Archive of Our Own ^beta

Chapter Text

Songs include:
"Rent" (Rent) - Kurt, Blaine, Artie, Rachel, Elliott
"Here Comes the Rain Again" (Eurythmics) - Kurt, Blaine
“Shake It Up” (The Cars) - Artie, Blaine
“Never Gonna Give You Up” (Rick Astley) - Jesse
“Go Down Singing” (Michelle Chamuel) - Rachel

The episode opens on Rachel sitting down heavily on a couch next to Kurt - in a big industrial-feeling apartment space - and saying, “How did your apartment search go today?” “Even worse than yesterday, and I didn’t think that was possible,” Kurt says. “How was your visit to the dorms?” “I don’t want to talk about it,” Rachel replies. Cue montage of Klaine looking at horrible apartments (insects, trash, no windows, no ceilings, no kitchen, mold, noise, dirt, so impossibly tiny the front door can’t open all the way before hitting furniture) and Rachel meeting up with horrible potential dorm roommates. “I know we had no room to breathe and even less privacy, but I kind of miss our old loft,” Kurt says. “At least we’re back in New York,” Rachel says, and they lean into each other with a tired smile. Title card: Glee!

Both Rachel and newlyweds Kurt and Blaine are looking for places to live. Klaine are moving into an apartment together, which is stressing them out over not having the same opinions, and Rachel needs to decide if she’s going back to the NYADA dorms or take Jesse’s offer to live with him. Rents are high, apartments are awful, and time is running out. It’s winter, and they’re bundled up even inside. It’s discouraging. With friends over, they sing an abridged version of “Rent” and climb all over furniture and onto the fire escape, rather like the actual musical but filled with the joy of performing the song together.

Rachel goes back to NYADA, nervous but with her head held high with faked confidence. She walks into a building with Kurt, and he pats her on the shoulder before he goes off to greet friends there. She steels herself and goes off to class on her own.

As Kurt and Blaine go on with their search at the next apartment, Kurt tries not to make the same relationship mistakes as before and be too critical or insist on things being his own way, instead trying to let Blaine have what he wants despite the fact that Kurt hates Blaine’s dream apartment.

Blaine feels like Kurt is holding back, like he did by the end of their broken engagement, because he can tell Kurt isn’t enthusiastic, and he feels shut out but wants to prove he isn’t needy.

They worry about falling back into a bad place (and sing about it). “Here Comes The Rain Again” Grey, rainy, moody shots through windows, so much worry and love.

Artie’s documentary film seminar professor is critical of his past work and tells him he wants him to step it up in his class. Artie is frustrated by the comments, because he’s trying hard already. He shares his worries with Blaine at the diner later that day, who tells him challenging himself is good, but he also needs to find a way to enjoy himself or he'll burn out. (Blaine knows all about that.) At the end of the day, art is difficult, but there's no point if they aren't enjoying it.. He needs to shake things up. They sing “Shake It Up” together.

Kurt and Blaine see yet another apartment. Kurt loves it but tries not to show it, but Blaine can see it in his face and feels frustrated that Kurt is verbally non-committal. Afterward, they are determined to push aside their concerns and reconnect over pizza at the sublet. All that matters is each other and being together, after all. They tentatively put their cards on the table, talk about their options, and select a compromise apartment. It has two bedrooms, so maybe they’ll need a roommate to be able to afford it, but they can figure that out.

Jesse sings to Rachel (“Never Gonna Give You Up” dancing around out on the street, and she laughs about it and says she can’t believe he rickrolled her), but it feels to her like he’s pushing too hard. Rachel talks about it with Blaine afterwards. She’s mildly skittish from Jesse’s attention, both flattered and flustered. She wants love. But is it right? Can she really handle it? Blaine - kind and gentle - advises her to take it slowly if she’s not sure; as much as he, too, likes to jump into things, pushing too fast doesn’t always help.

Kurt is a jumble of jitters when he answers the phone, but they get the apartment they wanted. Cue happy jumping up and down for Kurt and Blaine!

Rachel tells Jesse she’s decided to move into the dorms and focus on school instead of the distraction/distance that Jesse offers. She needs to put herself first. He’s sad, but he says he understands and watches her with longing as she walks away.

End on the Rachel solo (“Go Down Singing” - starting on her own, spotlight on a dark stage, with friends singing backup together with her in the real world by the end), our determined heroes ready to keep fighting for what they love.

Chapter Text

Songs include:
“Titanium” (David Guetta/Sia) - Rachel
“Climb Ev’ry Mountain” (Sound of Music) - Rachel, Kurt
“Freedom 90” (George Michael) - Elliot, Blaine
“The Impossible Dream” (Man of La Mancha) - Kurt
"Tubthumping”/”Stand” mashup (Chumbawumba/R.E.M.) - Blaine, Rachel, Artie, Kurt

Everybody in the episode gets knocked down by something (the past for Blaine, gossip for Rachel, the audition for Kurt, literally for Artie).

Open on Artie on the sidewalk, not able to manage the bumps and gaps of the construction in his wheelchair and ultimately tipping over. He’s helped by bystanders, and he ends up looking thoughtfully at the sidewalk. Title card.

Rachel feels ostracized and judged at NYADA by the students because of her past choices. She has to leave a classroom in near tears from all of the not-quiet-enough comments behind her back. She sings her solo (“Titanium”) alone in a stairwell/walking the busy school hallways.

Kurt gives her tea and a shoulder to cry on in his apartment as well as a pep talk about owning up to her mistakes and not letting the past define the future. (There’s shadowing there about his past mistakes with Blaine.) And of course they sing: “Climb Ev’ry Mountain” - with smiles, posing like they’re on stage, just having fun.

Artie blows off some of his classmates who offer him a place in their group project and sets to work on his own film on the streets of New York.

Blaine is nervous about going to a new school and whether he’s going to repeat himself and fail all over again. He talks to himself in the bathroom mirror, trying to pump himself off. He's better at encouraging others than himself, but he tells himself that all he can do is try. This is a new start. He can do it.

Kurt makes him breakfast despite having a big audition of his own at NYADA for an exclusive seminar that day. Blaine tells a stressed Kurt he doesn’t want/need a pep talk (to keep from being a burden but also to prove to himself he can do this on his own instead of becoming too dependent), and they go their separate ways.

Still, when Blaine finds himself lost in a sea of students in a quad at NYU, he’s thrilled to bump into Elliott, who listens, tells him the future is huge, and reminds him they’ve got friends/each other.

And then the two of them have a big duet (“Freedom 90”) in the middle of NYU students, jumping around, playing together, kind of like Blaine and Sam in Times Square. They end up smiling and happy, lifted up by the music.

Artie’s video about accessibility on New York siddwalks goes viral, much to his surprise. He sees the play count while he’s waiting for his turn in an editing bay at school. He is thrilled to find a way to define himself outside of his school work where he is just one of many.

Kurt’s audition doesn’t get him a spot in the seminar, and he re-centers himself and tells himself (through song on a blank stage - “The Impossible Dream,” transposed into a higher key) to be strong and work harder. He’s very alone in this song, Kurt against the world.

Blaine finds Kurt withdrawn and unwilling to talk about things (or in Kurt’s perspective: focused and determined). He doesn’t want to push, but he knows something isn’t right. Kurt goes into the spare room alone to work on his vocal training. It’s a blow for Blaine; he just doesn’t feel like he’s getting it right with Kurt. But he goes to do his own homework instead of asking about it.

