Quintet 11: My Favorite Kind of Vampire

Quintet is a bi-monthly periodic music review of any five songs I happen to come across/stumble upon, or were recommended, any how, any time. Suggestions from readers are most welcome because music deserves to be shared. Let me be your convert or critic.


I can say that this year's long Christmas break was the most productive I've spent in recent years. I caught up on TV show episodes I missed, read classics (although this was less of a voluntary decision on my part and more of me trying to be the #BestSisterintheWorld *wink*) and listen to albums that came out in 2013.

I browsed through different top-albums-of-2013 lists and Vampire Weekend's Modern Vampires of the City topped Pitchfork's Top 50 list. I listened to it and was surprised at how good it was. I regretted the day I dismissed my friend Gina's* suggestion to listen to this album when it came out sometime in May 2013. I shall never doubt any of her recommendations from here on in.

Before I continue, I feel that I have to make a disclaimer. This review cannot, and does not even attempt to, match the beautiful way in which Lindsay Zoladz of Pitchfork wrote about Modern Vampires of the City. Here's an excerpt:

Modern Vampires is such an overwhelmingly humane album that it makes all those words that used to stick to them [Vampire Weekend] (elitist, pretentious, preppy) seem outmoded, too... Maybe what this album is really breaking up with is dogma—anything that limits the scope of your perspective and what (or who) you can love... We are moving in the direction of a place where everybody is allowed to love everything.

If those words can't convince you to give the album a try, I hope this Quintet will help.

These are my Top 5 songs from the album Modern Vampires of the City:

5 Everlasting Arms
Sometimes vagueness can be good. Everlasting Arms' ambiguity of meaning gives it a relate-able quality. It can be about God, the person you love or even death. This song's quirky beat adds to its mystery.


4 Young Lion
Internet research told me that this song was written by guitarist/keyboardist and backing vocalist Rostam Batmanglij after lead vocalist Ezra Koenig told him that, during the stressful final weeks of finishing the band's second album Contra, a complete stranger stopped Ezra while he walking to the studio, and said, "You take your time, young lion." It's now the coda to the Modern Vampires. A final message of hope.

I liked this song or coda for its simplicity--it only has the words You take your time, Young Lion as lyrics--and skill. It shows off the excellent skills of keyboardist Rostam. After listening to eleven tracks with lyrics which could mean anything and everything, Young Lion is a fitting end. The calm after the storm, so to speak.


3 Obvious Bicycle
The calm and controlled beat of this song is a refreshing contrast to the rest of the album (except for Young Lion). I think the song tells us not to be too hard on ourselves (we are, after all, ourselves' harshest critic) because in the grand scheme of things, we are merely dots in the universe (Ah you oughta spare your face the razor/Because no one’s gonna spare the time for you). More importantly, others' opinion of us shouldn't matter as well because we're not in this world to live by their opinions or focus on negative things, we are in this world to live (So listen oh/Don’t wait) and revel in the good (So keep that list of who to thank and mind/And don’t forget the rich ones who were kind).


2 Unbelievers
The song's meaning and message is heavy; it's beat is not. It balances out really well. Unbelievers asks existential questions about an unbeliever's place in a world of believers. (Got a little soul/The world is a cold, cold place to be/Want a little warmth/But who’s gonna save a little warmth for me?; Want a little grace but who’s gonna say a little grace for me?; But what holy water contains a little drop, little drop for me?; Want a little light/But who’s gonna save a little light for me?)

But ultimately, the song says, regardless of what/who we believe or don't believe in, we all end the same: we die; we turn to ashes (Girl, you and I will die unbelievers/Bound to the tracks of the train).

I’m not excited, but should I be?Is this the fate that half of the world has planned for me?

1 Step
Love at first hear. This is how I describe the way I fell in love with Step. The beat is quirky and attention-catching but it was the brilliant use of metaphor that completely won me over. Step speaks of the connection between music and man.

I completely relate to the way lead vocalist and composer Ezra treats his music--with protectiveness and, sometimes, selfishness. I liked listening to songs not everyone listened to. The lesser the fans, the better. I treat the music, the artists and the songs I discover as my secrets I refuse to share to the world (We saw the stars when they hid from the world/You cursed the sun when it stepped to your girl). Hence, my love for Tristan Prettyman, and Jason Mraz before he became too mainstream. But as I grow older, I realize that good music deserves to be shared (Your girl was in Berkeley with her communist reader/Mine was entombed within boombox and walkman/I was a hoarder but girl that was back then) and not sheltered (The truth is she doesn't need me to protect her). I can go on writing about the beautiful way the song is written but I do want you to find out on your own how great this song is for people who really love music.

It doesn't hurt that the lyric video for this song is beautiful, too.


