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Glee Review: “The Hurt Locker, Part One” (Season 6, Episode 4)

With an emphasis on Glee's wonderfully bizarre story arcs - and a smaller, but hugely enjoyable, music presence - "The Hurt Locker, Part One" unleashes Jane Lynch into every storyline possible with vigorously entertaining results.

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Due to Lynch’s dominance over the hour, not much else is going on. Blaine is beginning to feel turmoil between he and Karofsky, thanks to Sue’s interference, but he and Kurt still leave it at an awkward “just friends” way-station. Rachel’s feelings begin to stir for Sam, who’s only hypnotized and still loves Mercedes, so it’s yet to be seen if Rachel will just drop him completely or keep going for it. Here’s to hoping the show’s smarter than that and doesn’t devote its final hours to a will-they-or-won’t-they blah-mance. They sing Vanessa Carlton’s “A Thousand Miles” in a nifty sequence, but it’s hard to tell what the show will do with them. The hour is actually slim on musical numbers, but they also feel more focused and satisfying than last week’s grab-bag of mash-ups.

Thanks to Sue’s further shenanigans she’s also re-enraged Will. She revealed her drone footage, of the former New Directions coach agreeing to sabotage his own team to help another, to Principal Abigail Figgins Gunderson (a beautiful Iqbal Theba in drag), risking his job and respect at the school. Their subsequent fight, including digs at Will for only caring about the Glee kids for their singing and ignoring others with real talent, like the band, is an episode highlight. All points are ones that the show’s made before – including subtle jabs at Brad the Piano Player’s creepy habits – but they never wear out their welcome thanks to the self-deprecating nature of it all.

“Your charms wore off a long time ago, Will. Some time around Bieber Week,” Sue throws out towards the end of said row, a reference to the show at the height of its mid-season two game. Glee has come a long way since then, to higher highs and far lower lows, but the joke works. And that proves something, because a show referencing its own good years from within an awful one is always the kiss of death. But Glee, ever the nimble, chaotic mess that it is, if nothing else, knows how to bounce back. And it has, slowly and surely, from its rocky premiere (and rocky, err, past two years) begun to show early-era, well, glee again. Is it only thanks to the Lynch-of-it-all? Maybe, but, hey whatever works, right?