End on the mash-up (“Tubthumping”/”Stand”) to show everyone being determined and busy at work... but largely on their own.

Chapter Text

Songs include:
“Dancing Through Life” (Wicked) - Jesse, Rachel
“Say Something” (A Great Big World) - Blaine
“Hello” (Adele) - Rachel to a picture of Finn
“Out of the Woods” (Taylor Swift) - Kurt, Blaine
“What A Girl Wants” (Christina Aguilera) - Santana, Brittany

In this part one of two, everyone is facing something from their past.

Jesse continues his flirty sidewalk singing with Rachel, and this time she joins in. (“Dancing Through Life”) They have obvious chemistry on a magical New York date.

Kurt and Blaine start to bicker about how to do things as the potluck takes over their week, bringing up old fights. It’s minor stuff, like how to arrange furniture, whether they need a roommate for the spare bedroom, or what they should serve for the potluck, but it keeps bubbling up and getting sharper. Kurt bites off a “You always used to do this when - “ and then steps back, going pale. Blaine ducks his head and keeps moving things around.

Kurt watches him with concern but stays quiet when Blaine doesn’t bring it up. They try and falter and try and worry.

Blaine sings “Say Something” alone at the piano in the apartment feeling so desperately worried it is going bad and not wanting to lose Kurt again. He’s not as lost as the lyrics, but it’s an emotional low point.

Santana, home from her honeymoon, goes back to work in the diner and finds out Dani is still working there. She’s worried about the tension, whether it will be hard to be together.

Rachel has to deal with both whether she can trust Jesse and also how much it hurts to consider moving on seriously from Finn and how scary it is to think about falling deeply in love when the last time it ended in death. She leans on Kurt again.

Kurt is supportive of her but also sad in his own way about Finn and the reality of how so much time is passing without him.

Alone, Rachel sings “Hello” to a picture and a memory montage of Finn, crying and missing him and telling herself to move on. Tear-jerker of a song. There’s sadness that they left things unresolved, that the reason that they never figured things out is that he’s gone forever.

Santana has a work shift with her ex-girlfriend. Dani is actually totally mellow and fine, and she and Santana get along, but it still reminds her of why she loves Brittany. Brittany isn’t always easy on her, because she sees Santana the way she is and is honest with her, but that truth and the strength of their feelings (compared to the greater ease of Dani) is what Santana needs.

Kurt and Blaine snap at each other and finally make peace, but they don’t talk about their fears about everything going wrong again. They simply find a way to make things work. They’re both deeply worried, because they really want to be together but aren’t sure they know how not to repeat their failures. They sing their parts of the duet (“Out of the Woods”) while the other person isn’t paying attention. They’re obviously both trying and deeply in love.

The potluck includes Brittany, Santana, and Artie while Kurt and Blaine work hard not to step on each other’s toes during the gathering. It’s a brittle peace with some snark about the spare room debate but also a few tentative smiles where they can. The friends notice the tension.

Santana/Brittany duet (“What A Girl Wants”) during the end of potluck and out onto the street, full of joy and delighted to be married and together (and not in the same state as Kurt and Blaine).

End on Rachel, Kurt, Blaine all feeling unsettled. To be continued...

Chapter Text

Songs include:
“Big Time” (Peter Gabriel) - Artie
“Fancy Meeting You Here” (Rosemary Clooney/Bing Crosby) - Rachel, Jesse
“Satisfaction (Rolling Stones) - Kurt, Elliott, Rachel
“Work it Out” (Knox Hamilton) - Kurt, Blaine

This episode, in contrast to part one (episode three), is all about starting new things.

Brittany begins the process of settling down in New York and figuring out her future, which includes various colleges offering her full rides.

Artie gets interviewed by Brittany on Fondue for Two NYC (already a hit - Lord Tubbington has paparazzi stalking the apartment for a glimpse of him) about his internet videos and becomes more internet famous. People recognize him on the street and actually talk to him about serious issues. He loves the attention. He feels a sense of purpose and a way forward. (“Big Time” on the streets of NYC)

Rachel and Jesse have a great, flirty karaoke date (“Fancy Meeting You Here”), and they’re both dressed to the nines and very smiley and happy. It’s wonderful, magical. They walk home, hand-in-hand, and kiss on screen.

Kurt and Elliott - at brunch with the group - decide to start up a new band to give themselves more visibility and opportunities, and Rachel wants to join in to help reform her image. They can’t wait for other people to hand them what they want.

Blaine, however, who is silent as the rest talk, does not want to join. Kurt is stung, but Blaine says that he needs to find his own path. Kurt feels rejected.

Rachel makes a new friend at NYADA, a hallmate who invites her to share her ramen one night. It’s just casual and easy, something new for Rachel. (She makes sure this woman isn’t a gigolo, of course.)

Artie decides to buy a new camera so his videos are even better. He sells a bunch of his sheet music collection and costumes from high school glee club to a desperate college student vocalist to help fund the camera purchase; he loves music and performing, but it’s not his future.

First band practice for Kurt, Elliott, and Rachel: “Satisfaction” in some NYADA studio space, which is fabulous and freeing for them all as they prance around like rock stars.

Kurt returns to his apartment afterwards - sighing in the hallway and squaring his shoulders before going inside - to find Blaine has made them a special dinner. They talk and reconnect, and Blaine explains how he doesn’t want to repeat his past mistakes and have his life only about Kurt. Kurt tells him he’s welcome in the band, but Blaine still says no, but thank you. Kurt is hurt, but he tamps it down and listens. They communicate well and understand each other better by the end of the conversation. They both soften and care. They both want to be good husbands. It’s not a solution to everything, but it’s a good healing moment and a reminder that they’re both working hard and all-in on the relationship. It’s a new, refreshing turn for them, a step out of their old patterns. Their dynamic is something new.

End on their duet (“Work It Out”) getting the table and kitchen cleaned up together and getting ready for bed and a warm, happy embrace and kiss as they tumble in bed and turn out the lights. Hope, love, joy, connection, husbands.

Chapter Text

Songs include:
“Just Dance” (Lady Gaga) - Brittany, Santana
“Let’s Dance” (David Bowie) - Jesse
“The History of Wrong Guys” (Kinky Boots) - Rachel
“Shut Up And Dance” (Walk the Moon) - Santana, Brittany, Kurt, Blaine, Rachel, Jesse

Thematically it’s all about dancing, either actual dance or the dance of relationships and life.

We open on Rachel hurting her knee while trying to get away from a subway rat going after her slice of pizza. Jesse is with her and comes to her aid. While on the ground, Rachel clutches her leg and quite possibly cries “Whyyyyyy?” like Nancy Kerrigan. Glee!

Brittany has chosen her college (Columbia) and is now trying to figure out whether she should follow her head (math) or her heart (dance). She’s looking at brochures with Lord Tubbington on the couch in her apartment and gets frustrated. She turns on the music to try to clear her head.

She sings “Just Dance” and dances solo to let out some of her emotion, and then Santana comes home and joins her. Complex, powerful dance number.

Rachel is worried she won’t be able to pass her dance class with her injury and will fail out of school. She can’t fail again! She angsts at Jesse about it over lunch at the NYADA cafeteria. She has to use crutches (decorated with stars) to get around.