As for the other songs on the album that didn't make my top five, here's what I think about them:

Diane Young
Aside from showing a great use of a homophone (Diane Young = dyin' young) and lyrics (You've got the luck of a Kennedy), this song also has good beat. Very catchy. Almost pop sounding. Reminds me a little of The Preatures' Is This How You Feel?

Don't Lie
For a song that tackles a constant, if not common, topic (one's readiness for death), this song does a good job. It starts with quesions (I want to know/Does it bother you?/The low click of a ticking clock; God's loves die young/Are you ready to go?) and ends on, I think, a positive note that despite the immediacy and frailty of life, one should live it to the fullest because we never know how long will be here (There's a lifetime right in front of you/And everyone I know).

Hannah Hunt
It's one of those songs that would be appreciated more and better if people just took time to really listen to what it says. It's rich with allusions and metaphors that deserve to be admired and understood.

Finger Back
A friend pointed out that she listens to Vampire Weekend more for their beats than their lyrics. Finger Back is, for me, a good example of this beats-trump-lyrics view.

Worship You 
I like the message of the song because it urges those who believe in God to do worship and prayer with energy and passion (Energetic praise you want it/Any kind of place you want it), and to do it out of love and faith--not fear.

Ya Hey
Zoladz of Pitchfork describes this song as a break-up song about God. Other says it is the counterpart of Unbelievers because it question's God's existence from the point of view of a believer. (Through the fire and through the flames/You won't even say your name/Only "I am that I am"/But who could ever live that way?) Beat-wise, this song is the catchiest.

Hudson
Someone pointed out that this song speaks vastly of New York City history. Since I'm not from there or have never been there, the song doesn't appeal to me that much as the other songs on the album did.


Modern Vampires of the City is a very good album. I suggest everyone to listen to it in its entirety because--and I quote Zoladz of Pitchfork--every track on here has its own weather. I'm sure everyone will find a song that floats their boat that others--not even me--liked. Who knows maybe Hudson is the song for you?


*Gina is also one of many friends who suggested Sherlock to me a while back.

----------------------------------------

You may want to read other Quintet entries:

Quintet 10: You, Me and Dianna
Quintet 9: Music is my Mistress
Quintet 8: Music for the eyes
Quintet 7: Something old, something new
Quintet 6: Top 10 Performances from Glee's Season 4
Quintet 5: Original vs. Covers
Quintet 4: Radio
Quintet 3: GLEE-king out
Quintet 2: Holy Week Playlist
Quintet 1: Music to my ears

Quintet 10: You, Me and Dianna

Quintet is a bi-monthly periodic music review of any five songs I happen to come across/stumble upon, or were recommended, any how, any time. Suggestions from readers are most welcome because music deserves to be shared. Let me be your convert or critic.


This edition of Quintet will focus on the five best musical recommendations from movie and TV actress Dianna Agron. I had to pick out five I liked (because this is Quintet) but I suggest you go over her Twitter (@diannaagron) to see the various songs she recommended (or listened to at some point) which didn't make this list. From John Lennon's Look At Me to French singer Serge Gainsbourg to Oscar Isaac's Hang Me, Oh Hang Me to amazing covers (LP's cover of Beyonce's Halo and Pentatonix' cover of Gotye's Somebody That I Used To Know) to this video of Don't Stop Believin' featuring Keenan Cahill, Dianna's Glee co-stars and Dianna herself.


Here are five songs I loved from Dianna Agron's musical recommendations:

1. Always Like This by Bombay Bicycle Club

 With lyrics like this (If I follow the light that I deem the brightest... it's always like this), you wouldn't go wrong. Although this band from London has a style of their own, they remind me of Fitz and the Tantrums--which is a good thing. Side note: Lead vocalist Jack Steadman eerily sounds like Kevin McHale from Glee.


2. All Eyes On You by St. Lucia

St. Lucia perfectly balances out a potentially sad set of lyrics with a very catchy and somewhat lively tune, and comes up with the just-right, All Eyes On You.


3. Is This How You Feel? by The Preatures

Watch this video and I'm sure you'll agree with me. To  paraphrase Veronica (@VeeHawl) on Twitter, if Haim, Chairlift and Fleetwood Mac had a stupidly catchy baby, it would be The Preatures.


4. Capital Cities

Dianna Agron impliedly recommended this LA band by posting a screen cap of the Capital Cities' "In A Tidal Wave of Mystery" album art. The whole album is worth listening to. It made my finals month last semester more bearable. But if I really have to narrow it down--maybe because you don't have time for the whole album (I pity you for missing out)--I pick Safe and Sound and Farrah Fawcett Hair as must-listen-tos. It's good shit.


