What We'll (for Real) Miss About 'Glee': A Plea for Tolerance

Glee closed out Friday night's Very Special Episode about the importance of tolerance with one of the biggest musical numbers in its history: a spirited, soulful rendition of "I Know Where I've Been" from the Tony-award winning musical Hairspray, fronted by transgender student Unique (Alex Newell) and backed by a choir consisting of some 200 real-life transgender singers. Among their number was another of the show's fictional characters, newly transitioned Sheldon (née Shelly) Beiste (Dot Jones), McKinley's football coach, back at school after he "took some time off to let my outsides catch up with my insides." You might say that the sequence was over the top, and you'd be right. But that's how this series has always addressed the subject of gender and sexuality as it relates to personal identity: loud, proud, and in your face. That approach may not be subtle, but in the case of Glee, it is frequently effective.

Related: Sing Along With Our Recaps of 'Glee's' Final Season

Back in Season 1, Glee was deservedly hailed as one of the most progressive shows on television, particularly in its upbeat depiction of an openly gay teenager — Kurt — with a supportive family and a strong will. That praise has died down since, the result of the creative challenges the series has faced in addition to the arrival of shows like Transparent, Looking, and Orange Is the New Black, which have used the freedoms offered by pay cable and streaming TV to explore questions of sexuality in more complex (not to mention explicit) ways. But Glee has continued to consistently practice and preach tolerance for individuals whose appearance and desires may not conform to society's norms. The only folks it doesn't tolerate are the intolerant, although even then there are exceptions, provided a previously judgmental character is willing to have his or her personal beliefs challenged. Think Quinn leaving her Christian cheerleader past behind or closeted Dave Karofsky finally admitting the real roots of his rage to himself. (By the way, Dave's split with Blaine was inevitable, but we still feel for the big galoot. Here's hoping he finds a more worthy partner, or at least a fun rebound guy, soon.)

No one show can hope to completely cure intolerance, but in its loud, messy way Glee has made a definite impact. As for the rest of the episode...

Best Song (Besides "I Know Where I've Been"): "Time After Time"

No fair, Glee. We’re on record as calling for a moratorium on all Rachel/Sam duets, but then you went and had them record the one song we can't resist. No matter how many times we've heard it, Cyndi Lauper's vintage '80s pop ballad never fails to make us swoon.

Worst Song (Besides Matthew Morrison Rapping): "All About That Bass"

It was a true case of "first is the worst" this week as the show took its best singers — Mercedes and Roderick — and assigned them the earworm of the moment, even though it's not remotely worthy of their voices. The duo gave it their all, but that only made it sadder.

Worst Lea Michele Moment: In the interests of respecting the episode's theme of tolerance, we'll give Michele a pass this week. (Though we can't resist pointing out that her shoulder-pumping, booty-shaking antics in "All About That Bass" looked like she was performing in an SNL nightclub parody.)

Best Sue Line: "Now if you'll excuse me, out of the corner of my eye, I see a fatty who could use a good, healthy fat-shaming."

Glee airs Fridays at 9 p.m. on Fox.