on its ear and the word “Gleek” suddenly entered the language.
No question, Glee has pull with young fans, but the show also resonates strongly with twenty- and thirtysomethings and beyond, if only because at some point all of us were forced to endure the high-school rite of passage.
“ I’m very proud of the merchandise we have coming out ”— Glee executive producer Ryan Murphy
“The reason high-school shows work, and college shows do not, is because high-school shows are about firsts,” said Murphy. “First love, first kiss, first fight. And one of the concepts is, when you’re in high school, at moments it feels like a suddenly bright spotlight hits you and you feel very exposed, which is a sort of hyper-surreal place. That’s why we do those moments.”
Invariably, those special moments are expressed in song. Glee lives and dies on its splashy music numbers and the show has drawn hundreds of millions of visitors to YouTube and fan sites.
Part of the first season’s success was due to a shrewd marketing ploy by Fox: A few days before each new broadcast, the network would release that episode’s songs – which immediately went viral. When Glee returned from its mid-season break last spring, the show had nearly doubled its audience.
And musical range? Glee accomplished the seemingly impossible task of re-imagining versions of top-40 songs in between makeovers of eighties hits (the Glee version of Journey’s Don’t Stop Believin’ charted higher than the original 1981 single) and even the occasional Broadway show tune.
“I got a great thrill seeing something from Funny Girl in the iTunes Top 3,” said Murphy, who also created the cable series Nip/Tuck. “And then, you know, the original versions of those songs then rechart, which is amazing for me, because I love all those songs.”
Some outings of Glee are more special than others. The first season featured themed episodes celebrating the music of Lady Gaga, Beyoncé and other artists; the Madonna episode featured no less than nine musical tributes to the Material Girl.
Tonight’s second-season opener, titled Auditions, picks up the stories of the central players – specifically the singing quarterback Finn, played by Calgary-born Cory Monteith, and his beloved teen chanteuse Rachel (Lea Michele) – while fleshing out those of new arrivals Sam (Chord Overstreet) and the exchange student Sunshine, played by pop star Charice. Future episodes will spread the storyline out to those characters who were faces in the crowd last season.
“Fans of the show really want to know more about the support characters, like Santana, Brittany and Mike Chang,” said Murphy. “Although they appeared only briefly in the first season, some already have mini fan websites. All of them will be getting bigger storylines this year.”
How deep into the wings will the new season go? At some point, viewers should expect some insight into the heretofore silent piano player portrayed by Brad Ellis – still listed only as piano/accompanist on the show credits – who is usually shown glowering at the warbling high-schoolers.
“I’ve only ever given him one direction, which is: ‘You hate those kids,’ ” said Murphy. “He hasn’t had any lines yet, but we have a whole backstory where he goes home and does voodoo dolls. He hates those kids.”
Both Fox and the Glee creators are planning for the long run. And in little more than a year, the Glee stock has soared. The Season 1 box set, released a week ago, currently sits atop the DVD bestseller lists in Canada and the United States. There’s also been the briskly selling Glee CD, Glee lunchboxes, Glee T-shirts and a series of officially sanctioned Glee novels based on the show’s characters.
“I’m very proud of the merchandise we have coming out,” said Murphy. “Because for every two things that I approve, I turn down 10. The novels are for young adults … I like what they’re about. We clearly did not write them. We don’t have the time.”
In many ways, Glee is not unlike a corporate entity, with Murphy serving as CEO. During Fox’s stint on the TV critics’ tour, the first Glee volley was a brisk question-and-answer session with Murphy, co-creator Ian Brennan and the show’s choreographer, music director and costume designer; the overall tone was not unlike a shareholder’s meeting. Thereafter most of the promotional legwork for the new season fell to the show’s cast.
Later that same day, Glee’s most recognizable star, Jane Lynch, who plays tough-as-nails-gym-coach Sue Sylvester, was the main attraction at Fox’s All-Star party on the Santa Monica Pier. The strikingly tall actress was mobbed by fans on arrival.
“After a lot of years in this business, Sue has been an unbelievable gift for me,” said Lynch, a few weeks before she would collect her first Emmy for the role. “Certainly Sue’s an over-the-top character, but she’s unique and honest in her own unpleasant way. She gives me a lot to play with.”
And for sharp counterpoint, the press was provided access to TV’s current perfect-teacher archetype: Will Schuester, played by musical-theatre veteran and Emmy nominee Matthew Morrison. Glee veers into Mr. Schue’s personal life, particularly his fractious relationship with wife Terri, played by Canadian Jessalyn Gilsig, but his character’s focus unfailingly remains on his singing students.
“We try not to idealize him, but he’s the sort of person born to become a teacher,” said Morrison at the same soiree. “The one thing we keep hearing from younger fans is that the show is so grounded in the realities of high school today. We take pride in the fact that the show has caused a lot of schools to form their own glee clubs. Kids need to have that kind of creative outlet.”
And so far, so good. Glee-mania burned at fever pitch most of last season, but the peak occurred in April, when the show’s cast and producers appeared on The Oprah Winfrey Show and visited the White House in the same week.
“Right after that I had a meeting with all the kids in my office,” recalled Murphy. “We went around the table and talked about where we were one year earlier. Most of the kids didn’t have jobs. One was working at a gas station. They really got back in touch with where they came from. They’re all sweet and lovely kids. Nobody is letting the success go to their head.”