5. Falling by Haim

The music of this trio (fun fact: they're sisters in real life!) from LA is frequently likened to Fleetwood Mac's (again!) but I think Haim is a mellowed down version of Florence + the Machine. Haim recently released their first album, Days Are Gone which features another good song, The Wire.


Other artists that didn't make the cut but deserve a second look and/or may get better with time are:

Polica. Their song Lay Your Cards Out made the Joss-Alex shower scene in The Mistresses steamier.

Cheers Elephant. Let this You, Me & Charlie article on the band convince you.

The Killers, if only for their Just Another Girl video which featured the amazing Dianna Agron as Brandon Flowers. Go watch it and give yourself a heart attack.

I leave you with this amazing screen cap of Dianna Agron in Just Another Girl.

---------------------------------------------------------------------
You may want to read other Quintet entries:

Quintet 9: Music is my Mistress
Quintet 8: Music for the eyes
Quintet 7: Something old, something new
Quintet 6: Top 10 Performances from Glee's Season 4
Quintet 5: Original vs. Covers
Quintet 4: Radio
Quintet 3: GLEE-king out
Quintet 2: Holy Week Playlist
Quintet 1: Music to my ears

Five Steps To Quit Glee

I started watching Glee when I was in college because it was convenient. I had a blockmate who gave me (and anyone who's willing) copies of the episodes and songs sung in every episode. It was so easy to be a gleek then.

I swear I had to do this for a friend.

Because of the demands of law school, work and adult life, I had to cut down on the TV shows I regularly watch. House and Desperate Housewives were the first ones to go. Chuck ended. Community went into a hiatus (sort of). I dropped Suits because Mike Ross did not go to law school to become a good lawyer. I only watch The Big Bang Theory when my law school seatmate gives me copies of the new episodes. The shows that remained were How I Met Your Mother, Once Upon A Time and Glee.

Despite the glaring lack of continuity, the forgotten storylines, the recycling of storylines, the sloppy editing, the graduation of the old New Directions and the end of Britanna, I chose to stick to Glee with the hope that it will be able to reclaim its former glory (season 1 and 2).

Finally, I decided to quit Glee after watching the third episode of the fifth season, "The Quarterback." The reasons are numerous and so obvious--no character development, no continuity, no dedication to plot, weird story arcs, no connection with new characters, which is partially due to my refusal to let the old New Directions be replaced by poor copycats like Kitty and Bree. This list got longer, and I realized that there was no point in continuing to be a fan of something that has become so mediocre. Not even the amazingness of Burt Hummel can make me stay.

Quitting Glee was hard. It was a like a long-time lover who kept doing crazy things that make you want to leave him or her but he or she will do soemthing that will reel you back in just as when you start pulling away.

So here are the Five Steps I Followed to Quit Glee:

1. List down all the things you hate about Glee. List down the things you love about it. When the Hate list outnumbers the Love list by a great margin, it's time to move on. Why continue watching that sucks? You know you've reached the point of no return, when you realize that not even Lea Michele's voice or Chord Overstreet's abs can make you sit through an entire episode.

Keep this list. Whenever you're tempted to jump on that Glee train again, bring out this list and remind yourself of the many ways Glee sucked, and fcked you up as a fan and didn't even bother to make up for it.

2. Choose the right time to quit because timing is everything. Like with any addiction, an ill-timed quitting will increase one's tendency to go back.

I chose "The Quarterback" because:

(a) I'm convinced that Glee is never going to be the same again with Cory Monteith's death. Mike Astuccio put it best when he wrote: "Monteith’s passing is a resounding reminder of much darker realities that exist in our plain world." For me, Glee was an escape. It was one of the shows I watched because it was simply entertaining--the performances, the songs. With something as dark as Monteith's addiction and death looming over the show, I can't simply look at it the same way I used to.

(b) The Quarterback was a really well executed episode. It perfectly showcased the different ways in which people deal with grief. The best performance was delivered by Romy Rosemont as Finn's grieving mom, Carole Hudson-Hummel. This episode reminded me what Glee writers are capable of, if only they focused on the right things. Sadly, they have failed to come up with brilliant episodes on a regular basis.

3. Keep your Glee seasons 1 to 4 (ok, maybe up to season 2) boxed set within reach. This serves a dual purpose: (a) When you miss Glee, you're allowed to reminisce and watch the old episodes. (b) It will serve as a constant reminder of how good the old episodes were compared to the new ones Ryan Murphy comes up with.

4. Never ever forget the reasons why you loved Glee but don't let these reasons suck you back in. I will always be thankful to Glee for introducing me to the awesome-ness of Dianna Agron. Long live Quinn Fabray!

5. Read good Glee fan fiction, or visit Glee-related Tumblr pages. There are a lot of amazing, creative Tumblr blogs you can visit to help you when you get the sudden urge to know how Rachel or Kurt or Santana looks now. At some point, you will feel that you've seen, read or heard everything Glee-related you will no longer feel the urge to watch the actual show. Before you know it, you're over it.

