Brittany and Santana are walking down the hall the next day,
and Britt is advising Santana to lay off Finn when Becky comes running up and
says Coach Sylvester wants to see her in her office right away.
This is one of those scenes where Sue goes from totally
unrealistic and, again, cartoon-evil, to being really human. Like the scene
where she resigned from her role as principal because the school board wouldn’t
keep Kurt safe in school and allowed Dave
Burt and Will are there, and it’s clear something really,
really terrible has happened.
“I’m afraid we have some bad news, Santana,” Sue
says. “And I think I might be to blame.”
“You think?” Burt says.
“Watch your blood pressure, Bubbles,” Sue says.
Then she looks back at Santana. “In my campaign to become Ohio’s newest
congresswoman, I’ve said some things that are not true, and I don’t feel good
Sue comes out from behind her desk, and leans on the desk in
front of Santana. “I set the tone for this campaign, and now I’m afraid my
slanderous chickens have come home to roost.”
Will breaks in and says that there is a counselor standing
by to talk to her, and Burt says he’s been there and will be glad to talk to
Santana, of course, has no idea what anyone’s talking about,
and neither do we.
It turns out that one of Sue and Burt’s opponents has
created a campaign ad accusing Sue of being a lesbian, because she has
appointed a lesbian head cheerleader – with photos of Santana. He found out because
his niece goes to McKinley, and she overheard Finn taunting Santana about
coming out in the hallway.
It’s not just Sue’s chickens coming home to roost.
Santana can’t seem to believe it. She starts to cry, and says, “I can’t
believe this is happening. I haven’t even told my parents yet.” That
“yet” ripped my heart out.
Then she runs down the hall, sobbing. And we cut immediately
to the freaking unbelievable mash-up of Adele’s “Rumor Has It/Someone Like
You.” It’s the strongest musical number Glee has ever done. Mercedes dominates it, the dancers are great,
Naya packs so much emotion into her singing and also on her face, in her body
language, the way she hesitates and almost, but not quite, loses the
choreography… it was powerful as a stand-alone musical performance, but in the
context, it’s devastating.