“Glee” recap 4.16: Clear Eyes, Full Hearts, Rage Breasts


When Santana arrives home, after securing for herself a job at the Coyote Ugly Bar(!), Kurt and Rachel are waiting in the half-dark for a family meeting. Kurt, hilariously, goes, “We just got off the phone with Brody. Did you confront him at NYADA with a Paula Abdul song?!” Santana confirms that yes, that awesome thing did happen, and also she explains that because she loves them, she is using her psychic Mexican third eye on their behalves, and trust her on this one, Brody is a shadester.

They tell her she has to get along with Brody or move out, so she steals Kurt’s pillow and Rachel’s comforter and hops on over to Lena Dunham‘s to crash on the couch.


Actually, that is only a bluff. Santana really shimmies on over to some Kubrickian hotel and waits in the dark for Brody to come try to hook for her. He opens the door, all, “Honey, I’m ho—fuck. Is this the part where you kill me?” Santana smiles sweetly and tells him it’s not her he needs to worry about tonight. The bathroom door opens, and out walks Rachel.

Oh, thank God. You know, I kind of thought Glee had soiled itself in my esteem in an irredeemable way last season when Finn had to dupe Rachel into getting on a train and move to New York. This is a show that built itself on the back of Rachel Berry’s ambition. It’s the thread that has always woven everything together, from the very beginning. It brought Glee (and glee club) together and held Glee (and glee club) together and despite all of the other stuff that found its way into the main narrative, Rachel’s talent and Rachel’s aspirations were the themes all the other themes were built on. So to have her lose herself in a boy so completely that she wouldn’t even follow her lifelong dream of moving to New York unless he coerced her into it? What a gross message. What an awful character assassination. And then to bring her to the city and trap her in another storyline where her whole self is built on the validation of another boy? It makes my breats ache with rage.

So it is such a relief to see her finally confronting Brody, both the character who is doing her dirty and the symbolism of the thing that is holding her down. To look that thing right in the eye and say, “I am better than this. I see it now. I am Rachel Motherfucking Berry” is such a relief. Finally, her character can grow into the woman we were introduced to in the pilot.

Just kidding, you guys. It’s Finn in the bathroom. “Stay away from my future wife,” is what he shouts while beating the shit out of Brody.

Not even Liz Lemon could roll her eyes hard enough to convey the correct emotion about that turn of events.

Next week: Wham! Blam? Thank you, ma’am.

Thank you, as always, to my screencapping partner Lindsay (@ScenicPenguin) for shirking sleep to bring the beauty.

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