I hope these steps will help you in your path to quitting Glee. These will only work if you've made your decision. The choice whether to walk out on the show now or stay until season 6 is, of course, all up to you.

QNBS: Rookie Blue

I started the Quest for the Next Best Series to find a replacement for Chuck. Ten TV shows and eleven reviews later, I decided to watch Once Upon A Time. But having the opportunity to criticize anything in a justified manner is so addicting that I have decided to continue my Quest for the Next Best Series. I decided not to rename the series because I don't have enough creativity to think of a new one.

I will adopt the original QNBS method for judging a show. 1. A friend recommends a TV show or I see an interesting review, or hear a sarcastic rant about it in the Internet. Point is, I learn about a TV show. 2. I watch two episodes. 3. Write down what I think, Pros-Cons style.

I will add a one-liner (or maybe more) at the end of each QNBS review called The Verdict, which will serve as my verdict, my opinion, on whether you should or shouldn't watch the show.


--------------------------

Many series exist in TV world but today I will write about Rookie Blue.

Plot: Five fresh-out-of-the-academy police officers join 15 Division to help serve and protect law-abiding US citizens. 

PROS:

1. I'm already hooked. You see, before I wrote this QNBS entry I finished more than 2 episodes of Rookie Blue. (I broke my own rules, I know.) I started with watching only the latest episodes from Season 4, around episode 11 and 12. Somehow it piqued my interest (like no other cop show did) and before I knew it, I was done watching all 13 episodes of Season 4. I am now on Season 1.

2. The rookies. Well, McNally, Peck, Diaz, Epstein and Nash aren't rookies anymore in season 4 but I did watch Rookie Blue's pilot episode, "Fresh Paint," to see how far each rookie has gone. Yes, I was that interested in them. Each rookie has, as expected, progressed in terms of experience. The progress may not be as obvious as Nash's (by season 4 she's training to be a detective) but it is noticeable. In addition, Missy Peregyrm, Charlotte Sullivan, Travis Milne, Gregory Smith and Enuka Okuma have good chemistry.

The Rookies (top to bottom): Peck, Epstein, McNally, Diaz and Nash

3. The friendship. One of the reasons why I fell in love (and continue to do so) over How I Met Your Mother is that more than being a story about how a dad met his kids' mom, it is a story of friendship. Somehow I see the same thing in Rookie Blue, with less flair (no Barney here) and more.. .heart. The rookies start out as a tight-knit group, having endured the academy together, but in the three years that have passed (between "Fresh Paint" and season 4), their bond is tested and eventually it becomes tighter. (PS: I totally love it that Gail, Dov and Chris are sharing an apartment now. I hope no one moves out ever.)

4. The drama. Ever since House and Desperate Housewives, I have yet to pick up a show which is heavy on the drama. As a rule, I stay away from drama but I guess Rookie Blue is worth making the exception for.

5. It is not law-related. Although Rookie Blue is about law enforcement, it is not about the law profession, which I try to avoid as much as I can during my free time. I consider it an effective destressing technique. This is one of the reasons why I stopped watching Suits after Season 1.

6. Gail Peck. She is an enigma; a person I am interested to know more about. She's the primary reason I decided to go back to season 1 just to see how she became the person she is in season 4--an eerily quiet yet more vicious version of Santana. Yet her interactions with Ernie the urn, Shaw and Holly give the viewers a glimpse of her vulnerable interior.

Gail (on putting Ernie's ashes in the lake): It's the same as flushing him down the toilet. Only it is a prettier, bigger toilet.

7. Oliver Shaw is a wonderful, lovable and honest man. He's like Mr. Healy before he became obssessed with keeping Piper away from Alex Vause, and letting wooden-cross toting Pennsatuckey play fencing with Piper and her screwdriver. Shaw effectively connects with the rookies on a level Swarek or even Frank Best never will.

Squad car convos: Oliver talking to Peck and Epstein.

8. The music. I just finished watching season 4 and, off the bat, I liked Matt Walter's I Would Die For You, Dave Thomas Junior's 3 Wishes, Jon Bryant's David Livingstone, and the amazing Firefly by Rebecca Raabis. One song short of a Quintet post. For a fairly accurate list of the songs played on Rookie Blue, check out this link.


CON:

I find myself enjoying scenes and episodes that were McSwarek-free. I like McNally and Swarek as individual characters but as a couple, I just don't. I know they're like Ross and Rachel from F.R.I.E.N.D.S--they're going to end up together no matter how messy the in-between is/got/will be--so they're not going anywhere soon. I guess I have to overlook this simple irritating detail because Rookie Blue, in its entirety, is awesome.