Jesse sings “Let’s Dance” to Rachel to cheer her up, dancing around her with her on crutches. He’s gregarious, and people join in dancing around her. A number of them have injuries, like wrapped knees or ankles, because a life in the theater is hard on the body. She’s charmed and smitten by him, and she also realizes she just needs to buckle down and suck it up.

Kurt and Blaine test their relationship and communication as they talk about their spare bedroom. Kurt wants a functional storage and studio space, and Blaine wants another bedroom for guests/Sam if he wants to move in. They resolve the issue by not fully resolving it: they decide to use the room both for storage and for potential guests. It’s not a great solution for either of them, but it’s actual compromise. It feels good, like things are less precarious.

Rachel is worried that being with Jesse means she’s destined to be hurt by him again, because she was wrong about him the first time. She likes him so much; she’s in danger of being swept away. He’s getting all tangled up in everything. Santana gives her advice saying that it’s already too late not to get hurt, that her heart’s already involved, so she might as well stop worrying.

On her own, Rachel sings about it. (“History of Wrong Guys,” with her singing Jesse instead of Charlie, thinking back in montage to less successful dates like Puck and Brody and even Jesse and the eggs from season one - it's a showcase of Lea's comic timing)

Brittany meets with both departments vying for her, and she comes out with more questions than answers. She loves both.

When Blaine calls to ask her what she’s bringing for the potluck, Rachel ultimately decides to bring Jesse (with Blaine’s permission). Also a vegan lasagne. Rachel Berry is not going to live her life in fear. She’s doing this.

The potluck is a good evening. Jesse fits in. Lots of laughter, food, friendship, maybe a game of charades. Rachel no longer is on crutches (but does have her knee wrapped and elevated). It's a cozy evening.

Brittany announces that she’s decided she’ll double major in math and dance. Why choose?

End on the couples singing “Shut Up And Dance” to their partners and dancing with them. Very couple-y and full of love, Klaine dancing up the fire escape to their building’s roof, Brittana on the subway (including dancing on the subway platform and in a car), St. Berry on the sidewalk hailing a taxi with Jesse picking Rachel up from time to time to keep her knee uninjured. Klaine gets the “teenage dream” line.

Rachel goes to Jesse’s apartment. “Do you want to come in?” he asks. “Definitely,” she says and pulls him inside, ready for the next step.

Chapter Text

Songs include:
“Opportunities” (Pet Shop Boys) - Santana, Artie
“There’s No Business Like Show Business” (Annie Get Your Gun) - Kurt, Rachel
“One Song Glory” (Rent) - Elliott
“Proud of Your Boy” (Aladdin) - Blaine
“Rebel Yell” (Billy Idol) - Elliott, Kurt, Rachel, led by Elliott

Open on Santana walking through big glass doors into swanky, airy office with tons of beautiful, busy people. She fits right in. “I'm home,” she says with a smile.

Santana thrives when she arrives at the PR firm for her internship; she feels like she’s found her perfect job, using the knowledge of PR she had helping Rachel and honing those shark-like skills. She sees Valentina (Jennifer Lopez) at a big staff meeting - perfectly dressed, sure of herself, full of snark - and thinks she’s amazing. She’s who Santana wants to be when she grows up.

Artie struggles with internet fame vs. future career. He’s always thought of himself as a serious filmmaker, but he’s getting a lot of buzz with his internet presence. He could make a lot of money with the sponsorship deals being offered, but it would take away from his classes. Money is the easy answer, and Santana supports it with her new-found knowledge (“Opportunities” - lots of this song is set in their imaginations with them in private planes, private clubs, wearing fancy jewels and expensive watches, tossing around money).

On a NYADA stage, Kurt talks with Rachel about struggling with how to make his mark in an audition for a workshop of Rent. He wants to be himself and stand out, because he will never hide. He just wants to perform. He loves it so much. They sing “There’s No Business Like Show Business” on stage as part of this conversation. They mug, they dance, they channel Ethel Merman. Rachel starts the song.

Rachel tells him that he needs to show them only the part of himself that they’re looking for. He doesn’t have to compromise, but he has to be smart. He has to realize how hard the world is. She gives examples from her own career. If he wants to be genuinely himself, he shouldn’t be in this business.

Kurt bristles at her suggestion, like he doesn’t already know how hard things are, like she didn’t throw away her own opportunities. He leaves. It’s not a big fight, but it’s tense and isn’t resolved.

Blaine internalizes his worries about his showcase performance, remembering how hard NYADA had been. Elliott tries to talk about it with him, but Blaine kind of smiles it off.

Elliott sings “One Song Glory” alone with a guitar in an NYU studio for Blaine in preparation for his own audition. It's simple and captivating, Elliott and not Starchild.

Frustrated by his viewers not liking a new video on his channel that’s “off brand” and more artistic, Artie decides to put more time into school and creating more lasting and honest films. He doesn’t want to be pigeon-holed. Santana doesn’t approve and says once you’re rich you can make whatever you want, echoing something Valentina said at the PR firm meeting earlier.

Blaine gives himself another pep talk in the mirror and then sings “Proud of Your Boy” for his showcase, with his friends in attendance. It goes well, a needed boost. Elliott mentions to Kurt that Blaine was nervous, and Kurt (who is surprised, because Blaine hadn’t talked about it with him) tells Blaine he believes in him; he’s never stopped. Blaine is grateful, but he's clear that he needed to believe in himself more than other people believing in him. He’s more confident.

They all go out to a bar/club for a show for Kurt’s band afterwards, not all feeling settled, but all of them working on finding a place in NYC. Kurt’s excited to be back on stage, where he belongs.

End on Elliott leading “Rebel Yell” with the whole ensemble of friends looking on proudly and shouting “more more more!” with the lyrics. They’re all ready to grab their opportunities.

Chapter Text

Songs include:
“The Fame” (Lady Gaga) - Santana, Valentina
“Monster” (Imagine Dragons) - Blaine
“Don’t Worry, Be Happy” (Bobby McFerrin) - Artie, Cooper
“Cartoon Heroes” (Aqua) - Blaine, Artie
“Getting to Know You”/”Wouldn’t It Be Loverly” (The King and I/My Fair Lady) - Kurt, Isabelle

Open on Cooper sweeping into Kurt and Blaine’s apartment, being full of himself, charmingly criticizing their spare room, and leaving them both kind of wide-eyed (for different reasons - Kurt’s still a bit fluttery around Blaine’s handsome big brother).

Santana is fitting in well at the PR offices, and she and Valentina hit it off after she hears Santana tell someone off on the phone, two badass women who don’t mince words. Valentina wants more hours from her and sees a future for her in PR.

“The Fame” is a big number in the PR offices with lots of glass, chrome, and gorgeous models as Santana and Valentina strut around. Santana is in her element, all body con dresses, high heels, red carpets, paparazzi, flashbulbs, and attitude.

Cooper chats with Blaine and tells him all about his fabulous life and asks pointed questions about what Blaine’s doing and where he’s going. Blaine stands up for himself, sort of, but he is hyper aware of how much he still doubts himself and how behind he is in his college journey compare to his friends, not to mention his career. Cooper tells him that being insecure is a big turn-off. Always be confident, whether you feel it or not. "It's called acting, Blaine."

