Blaine’s showcase is in full gear, with Blaine at the piano while he and June duet on Pippin’s “Just No Time at All.” The crowd eats it up, especially when the two go into the audience. They run off to the side to await Blaine’s encore, and Kurt is there to give encouragement to his man. When Blaine heads back onstage, June comments on what a good “friend” Kurt has been to Blaine. Kurt quickly corrects her that he is the future husband, and he’s not going anywhere. Blaine takes his bows and thanks June for all she’s given him, including telling him to be passionate about what he loves. What Blaine loves more than anything is Kurt, so against June’s wishes, he brings Kurt onstage for a version of “American Boy,” with Kurt taking the Estelle part. Kurt is making the most of this opportunity, even climbing and spinning on the piano. June stands there gob-smacked and furious until the sweetness of the whole thing starts to melt her heart. By the end, the whole crew is up on stage, including June, doing the Electric Slide. Blaine apologizes to her for going against her wishes, but she appreciates that he was able to prove her wrong. “Never let anyone make you doubt what you are sure of.” God, I wish someone had given me that advice a decade ago.
Mary’s new script is a revelation and after the read through, Rachel and the rest of the gang all love it. Lea Michele…I mean, Rachel Berry tells them that this is the role she was meant to play. Not Spring Awak…Funny Girl. They all toast to the script. Sam, seeing something out the window, takes off running and the rest chase after him. Outside is a bus, with a giant half naked Sam on it. His dream has been made so he’s going to stop right there and go back to Ohio. What? I can’t. Rachel deems it the end of an era, with all of them scattering like plot point in the wind. She asks them to make a pact that wherever they are, that in six months, they will all meet back in the same spot. Kurt wishes out loud that they can burst into song, and the pop gods heard him. They break out into a really fantastic arrangement of Bastille’s “Pompeii.” It’s chaos in the streets, with Brooklynites dancing and singing with abandon. Interspersed with lots of hugging we see flashes of their future: Sam is back in Ohio on a college campus, Artie is still at film school, Blaine moves into the loft. Rachel gets a phone call from the network. Glee, I mean her show, has been green lit for a pilot. Rachel, Kurt and Blaine jump around, overwhelmed with happiness. The last moment of the episode is Rachel walking, singing through the crowd as if she’s all alone. She stops and looks to the sky before smiling right at us and walking out of frame.
So there we have it. Season Five has been full of some really lovely moments, but overall, Glee just couldn’t seem to pull itself out of the deepening hole it’s been slowly sinking into since Season Four. Part of that isn’t their fault, but there is definitely some major responsibility there. We won’t get to see what happens in the final season until 2015, so let’s just cross our fingers that our beloved characters are treated with more care than they have been this year. Consistency has never been Glee’s strong suit, but it got away with it because so many other elements were so strong. However, when the ties that bind us to a show begin to fray, it becomes harder to overlook its flaws.
Thank you to all the readers for being so kind to me as I stepped in to recap the latter part of the season. It’s been a real pleasure and I’m honored that Heather entrusted me with these Gleecaps.
A huge thank you to my screencapper Chen Drachman who you should totally follow on Twitter @shokoshik