THE VERDICT:

If you want a good, entertaining show to marathon-watch, then Rookie Blue is what you're looking for.


-------------------------------------------------
You may want to read other QNBS entries:

What Would Ryan Lochte Do
Smash
Pushing Daisies
Spartacus: Blood and Sand
Freaks and Geeks
Bent
Once Upon A Time
The Inbetweeners 
Game of Thrones 2
Sherlock 
Suits
Game of Thrones 1
The IT Crowd
Rizzoli & Isles 
Community 
Awkward 
New Girl 
Outsourced 

Quintet 9: Music is my Mistress

Quintet is a bi-monthly periodic music review of any five songs I happen to come across/stumble upon, or were recommended, any how, any time. Suggestions from readers are most welcome because music deserves to be shared. Let me be your convert or critic.


Mistresses may not be another Desperate Housewives, and Savi, Joss, Karen and April's friendship may not be up to par with Ted, Marshall, Lily, Barney and Robin's but one thing I like about it, and will definitely miss if it's not renewed for season 2 (come on, ABC Family!), is it's great music. Whoever chose the music for Mistresses' season 1 run was not afraid to try out new songs or even unheard of artists. Episode after episode, I am amazed at the great song choices that enhanced every scene.

Here are five songs (this is a quintet so I had to pick out only five), I loved from Mistresses' Season 1:

1. Background Radio by Lily Frost 
I had a hard time finding this song because I only had the lyrics "Together we make a dream...all the birds are chirping, I know my heart is working" to start on. Through persistence and hard work, I found out the title and the artist. Since I first heard it in the background while Joss agreed to be in a relationship with Alex, this song became my happy song. I will forever be thankful to Mistresses for leading me to Lily Frost's music.

2. Mountains by Odessa Rose
This song is priceless for two things. First, it enhanced the scene where Karen was falsifying her notes about Thomas Grey, and second, it's good music to fall asleep to. And I mean that in a good way. It has a calming effect on me and I suggest you give it a listen to find out for yourself.

3. Lay Your Cards Out by Polica
If you're into sexy music, this song is for you. Really.

4. You Will Never Know Me by Rachel Starshine Robinson
I will never know me 
Like you know me 
Like you know me
And I wish that you could show me 
How my love feels

Who could go wrong with lyrics like these?

5. Anything Could Happen by Ellie Goulding 
The use of this song in the opening scenes of Mistresses' finale "I Choose You" is perfect. If anything that Mistresses' 13-episode run has proven, it is that anything could happen. One of the world's hottest couple may go from family-ready to estranged (to reunited?) in two or three episodes! Someone who has been dead for 3 years can come back from the dead. A woman who's straight as an arrow can just decide to be in a relationship with another woman just to keep the friendship. And someone can just make one bad decision after the other. (I'm looking at you Karen!)

If you want to know other songs used on the show, you can check out this fairly accurate list.

As a final point. To whoever is in charge of choosing the music for Mistresses, I wish to thank you from the bottom of my music-loving heart. Bless your soul for having a good ear for music, and for sharing your musical discoveries with us. I look forward to another season of good music!


--------------------------------------------------------
You may want to check other blogs in the Quintet series:

Quintet 8: Music for the eyes
Quintet 7: Something old, something new
Quintet 6: Top 10 Performances from Glee's Season 4
Quintet 5: Original vs. Covers
Quintet 4: Radio
Quintet 3: GLEE-king out
Quintet 2: Holy Week Playlist
Quintet 1: Music to my ears

Meet The Parents: Glee Edition

In real life, meeting the parents is always a big step for couples. Whether you do it or you don't spells the difference in a relationship. Some people prefer that their loved ones and parents to meet to know how will they get along, or if one approves of the other. Others would rather that their boyfriends or girlfriends didn't meet their parents for a variety of reasons. Number 1 of which is because meeting the parents mean that the relationship is going to the next level of serious--closer to what society taught us to be the ultimate goal: A lifetime of monogamy.

For Glee and its viewers, meeting the characters' parents signifies, at best, that the character will undergo growth and development or, at worst, that the character will most likely get a good amount of screen time.

To illustrate here's the list of Glee parents and how their appearance in the show triggered a major character development for their children--or some screen time.

1. Leroy and Hiram Berry. We got a glimpse of Rachel's parents minutes into the Pilot episode. They were initially pictured as an interracial couple but were changed later on as Leroy and Hiram Berry. When we do finally meet them in season 3, it's when Rachel starts playing with the idea of getting married as a high school student. We also see the Mr. Berrys during glee club's regionals performance and Rachel's graduation.

Jeff Goldblum (left) as one of the Mr. Berrys is perfect!