Blaine, Kurt, Cooper, and friends have a picnic in the park where Cooper gets them all playing frisbee. Blaine begs off from the game, hoping for a bit of time with Kurt and away from Cooper being competitive, but Kurt doesn’t get the signal and goes off to play, too.

Blaine sings “Monster” by himself on their picnic blanket under a tree. He feels left out by Kurt and their friends, left behind by Cooper, and frustrated with himself for feeling that way. He worries if he tells them too much about his inner life and worries they’ll/Kurt will turn on or judge him.

Artie comes late and talks with him (since he’s also left out of the game), and when Blaine says he just wants to get out of his own head for a while they make a plan to be superheroes instead.

Artie sings “Don’t Worry, Be Happy” to Blaine to urge him to chill out and relax, but Cooper joins in, and Blaine ends up feeling less than comforted.

So Nightbird and Dr. Y come out of retirement, and during “Cartoon Heroes” they save a kitten in a tree (actually a raccoon, who isn’t happy to see them), help an old lady across the street (who thinks they are mugging her and tries to mace them), and actually do help a kid who is being picked on at the playground even though the older kids mock Blaine and Artie, too. There’s a glorious shot of Blaine wheeling Artie in his chair down the city sidewalk, Blaine’s cloak flying in slow motion behind them.

Rachel is offered a teaching assistantship at NYADA for their summer theater program, and she feels like she might be going in the right direction this time. She’s working hard, learning from past mistakes.

Kurt gets a call from Isabelle to assist her at a photoshoot, and when they meet up beforehand she helps him with his concerns about the theater and his career. She says that not all sides of a person fit into their work. It’s good to be passionate about work, but it’s important to be passionate about other things, too. Even if he focused on his band, he’d have to make choices about what songs to pick, what clothes to wear. Acting gives him similar choices. Maybe he can’t wear his favorite outfit to an audition, but he can when he goes out that night afterwards. She’s both mentor and friend, talking about how she navigates the world and her own failures.

Kurt feels like he’s never been good at being seen for anything other than he is (like in West Side Story), and so instead he tries to be himself as boldly as possible. Isabelle reminds him that in New York he’s got a lot more options. People are going to see whatever he shows them. Kurt says he likes himself; she says he can BE himself, but he can ALSO be a performer, if he wants to be. He should dream big, bigger than himself. It kind of clicks for him for the first time that he can let go of some of his past need to be seen for who he is, because he already is.

Kurt and Isabelle sing a mash-up of “Getting to Know You” and “Wouldn’t It Be Loverly” to illustrate how they like their maturing friendship and the fun of performing and dreaming.

End on Cooper coming out of the spare room with his own superhero identity (“Mr. Exceptional” - with his arms, chest, and abs showing) and wanting to join Blaine on a night out, because it looks like fun. He tells Blaine that there’s a lot in his life that’s good, and even if his life isn’t as amazing as Cooper’s he should be happy with what he has. It’s a strange conversation, because it’s Cooper, but Blaine comes out of it feeling fairly good. Cooper sees that Blaine values what he has. The episode goes out on Nightbird and Mr. Exceptional running down the street, capes billowing.

Chapter Text

Songs include:
“It’s Oh So Quiet” (Bjork) - Kitty, Sugar, Brittany
“Bend and Snap” (Legally Blonde) - Brittany, Santana, Rachel, Sugar, Kitty
“Eyes on Me” (Celine Dion) - Rachel
“Shake it Off” (Taylor Swift) - Kurt, Blaine, Rachel
“It Had To Be You” (Harry Connick Jr.) - Jesse and Rachel, Kurt and Blaine

This episode is largely focused on Rachel as the A-plot.

The episode opens on Kurt and Blaine in their apartment trying to organize the boxes in the spare room. They’re bickering lightly over where to move things and whether there’s a corner for Kurt to make a sewing area (and what would happen to it if Sam or another roommate moves in), and then the doorbell rings. Surprise, it’s Kitty and Sugar with suitcases! “Blaine, did you list the room on AirB&B without telling me?!” Kurt calls. Roll title card. Glee!

Kitty and Sugar actually stay with Brittany and Santana. There’s a big brunch with all the characters in town, and Kitty and Sugar say they want to go out to a real NYC club and get their dance on. Artie has work to do, and Kurt and Blaine have tickets to the Bushwick Repertory’s all-male version of “Lysistrata” and aren’t free. Rachel begs off because she has a date, only Jesse has just texted saying something came up. She’s sad but agrees to go out with the girls.

Karaoke bar! Singing, dancing, opportunity to put the characters on a stage. After performing “It’s Oh So Quiet” (with Sugar going wild) the girls give Rachel a heart to heart talk about forgetting Jesse if he’s playing games with her. She’s young, she’s beautiful, and she’s in New York. There are plenty of fish in the sea. It’s easy to attract them.

To prove the last point, Santana and Brittany go up on stage to sing “Bend and Snap.” By the time the song is done, the Glee girls and some dancers are moving through the room and captivating all of the boys.

Kitty and Artie have a scene of reconnection after she’s a bit curt with him at brunch; she apologizes for being cold but she’s still hurt by how things ended. As Artie shows her around school, they decide being connected is more important than past hurts.

On a coffee date, Rachel sings “Eyes on Me” about/to Jesse (who is unaware and busy on his phone), feeling like she’s not going to do this halfway, and if he wants her he needs to focus on her. She doesn't want to settle for anything less than being the star in his life.

Big Klaine and Rachel talk, where Rachel tearfully tells them she might need to break up with Jesse. And what if no one ever loves her like Finn did? What if something’s wrong with her? What if she ruined everything with her Funny Girl choices and everyone is right that she’s washed up and and and -

The conversation is a serious one. They’ve all made serious mistakes, and Kurt and Blaine are very aware of the blessing of the second (third) chance they’re enjoying with each other. People are always going to talk. People are always going to judge. They’re all going to fail. Kurt is matter of fact and determined. Blaine is more sensitive, more tentative about those lessons. Still, they feel like they’ll get through it and keep trying. Rachel sniffles, dries her eyes, and they take comfort in each other and find joy in singing Taylor Swift's “Shake it Off.” The boys feel more reassured with each other, too.

Rachel has decided to have a serious talk with Jesse and break it off with him if she needs to. Instead she shows up at his apartment to find a candlelit dinner and a big surprise that took him extra time and a lot of favors to get sorted: Barbra Streisand’s personal throat spray recipe. It's meaningful, real, and connected. She melts.

End on “It Had to be You” - the couples (Klaine and St. Berry) singing to each other. Very romantic. Full of love and warmth. Not all is solved, but they are sure about each other. Klaine is at home being domestic, dancing in the kitchen, and Rachel and Jesse are singing over dinner and dancing in Jesse’s living room. End on kisses.

Chapter Text

Songs include:
“Under Pressure” (Queen) - ensemble
“I Want A New Drug” (Huey Lewis and the News) - Artie
“Happy Feet” (Cab Calloway) - Brittany and Mike
“Is There Something I Should Know” (Duran Duran) - Kurt, Blaine
“Whenever, Wherever” (Shakira) - Santana, Brittany
“No Story Time” (Smallpools) - ensemble

Episode opens on “Under Pressure,” with a montage of the main characters all separately at school and work, doing their own thing, passing in their apartments, coming together and then pulling apart to work. Late nights in the library, Rachel rehearsing, Artie falling asleep in the editing bay, Santana rushing around at the diner and getting into fancier clothes to go to her internship, Brittany with her books and in the dance studio, Kurt and Blaine giving each other a quick kiss in bed in the morning before going separate ways to get ready. They’re busy busy busy. Life is moving fast.

