![]() ![]() As the audience at home chants, "Not THAT's how you kill a doofus!" Resting in post-coital bliss, poor Logan doesn't see it coming when NotLisa extends her toothy lizard jaw and rips his throat out. The audience at home chants: "Now THAT'S how you kill your father!" And then it's time to say goodbye to the show's most annoying character: Erica's gung-ho empty shirt of a son Logan, bedding the newly hatched Lisa clone (whose Alien-esque birth gave us Anna's other great line of the week: "Put skin on my daughter, and make sure she looks exactly like Lisa!"). From matricide to patricide, as boring turncoat alien Ryan sneaks back on the ship to fetch his rapidly maturing hybrid daughter Amy, but is instead killed (presumably) when Amy wraps her own tail around dad's neck, revealing her allegiance to surrogate mommy Anna. It's not the only gloriously garish death scene in the episode. This is Anna, showing wimpy daughter Lisa - who botched her own planned assassination of Anna - how it's done, as the evil queen dispatches the unfortunate deposed matriarch Diana (toodles, Jane Badler) with her killer lizard tail. SPACE CAMP: Oh V, you foolish failed show, why did you wait so long to give us a taste of what could have been? The season (very likely series) finale gives us a top candidate for line of the week, if not the month (or season): "Now THAT'S how you kill your mother!" Genius! Want more Matt Roush? Subscribe to TV Guide Magazine now! Raise Your Glass to Glee this week, and let's hope the last batch of episodes this season can live up to this standard. Rachel is special - and I'm glad the episode gave her an un-ironic win.Īlso special: Kurt, who gets a big swoony win as well - no trophy, but a trophy boyfriend, plus a performance spotlight alongside Blaine after schooling the Warblers star on his "numerous" solos: "I feel like we're Blaine and the Pips." Crooning Blackbird after the sudden death of Pavarotti the canary, songbird Kurt warbles his way into Blaine's affections, and the rest is gay-TV history: a kiss that sent message boards and Twitter into a frenzy, setting up a Regionals duet of Candles that gives Kurt stage fright but Blaine the chance to tell Kurt how adorable he is. Top dramatic honors go to Quinn and her confrontation with Rachel, a wake-up call for the diva to get over her high-school crush because, unlike Finn and Quinn, she doesn't belong in Lima. Like the best Glee episodes, this one spreads the wealth, giving Mercedes a rousing Hell to the No number (already a workout favorite) and Puck a Big Ass Heart salute to plus-sized Lauren. Shue says, "The greatest songs are about hurt." Which leads to heartsick Rachel's Get It Right power ballad and the exuberantly defiant Loser Like Me anthem with its confetti-Slushee climax. Sometimes for comic effect - loved how Santana's hilariously torchy "Trouty Mouth" ode to Sam was briefly trending on Twitter - but more frequently for overdue emotional payoff, because as Mr. Replacing the time-honored "let's put on a show" mantra with "let's write an original song," this tune-stuffed hour focused on the kids (always more fun than those aggravating adults-who-act-like-children), and what plot there was developed character through music. But let's accentuate the positive, as the great old song goes.
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