2. Shelby Corcoran. Being Rachel's biological mother and Quinn's child's adoptive mother, it is inevitable to expect something important will happen--either to Rachel or to Quinn (even Puck, to an extent)--whenever Shelby showed up. We first met her in season 1 when Rachel was yearning for a mother figure. Her reappearance in McKinley in season 3 triggered Quinn's Crazy Mother Phase. In season 4, we saw her again when Rachel was preparing for her Funny Girl audition. It seems that aside from Burt Hummel, Shelby's the only parent Glee showrunners do not forget to include in his/her child's important life moments.

Of course, it doesn't hurt that Shelby (Idina Menzel) sings really well.

3. Burt Hummel. He is, hands down, TV's World's Best Dad. Whenever we see him in Glee, we know something's up with Kurt. He accepted and supported Kurt, whether as a closeted male teen or an out and proud gay man in New York. He stole our hearts for the nth time when he danced Single Ladies as a graduation present to Kurt. Burt Hummel is so awesome he has become more than just Kurt's dad.

The Many (All Equally Adorable) Faces of Burt Hummel

4. Carole Hudson Hummel. We met single mom Carol in season 1 when Finn was struggling with the possibility of being a father at an early age. Aside from providing a good excuse for a wedding-themed episode in Glee, her and Burt's wedding marked the beginning of Finn's maturity as a person. As the show progressed, we get to see more of Carole not only when Finn had really something important going on but also as part of the Hummel family.

Hey Carole. Nice to see you.

5. Russell and Judy Fabray. In Quinn's case, meeting her parents made us understand why she is how she is. We first met the Fabrays while Quinn was dealing with teenage pregnancy. She was instantly kicked out of their house as soon as her parents understood what Finn's song meant. We saw Judy again when she showed up at Regionals to support Quinn, to tell her she left Russell (good riddance!) and to help with Quinn's delivery. Finally, we saw her at Quinn's graduation. Good thing Glee showrunners didn't forgot to include her.

Fabrays can go from really sweet to really scary in a matter of minutes.

6. Mr. Schue's dad. The first and only time he showed up was when Mr. Schue was going through some really important stuff with his marriage. His appearance was so short--it was fleeting, really--I almost forgot we even met him! He was notably absent in his son's second and third wedding. I think even Glee's showrunners forgot that Will had a dad.

7. Coach Sue's mom. The solitary appearance of Sue's mother taught us that marriage, even to one's self, is really an important moment in one's life.

Sue's mother has crazy eyes.

8. Mr. and Mrs. Pillsbury. We first met them when Mr. Schue and Emma were starting to think of the possibility of marriage in season 2. They even dissuaded him from marrying their daughter. Like Mr. Schue's dad, they were also notably absent in their wedding. But we saw them again when Finn and Artie tricked them into giving the details of Emma's whereabouts after she left Will at the altar.

Gingers smell likes pennies.

9. Mr. and Mrs. Chang. We are introduced to Mr. and Mrs. Chang in "Asian F," the only Mike-centric episode of Glee. Two other milestones in Mike's life were marked by his father's presence: (1) During the only sectionals where Mike danced and sang; and (2) During graduation, where Mr. Chang exchanged a high five with Burt Hummel. For a second there I wondered if glee club members' parents bonded off screen to discuss their children.

Of all Glee stories involving parents, I loved Mike's the most.

10. Mr. and Mrs. Evans. The appearance of Sam's parents in season 3 marked his return to the New Directions and McKinley High. His parents allowed Sam to live with Finn at the Hummel-Hudson residence. But with Kurt and Finn off to college, I wonder where Sam was staying all this time.

If we're giving out awards for TV's World's Hottest Set of Parents, Mr. and Mrs. Evans have very good shot at winning.

11. Maribel Lopez. We met her when Santana (and Brittany, by extension) was struggling with what to do after graduation. Lucky for Santana, her parents saved up enough money to fund her first few months in New York. I wonder if we'll ever meet Santana's dad, who is either a dentist or a mob boss.

Business in the front; party in the back.

12. Millie Rose. Sweet Marley Rose's mom is so important we met her in the same episode we met Marley. Marley's struggle--with fitting in, in general, and with an eating disorder, in particular--is also her mom's.

You have magic in your throat Marley. It's time to share it to the world.

13. Rob and Berry Adams. We met Unique's parents when Sue tried to prevent Finn and Artie from casting Unique as Rizzo--the only time Glee delved deeper into Unique's character. (Yes, I don't consider the catfish thing with Ryder important, at all.)

Hey Big Mike!

14. Artie's mom. The first and only time (so far) we saw Artie's mom was when he was starting to seriously consider, for the first time, his options after graduation. I hope they will not forget to include her in her son's graduation.

If you ever imply again that I'm an old hag, I'm gonna tip you over.