The main plots revolve around Brittany, Santana, and Artie.

Santana gets in trouble at the diner for coming in late, and her internship wants more of her time. Texts keep coming in from Valentina and Brittany. She’s running out of hours in the day.

Brittany early on has a scene about the math department trying to get her to drop dance, and when she comes to talk to Santana at work, Santana is too busy to listen and help.

Artie has crack-y plot about energy drinks, enhanced by Rachel who is suddenly really into supplements (thanks, in part, to Jesse’s gift from the previous episode). “I Want A New Drug” is Artie at school. He’s too busy with his films, and he needs help editing way into the night.

Blaine is a buried deep in the school course catalogue, trying to figure out what to take the next semester and what his major should be. He and Rachel talk over coffee; she tells him obviously he should study music and theater, but he’s seeing so many ways he could go. Maybe his past failure at NYADA means he should try something new. She asks him what Kurt thinks; Blaine says he hasn’t talked to Kurt about it.

Kurt ends up in line at a murder mystery food truck (“Burger, She Wrote”) behind Jesse, and he uses the opportunity to try to gauge just how serious Jesse is about Rachel. Kurt’s memory is long; he doesn’t fully trust him. Jesse tells him to back off, because he’s Jesse and still pretty full of himself, but after the cattiness he’s sincere about her. Kurt is still protective but mollified.

Mike is in the city for a series of auditions (including for a dancer in Hamilton, because it’s Glee), and he and Brittany connect about her issues and the joy of dance. (“Happy Feet”) Great tap number.

Small Klaine plot around Kurt and Blaine tiptoeing around each other with some minor frustrations snapping out. They’re trying so hard not to fight, but it makes them distant and unsupportive of each other.

Kurt and Blaine sing their duet (“Is There Something I Should Know”) mid-episode and then have a talk and lean on each other. They talk about what’s on their minds. They also reaffirm that they’re going to fight sometimes. They can’t avoid it. Stress makes them both quick to snap. They both need to remember they’re in this for the long haul. Fighting doesn’t mean it isn’t working, even if it both reminds them of bad times. Fighting doesn’t mean leaving. They’ve learned a lot since the start of the season, and a step backwards doesn’t mean they’re failing. They're a team. We see their progress.

On energy drinks, Artie feels invincible! He can stay up forever! He’s a genius of the silver screen! The problem is, however, that his movie makes no sense in the daylight, and he opens another can and buckles down to fix it.

Thanks to Mike, Brittany decides to keep her majors as is, and she and Santana have a great conversation about their priorities and juggling everything. Very loving and better communication than Kurt and Blaine.

Awesome dance duet for Santana and Brittany for “Whenever, Wherever” - very flirty and sensual, lots of hip shaking and showing off their gorgeousness.

Potluck at the end of the episode, including Mike. Jesse and Kurt are friendly but clearly know the other has to be kept happy in order to keep Rachel happy.

Artie is asleep in the corner, at energy drink rock bottom. Once woken, he thinks maybe he should give them up. “Duh” is the general response, apart from Rachel, who offers him some of her supplements. The group is happy to be together, blowing off steam. They reinforce the idea that they can’t do it without each other.

End on “No Story Time” - the group all together leaning on each other and dancing together - they’re all stronger as a group

Chapter Text

Songs include:
“Who Do You Think You Are?” (Spice Girls) - Santana, Valentina
“Purpose” (Avenue Q) - Blaine
“What You Own” (Rent) - Kurt and Elliott
“Make A Man Out of You"/"Macho Man” mashup (Mulan/Village People) - Mike, Artie, Isabelle, Kurt, Elliott, Rachel, Santana, Blaine
“Geronimo” (Sheppard) - ensemble

Open on a Skype call between Kurt and Burt (with a bit of Blaine and Carole popping in on either side). The topic of Finn comes up, and it’s bittersweet. They all miss him. It’s not the sharp pain of “The Quarterback,” but it’s clear he’s still in their thoughts and hearts. After the call, Kurt’s eyes drift to a picture of him, Finn, and Rachel on his desk, and he smiles sadly, tears in his eyes. Cut to title card.

Santana is rocking is at her internship, and Valentina tells her she’s a natural. Valentina sees herself in Santana, and she's got a bright future. They sing about it. (“Who Do You Think You Are?”) Valentina wants more of her time.

Artie tries to flirt with a classmate but doesn’t catch her eye. He's shocked; last year he'd had no trouble with the ladies.

At the big group brunch, Artie complains that maybe he has let himself go because of his late nights at school and not having all of the dancing from Glee, which is why she wasn’t interested. Mike offers to help him with a new workout routine.

At the brunch, Kurt watches Rachel and Jesse and looks sad but brushes it off when Brittany asks him what’s going on. Rachel pulls him aside to tell him she’s in love with Jesse and maybe he’s the one after all, full circle and moving forward, and Kurt manages to smile and hug her in support.

Blaine visits Kurt at NYADA to have lunch with him and runs into Carmen Tibideaux. He’s nervous to be there and even more nervous to see her, given that he’d been kicked out of the school, but in the face of his bland politeness she is cordial. She doesn’t pretend it didn’t happen, but she does say that she’s glad to see him and asks what he’s up to. When he says he’s at NYU, she tells him she thinks that’s a great fit. He’s talented in so many ways. When he finds his passion and purpose, she knows he’ll be unstoppable. Blaine may not buy it 100%, but he’s really moved.

Afterwards, Blaine feels like the guilt of failing and disappointing people is lifting off his shoulders, and he dances around (swinging around lamp posts and climbing on retaining walls, petting cute dogs, catching a little girl’s balloon just as it flies away and giving it back to her, etc.) singing, “Purpose.” He ends in front of Kurt, who is smiling at him with fond amusement, and Kurt says, “You seem happy.” “I think I really am,” Blaine replies and takes his hand.

Santana, back at her internship, feels the pressure of getting home to Brittany and the cutthroat nature of the environment. She has to miss dinner again. They have a phone call where Brittany is quietly judgmental and yet supportive of her. Santana finally has had enough. She tells Valentina in no uncertain terms that she needs fewer work hours. She wants to run the world, but she needs time with her wife. She likes who she is better with Brittany than with Valentina. She doesn’t want to be Valentina, despite loving her cast-off clothing, she says. She wants to be herself, and herself is someone who gets quality scissoring time with her wife.

Valentina isn’t happy about it, but she agrees to the new boundaries.

Big silly split number with Mike and Blaine helping Artie work out and Isabelle and Rachel helping Elliott and Kurt dress the part for their Rent audition. “Make A Man Out of You/Macho Man” includes lots of shots of pumping iron, silly costume changes, and general mash-up nonsense. Artie in head and wrist sweatbands, Elliott in a leather vest like in The Village People, Kurt dressed as goth, Rachel in a fake moustache, Mike lifting up huge barbells with one hand, etc.

In their (normal-ish, grunge-inspired) new audition outfits, Kurt and Elliott get psyched up for their audition. (“What You Own”) Fairly traditionally staged: Kurt sings Mark’s part, and Elliott sings Roger’s.

Afterwards, Elliott notices Kurt is withdrawn, and he gets Kurt to open up. Kurt admits that he misses Finn and misses the future he would have had with Finn and Rachel together. He misses the idea of Hummel-Hudson Thanksgivings together and nieces and nephews and all that. He knows it’s silly, and he truly wants the world for Rachel, but he feels sad knowing what he’s lost. He’s happy she’s moving forward. It’s just a sign of the reality of things. Like when his dad remarried, Kurt was happy and loves Carole so much. It’s not a huge drama, just a moment of sadness for what will never be. Elliott reminds him that it's okay to feel it, which Kurt obviously knows but appreciates hearing anyway.

Jesse picks up Rachel for a date, and we see just how happy Rachel is letting herself be when she positively beams at the sight of him. "Are you ready?" Jesse asks her, holding out his hand. "I'm ready," she says and takes it.

End on “Geronimo” and the feeling of just letting go and aiming for the stars. The gang isn’t together; most of them are singing lines on their own. Kurt and Blaine are apart (Kurt at home, Blaine studying for finals at NYU), Santana and Brittany are together at home being domestic, Artie is back in the editing bay, Elliott is walking down the street, Rachel and Jesse are on top of the Empire State Building holding hands and looking out at the city.

Chapter Text

Songs include:
“Tango: Maureen” (Rent) - Kurt, Santana, Brittany
“Paint It Black” (Rolling Stones) - Elliott
“Wait For It” (Hamilton) - Kurt, Rachel, Blaine
“Complicated” (Avril Lavigne) - Rachel
“Love Make The World Go Round” (Jennifer Lopez/Lin-Manuel Miranda) - ensemble

The episode opens in Brittana’s apartment with Kurt helping them hang curtains/decorate. The topic of his audition for the Rent workshop comes up, and Santana dares him to show them what he has. “Tango: Maureen” starts with Kurt and Santana and ends up as Brittany and Santana singing and dancing. The tango is amazing, with switching of partners and leads. Scene ends with the song concluding on a Brittana dip.

It’s the end of the semester, and Blaine gets his first grades from NYU. They’re not as good as he wants them to be, and when Kurt comes home Blaine closes the browser and doesn’t mention them to him. He’s not quite ready to share; he needs to figure it out on his own.

Elliott meets a cute boy with a guitar outside at NYU, Cole (Andy Mientus), and they chat about music and flirt for a bit before Elliott asks him out on a date. Cole says yes.

When they're trying to set up a time for their own next date, Rachel and Jesse have a fight about her being in the band with Kurt and Elliott because it keeps her too busy, and he thinks it won’t help her reach her goals. He wants her to focus on the way her star is rising at NYADA again. She feels like he isn’t supportive of her, like it’s about him first and what he wants instead of what she wants. He feels like she’s too wrapped up in herself and doesn’t care about his opinions. It’s their first real tension this time around, and it feels harsh. It escalates quickly. Both have strong personalities, and neither pulls punches.

Audition time! Elliott and Kurt go together and wait nervously. They fret over how polished so many of the other performers there are. Finally, it's time. Elliott sings “Paint It Black” on stage, intense, dark, and utterly captivating.

“Wait For It” is intercut among Kurt’s audition on stage, Blaine doubling down on his work for the rest of his finals, and Rachel telling herself she can wait for love if Jesse isn’t right.

Elliott has a wonderful date going through second-hand music stores and having hipster-made artisanal pickles with Cole, but at the end of the afternoon Cole takes a deep breath and says that he likes Elliott and needs to tell him something before they decide to see each other again. He's HIV+. There's a long beat of silence. Elliott is surprised and not quite sure how to react.

Brunch with everyone at the diner. They talk all about HIV. Blaine knows a lot about being safe and the history of the disease. Rachel worries about Elliott getting sick. Santana talks about the stigmas. Jesse rightly points out the story of Rent that they’ve been learning about for Kurt and Elliott's auditions and that maybe they should have had HIV on their minds before today. Glee info-dump and PSA about LGBTQ history and health. "Miss Pillsbury needed a pamphlet about this instead of for so many redhead support groups," Kurt says. Brittany asks Elliott what’s in his heart. He’s not sure and has to think about it.

Jesse and Rachel leave together, and tension is still high between them. Jesse wants Rachel to care about his perspective. She wants him to be real and supportive with her, not tell her what to do or judge her friends. Rachel sings “Complicated.” Montage of slight hurts, past memories, and so forth. Nothing is resolved.

Elliott and Cole meet up for coffee. Cole is clearly waiting to be rejected, but Elliott says he’s read about treatments and wants to know more. He wants to know COLE. The disease isn’t the person. Cole smiles and says he knows just how to help him learn more. He’s got a gig that night if Elliott wants to join him. The scene ends with them holding hands over the table.

Blaine and Kurt grumpily get in each other's way in their tiny kitchen, but they force a laugh and take a step back. They check in with each other about how their studying for finals is going. They both seem like they have lots of work but have a plan. They’re supporting each other without having to be totally intertwined; it feels healthy.

End on a nighttime HIV fundraiser party. Cole invites Elliott and the band up on stage, and the rest of the cast in the audience ends up on stage by the end as well. Artie does the rap part. (“Love Makes the World Go ‘Round”) Joy, pride, love, acceptance, all in a neat musical bow. It’s Glee!

Chapter Text

Songs include:
“22” (Taylor Swift) - ensemble
“Lady Marmalade” (Patti LaBelle) - Santana, Rachel, Kitty, Tina, Brittany, Elliott
“The Best is Yet to Come” (Sheppard) - Kurt, Blaine
“59th Street Bridge Song (Feelin’ Groovy)” (Simon and Garfunkel) - Kurt, Blaine, Rachel
“Can’t Stop the Feeling” (Justin Timberlake) - ensemble led by Artie and Rachel

Open on Blaine handing Kurt a small, simple, wrapped present at their tiny kitchen table. “Happy Birthday!” Kurt puts his cereal aside and opens it, a quiet morning moment. It’s a note that says, “Knock, knock.” “What?” Kurt says, and then there’s a knock on the front door. “It's for you,” Blaine says. Confused but along for the ride, Kurt goes to open the door. SURPRISE! It’s a bunch of their friends, including Tina, Kitty, Burt and Carole on top of the usual New York crew. They’re holding balloons, and Carole has a cake. Rachel has coffee for him. Artie has doughnuts. Blaine is beaming. Kurt’s gobsmacked and happy. Glee!

The cake demolished to crumbs, they’re all sitting around Kurt and Blaine’s apartment. “How many of you are staying here?” Kurt asks in shock. It turns out only Burt and Carole. Kurt’s thrilled and touched to have them.

The friends leave for the afternoon but tell Kurt they’re taking him out that night. Hugs and kisses all around with an extra warm hug for Rachel from Carole, and then it’s just the family.

Blaine is busy tidying up and getting everything set up for his in-laws. He wants to be a great host and for everything to be perfect, and he won’t/can’t sit down and relax, no matter how much Kurt asks him to. Burt and Carole see the tension. Carole goes to help Blaine (and give them space), and Burt checks in with Kurt, who assures him that it’s more of the same. Small stuff. Burt reminds him that small stuff becomes big stuff if you don’t talk about it.