15. Puck's mom and Jake's mom. The fact that we met them at the same time mirrored the importance of this moment for Puck and Jake as brothers.

Puck's on the left; Jake's on the right.

16. Paul Karofsky. We saw Karofksy's dad twice--first in season 2 and second in season 3. Both appearances showed Karofsky being at opposite points in his life. First, he bullied Kurt so much for being gay Kurt had to transfer to Dalton Academy. Second, he was being bullied so much at his new school he committed suicide. Fortunately for Paul Karofsky, his son survived.

The second appearance was more heartbreaking than the first.

With Amber Riley relegated to guest cast status in Season 5, the chances that we will meet Mercedes' parents, which by now you know means that something important will happen to Mercedes, has become nearly impossible. I hope this will not be the case with Brittany's parents, who I expect to be really awesome, and Mr. Al Motta, Sugar's dad who's allegedly a mob boss, who I expect to be really cool--like Barney Stinson cool. Also, I can't wait to meet the Cohen-Changs (to know more about Tina's life outside of glee club) and the Andersons (only to find out if they're hotter than Sam's parents).

Did I miss any Glee parent? Whose parents/s do you want to meet/see when Season 5 premieres on September 26?

-------------------------------------------

I wrote of a bunch of other stuff on Glee which you may want to check out.

Quintet 3: Glee-king out
McKinley High School in a Decade
Things I Missed From Glee's Season 1 (Part 1)
Things I Missed From Glee's Season 1 (Part 2)
Things I Missed From Glee's Season 1 (Part 3)
15 Glee Club Truths
Common Themes and Things in Glee's Season 1 and Season 3
Glee Mysteries: Mike, Quinn and Mercedes
Final(e) Thoughts: Glee Season 3
Kurt's 27 (Head) Dresses
Who Wore It Better: Kurt or Santana?
How Sue Sees It
Quintet 6: Top 10 Glee Performances from Glee's Season 4 (1st Half)
On Brittana and Brampocalypse 
On VapoRape, Babygate 2.0, Wheelchair Love 2.0 and Quintana
Final(e) Thoughts: Glee Season 4

An Open Letter to the Only Gnome I Know

Hi Gnome!

I know this may seem weird coming from a total stranger but I just want to say that what that a--hole posted about you being the asshole for not continuing AYMU is totally not true. I admit that I suffered from the same flaw before. I used to be irked, as a reader of fan fiction, when authors don't complete their fics. For me, I saw it as inconsiderate. But since I started to write fiction, I understand better now.

First, fics are the writers'. I recognize that once the reader invests time (or maybe even something more than that) to a certain fic, that reader become as a part of that fic. But that doesn't mean the readers earns the right to resort to saying mean things to the writer, anonymously. No one earns that right. Yes, we are entitled to our own opinions but if someone wants to criticize the writer, I think he/she should have the decency to reveal him/herself to the writer.

So to that bad-mouthing asshole who say mean things to you, Gnome, I say: Come out coward.

Second, the reasons why you chose not to continue the fic are yours, and you don't owe us, as readers, an explanation. The least you could do (and you did) was inform us of your decision to discontinue it so we'd stop waiting for updates, and we get a chance to preserve it as a pdf file (or whatever) before you entirely removed it from ff.net.

I understand now, as a fic writer, that:

(a) Fics are hard to write--even bad ones like mine haha--and I can only imagine the effort you give just to come out with something as great as I Need A Medic; and

(b) Most often than not, real life gets in the way of writing. We are, after all, employed citizens of the world who need to earn money to be able to eat and have access internet to publish our stories. Well, there may be some who can spend 24/7 on the Internet but they are a rarity, and I'm sure we don't want to be like them. We have lives to live and people to love. Or maybe, you just can't find the drive for AYMU now as you had then when you started it. Bottom line is, you have your reasons and we, as readers, should respect that.

Third, it is counterproductive to bash the writer if we want him/her to continue the fic he/she chose to discontinue. No matter what people say, positive reinforcement amounts to something. And mean words--not even disguised as a criticism in this case--will not bear anything good. Yes, I would be disheartened--pissed even--if you suddenly discontinue I Need A Medic (which I really like) but that doesn't give me a right to bash you. And I won't.

I apologize for the length of this piece. I guess I got carried away. But I hope I got my points across. I agree with you 100%, authors are people too. They deserve respect much like everyone does, even if they chose to stop writing the things we have grown to love.

My dear gnome I hope you don't get disheartened by a--holes who say mean things to you. Please know that in this universe there are others who continue to be fans of your work. I am one of them. I treat every update of I Need A Medic as a blessing. It may not come often--if at all--but when it does, I appreciate it, and am thankful.

Thank you, gnome.

Is The Piper Chapman Journey For You?