Artie is finishing up his final projects and isn’t sure how he feels about them. He doesn’t like the requirements and restrictions of school assignments, and school is expensive. He lets some of his feelings out to Brittany. He’s torn about whether he should work as an assistant part-time and go to school part-time. With his internet income, he could cobble together some sort of life, and maybe the experience of work would be more useful. She reminds him that Lord Tubbington is making thousands a month selling sawdust pills online, and he could use an assistant.

Kurt is concerned about leaving his parents at the apartment for the night when they’ve come so far, but Burt encourages him to let go. He’s young. Enjoy it.

The night out for Kurt’s birthday is musical and fun. “22” is the ensemble gathering, getting ready to go out, and singing down the streets as a big happy clump of joy. They end up at a gay bar, all of them singing, drinking, dancing.

“Lady Marmalade” is the girls and Elliott (and male gogo dancers with skimpy shorts and feather boas) on stage at the bar, vamping it up as a present for Kurt.

The next day there’s a big brunch at Kurt and Blaine’s apartment. Burt and Kurt have a moment, where Burt is watching Kurt watch Blaine. Burt checks in with his son and gives him love and support. Kurt’s worried about Blaine, worried about them as a couple. He loves Blaine so much, but he doesn’t always know what he should say or do. Burt holds back a bit with advice but ultimately says that no matter how old Kurt gets he’ll always be his dad, so he’s going to give him his thoughts. He tells Kurt to follow his heart, because it’s the best part of him.

Carole and Blaine have a moment where he tries to be perfect and positive, all wound up and yet vulnerable. She tells him it is okay to need things and reach out; in fact, it’s important that he does, because that means he’s listening to himself.

Artie finds out his short film is a finalist for a prize at school! He realizes maybe he is finding his way there, after all, and he decides he should continue to stick it out. Brittany says Lord Tubbington will be very disappointed, but it was good Artie said no before he was in too deep. She shows him she's wearing a wire for the FBI, who is investigating Lord Tubbington for money laundering. "Aren't those just earbuds taped to your chest?" Artie asks in confusion. "Yes, for listening to my conversations with him," Brittany agrees.

Later that night, Blaine and Kurt talk. They bare their souls, their fears, and their deep, deep love. Blaine talks about his insecurities and about how he’s trying to overcome them but is always going to have them. Kurt opens up about his own insecurities, too, and how he knows he pulls inside but is so glad to have Blaine as his rock. They talk about the future, about their dreams. They reaffirm their life together, their sincere love, how much they’ve grown, how much they have to look forward to together. They hold hands, embrace. It’s beautiful, teary. They sing “The Best is Yet to Come” together on the couch.

Jesse has a serious talk with Rachel on their way to meet up with friends the next day. He apologizes and tells her that he just thinks she’s amazing and wants everything for her. He’s her biggest fan. He loves her. He not calm water but burning fire, and maybe she needs someone who is less of a tempest, but he can promise he’ll always be on her side. “I’m always going to have an opinion about you and what you’re doing, Rachel,” he tells her. “Just like you will always have one about me.” He wants to go through life with her beside him, combining their fire and taking over the world. “I can’t promise I won’t fight with you, but I can promise I’ll always fight by your side against anyone getting in your way.” She’s silent, teary. “I know I’ll never be able to step into Finn's enormous shoes, but I love you just as much as he did.” “I love you just as much, too,” she tells him. Big, emotional, weepy but smiling embrace.

“Feelin’ Groovy” in the kitchen as Rachel helps Kurt and Blaine make lunch. They connect over their inner peace and lovely harmonies. Burt and Carole come in by the end, singing along. Hey, they know that song!

Rachel and Carole find themselves together, and Carole wishes her happiness. Rachel tears up and hugs her, grateful for her blessing.

The episode ends on “Can’t Stop the Feeling,” led by Artie. “You know what else this weekend needs? Ice cream!” Happy, late spring, outdoor dancing on the street. Various couples twirl/dance and kiss. They’re in their twenties (apart from Burt and Carole). They're in New York. They’re hopeful. Life is good.

Chapter Text

Songs include:
“La Vie Boheme” (Rent) - ensemble
“The Night They Invented Champagne” (Gigi) - Kurt, Isabelle, Blaine, Rachel
“Sweetest Devotion” (Adele) - Rachel, Santana
“Teenage Dream” (Katy Perry) - Kurt, Blaine
“Welcome to New York” (Taylor Swift) - ensemble

We end the season on what feels like a new beginning, hence the title. They’re all finding their ways. They’re all finding their own places in New York. The world is waiting for them.

Open on Kurt and Elliott bursting into the diner (where the ensemble is gathered for dinner) with huge news. They both got parts in the Rent workshop! Kurt is Mark, and Elliott is Roger. (Hey, it's Glee!) Big celebration, and it flows into (an edited, PG version of) “La Vie Boheme” with everyone switching off parts and dancing on the tables and such. Glee!

Kitty is coming to New York for college, and the gang all shows up to help her move into her room in an apartment she’s sharing with some other kids from her school. They haul boxes and stuff. It’s not glamorous, and Kitty shows some actual nerves to Blaine about being in the city. He tells her it can be overwhelming but isn’t that bad, once you find your place. He also gives her an official invitation to the friends’ potluck. Kurt did the calligraphy.

Rachel, Santana, and Kitty talk while Rachel is helping her unpack, and Kitty asks Rachel what is up with Jesse. Rachel effuses over how much she likes him and how well it’s going, and Kitty asks what the hell she’s doing in that gross dorm, then. Santana says there’s nothing better than being with the person you love. Rachel looks thoughtful.

Kurt has to pick up something from Isabelle at her office, and he brings along Rachel and Blaine on the errand. When she learns he got the part in the workshop she breaks out some champagne. She’s so pleased for him, even if she’s sad she can’t keep him with her forever. He’s following his dream. (Kurt assures her she's not getting rid of him that easily). They toast, they get tipsy, they sing. “The Night They Invented Champagne.”

Blaine and Rachel get coffee one morning, and as they sit at a sidewalk cafe they talk about what lies ahead. Blaine got his grades and did well enough. He didn’t fail, and he has to be proud of that. He'll keep working at it. Rachel is encouraging; she did well, too. They’re doing this. They’re picking themselves up and succeeding. Their mistakes don’t have to define them. What a difference a year makes. They are Lima losers no more.

Artie asks Elliott to star in a short film he wants to make over the summer. He asks Elliott because the rest of their friends are “high drama.” “You think?” says Elliott.

Rachel decides she’s ready to move in with Jesse. Being Rachel, she simply shows up at his door with a huge suitcase of her stuff. “Going somewhere?” he asks in confusion when he opens the door. “No, I’m staying for good,” she says, and he sweeps her off her feet and into the apartment.

Rachel and Santana sing “Sweetest Devotion” to Jesse and Brittany, respectively, as Rachel moves in with Jesse and Santana sits happily across from Brittany at the kitchen table while Brittany does impossible math problems. It's so full of love.

Blaine comes home to find Kurt in the spare room, trying to tailor a jacket in the cramped space. Since chronologically at this point they’ve been back to Ohio and know Sam isn’t moving in with them, Blaine says that maybe they should move the bed out of the way and only rearrange when they have guests. Kurt looks up, surprised, because Blaine has been so adamant about keeping it open and maybe having a roommate. “I don’t want just anyone,” Blaine says. “And I like having space for just us. And, I mean, someday our family won’t be just two of us.” Kurt’s all fluttery and in love, because, yay, the future, babies, and also room for his own projects. “I’d marry you all over again,” Kurt tells him.

It’s time for Glee's third iteration and redemption of “Teenage Dream,” this time as a Klaine duet. Kurt starts it, singing to Blaine. It begins in the apartment with Blaine being moved and teary-eyed and ends up being them singing to each other in parks, on the street, at dinner, etc. They’re both living the married life they’d imagined as teenagers. Full circle moment, full of the future they've always wanted together. The song ends with Kurt drawing Blaine into the bedroom. Get it, boys!

Blaine tells himself in the mirror not to be scared of his past failures and decides to declare a music major at NYU. He can do this. He loves music too much not to do it. He might fail again, but he can just keep trying. Then he goes and talks to Kurt about it, feeling secure in his choice and able to lean on Kurt without it being bad for them. "I'm behind you one hundred percent," Kurt tells him. "I really, really love that you are," Blaine says, "but even more importantly I'm sure, too." It feels like a new beginning for Blaine on firmer ground.

Kurt and Elliott go to their first rehearsal for the Rent workshop. It’s terrifying and professional and absolutely amazing. It’ll be a challenge, but it’s a welcome one. They're both giddy and serious at the same time, feeling the importance of this step in their lives.

Rachel comes home from a long day as a summer teaching assistant. It went terribly, but Jesse is there with open arms, an ice pack for her knee, and a bottle of the magical throat spray, supporting her just as he said he would. "Welcome home," he says.

End on “Welcome to New York,” which starts as a montage of various individuals and couples going about their daily business (Artie making a video, Rachel finding a place fo her belongings in the apartment she’s now sharing with Jesse, Santana at the PR firm, Brittany in a dance studio, Blaine at the piano by himself, Kurt walking down the sidewalk with grocery bags and earbuds in, etc.), brings them together in couples and small groups as the song goes, and ends up with all of them meeting up outside Kurt and Blaine’s apartment for the potluck. They’re enjoying their lives, feeling their paths opening up to them, seeing New York starting to give them the opportunities they moved there to find. It’s joy, it’s family, it’s love, it’s hope, it’s everything. Camera pans out to the iconic lights of New York - the laughter and chatter of the group still in the audio background - as the song and the season end.

Chapter Text

I didn't want to put these notes at the beginning of the season, in case readers wanted to approach it without any idea of what was coming. I wrote a season overview first before I broke down the beats of the story into episodes, and I thought some of you might be interested in reading it.

Thematic season overview:

There’s no Big Bad of the season, no Sue to defeat or competition to win; it’s all about the characters growing into this next, more serious stage of adulthood and how that pulls at them.

Season-long arcs for our main three characters (Kurt, Blaine, Rachel):

Kurt and Blaine start off worried about falling into old patterns and create new ones that don’t really work, either. Kurt tries to be less opinionated and controlling. Blaine tries to prove he’s stronger and less needy. It leads to Kurt holding back (and hating it) and Blaine trying (and failing) not to be insecure about it. The first few episodes have them in growing crisis (with happy parts), but they start to figure it out. They make progress, get things wrong, and try some more. By the end of the season, they are compromising better and also revisit an early conflict - about whether to have someone live in their second bedroom and if that would be a better buffer for them than living alone - and both feel strongly that since Sam said no to moving to NYC they are happy alone, creating their own life, using that space as a studio/guest room and *hearteyes at each other* for possibly expanding their family someday.

Kurt’s big solo arc is about learning both to be wholly himself and also to be okay with submerging some of his personality while performing in a role. It doesn’t all have to be autobiographical, but he doesn’t have to revisit “Pink Houses,” either. He can create his own opportunities, like rebuilding a band with Elliott, but he also can push to be seen as a traditional actor. He isn’t an obvious fit for Mark in Rent but goes for the part in the workshop of an updated revival of Rent and ultimately gets it.

Blaine’s big solo arc is about redeeming himself from failing out of NYADA and finding a way to stand on his own two feet while still being wrapped up in his husband. He decides not to be in Kurt’s band, because he wants to create his own opportunities at NYU and because he recognizes that it’s good for Kurt to have his own projects, but he also asks for Kurt’s feedback in his own work. Cooper’s visit makes him feel like he’s not succeeding. Carmen’s support later in the season helps him realize that just because he failed once doesn’t mean he can’t live up to his full potential, that new paths can lead to amazing things. (With Klaine resonances.)

Rachel’s big solo arc is also about second chances. She’s back at NYADA and has to prove herself as more than a diva; her classmates are scathing, and she’s out of practice with some of her skills from being in Ohio. Her personal arc is one of focusing, working hard, and not caring so much about other people’s opinions of her.

Rachel is slow-ish to get involved with Jesse, and she decides not to live with him when she arrives back in NYC, but he’s charming and determined about wooing her. They start off casually; it’s hard for Rachel to be willing give in to her usual overwhelming passions. It’s scary for her in the face of this relationship, because she knows how much it hurts to lose someone she loves. She could date Sam and not go all-in, but with Jesse she’s never just been able to take things slowly. She wants to be careful and cool, and he tries to be breezy seeing her feel that way, but mid-season they can’t hold back anymore. They’re both all-in and move in together by the end of the season.

Secondary characters, who aren’t in every episode:

Brittany’s solo arc is about her choosing what makes her happy. She loves to dance, but she sees the magic in math, and she ends up double majoring and deciding to decide later.

Santana’s solo arc is focused on her career path and personality; she has an incredible opportunity at a high-powered, cut-throat PR firm and is great at it, but the sharp edges it gives her are not as compatible at home with Brittany. She chooses to put off her career some and focus on life and marriage; she likes that (still very snarky) Santana better. At home with Brittany’s steady love, some of her rough edges are smoothed off.

Brittana overall are happy. They are touchstones for each other throughout the season and a sort of model for a stable couple.

Artie’s solo arc for the season is him deciding between making films that are popular but more sensational or less well-known but more honest, basically the choice between chasing fame/money and working from his heart. He comes at this conundrum from a couple of directions.

Elliott follows Kurt’s arc in terms of being himself and also being a performer going for roles; he gets a (clothing/styling) makeover to audition for Roger and gets the part.

Jesse’s arc follows Rachel’s and is focused around their relationship. He also gives (sometimes unhelpful) advice to everyone else.

Guest stars: Cooper makes Blaine feel like he’s not successful enough, Dani makes Santana happy she is with Brittany because of how Brittany centers her, Isabelle helps Kurt with makeovers and helps him understand that playing the game isn’t compromising yourself if you are true to your heart’s desires, and Burt and Carole provide a centering touch around family near the end of the season. Various New Directions pass through in certain episodes (Tina, Kitty, Sugar, Mike).

The musical arc is based around Taylor Swift and the musical Rent, which felt like touchstones Glee might use. The big seasonal theme is that being an adult and reaching for your dreams is hard, and even if you can do it alone you should lean on your friends to help you get there.