As a kid, I learned through fairy tales and children stories that protagonists must be good and, at times, maybe even perfect, and always logical. Little Red Riding Hood, Puss in Boots and even The Three Little Pigs (well at least one of the three) always made the right decisions when it mattered. Growing up I was exposed to stories which have protagonists with the same qualities. From the John Grisham books my mother bought for me at an early age (I think she may have been Inception-ing me to become a lawyer), I learned that even if life is marred by our bad choices, in the end, we, either through self-realization, societal factors or divine intervention, still make the good decisions that always lead to happy, or at least, satisfying endings. These characters may not start out to be good persons but they definitely progress towards being good as their stories go along.

One of the reasons I liked How I Met Your Mother is because I felt that despite Ted and his friends' many faults in decision-making, they will, in the end, make the right decision at the right time. Ted will let go of his irrational hope that Robin is The One and find The Mother. Barney and Robin will stop being scared of love and the mess that goes along with it, and just get married--even before Ted does. Marshall and Lily will get over their differences and arguments--big or small--and be the amazing parents they're destined to become. The same goes for the boys of The Big Bang Theory, the nerds of Chuck, the kids of Glee, and even the study group of Community.

This is where Orange is the New Black deviates from the usual. In Orange's first episode we are introduced to Piper Chapman and how she--and everyone else, for that matter as the season progresses--got into prison: By making the wrong decision. This may be a normal start off point for most stories (Mistresses' Savi Davis, Community's Jeff Winger and Once Upon A Time's Rumplestiltskin to name a few) but the difference with Orange is that as Piper's story in prison progresses, the wrong decisions are not lessened. In fact, they pile up. They come one wave after the other.

We see Piper mess up relations with fellow inmates Red, Crazy Eyes and Miss Claudette, her best friend Polly, her ex-girlfriend Alex, her fiance Larry and even, her counselor, Healy. Yes, Piper, at some point, resolves her little f*ck ups but we see that as with every step she takes in the right direction (or what she thinks is the right direction), she also takes two steps back in the wrong direction. As Dana Piccoli correctly pointed out, Piper Chapman is the anti-hero. She is a self-entitled white girl who thinks her problems are the world's worst problems. In her effort to try to blend in with the women of Litchfield she does the opposite and stands out in a bad way. We appreciate her effort because we know she has good intentions and she's just making decisions based on information she has and the recent lessons she learned from experiences she'd recently been in. If you're done binge-watching all thirteen episodes of Season 1, you have to give it to Piper for trying so hard. And yet she still failed.

The cringe-worthy moments in Piper's prison life--and to some extent, in the other Litchfield inmates' lives as well--make me love Piper--and the women of Litchfield--more. They may not fit the image of what heroes or protagonists should be, but somehow, the connection between actor (them) and the audience (me) is there. They're relatable in the sense that not everyone makes the right decisions at the right time. Not everyone learns from one's mistakes easily, if at all. Not everyone is good or perfect or logical. We share Taystee's fear of the uncertain, Red's desire to show strength in the face of adversity, Miss Claudette's doubts, Daya's insecurities, Nikki's longing, Alex' yearning for direction and even Pennastucky's ill-channelled devotion.

Orange's dedication to show us the stories of these women with honesty, precision and straight-forwardness remind me of Freaks and Geeks' willingness to do the same for teens in the late 1990s. The setting and topics discussed by each show are vastly different from the other but somehow if we squint really closely, we can see some similarities. Freaks did not focus on the high school life of the jocks or the geeks who are lovable or likable (for example, Glee's New Directions), it focused on the geeks who are geeks. Freaks introduced us to Lindsay Weir, a teenager struggling with finding her identity. Throughout Freaks' run, we see Lindsay get into different kinds of trouble (egging her own brother, babysitting while high, skipping classes, dating a burnout) and in the last episode we expected that she has learned her lesson. That she has improved. Instead, we are left with the image of Lindsay joining Kim as they plan to follow some band they like over the summer break instead of being where her parents think she is (an academic summit). Freaks end with Lindsay making, what many of us think is, the wrong decision.

In Orange, at the end of episode 13 we see Piper make what many of us think is the wrong decision. But for her, in that moment--it's Christmas and she's alone, having lost Larry, Alex, Healy, and even her roommate--smacking Pennastuckey with her bare hands seemed like a good decision. Maybe it's too early to tell if all hope is lost on Piper. Maybe she will become the hero that makes the right decisions at the right time in the long run. It took Barney and Robin eight seasons to figure out their shit and they're not even in prison.

Piper is not the conventional protagonist but I find myself rooting for her every time she makes a (potentially) bad decision. Maybe she was correct when she said that Frost's Road Less Traveled really/only meant that shit just happens the way it happens and it doesn't mean anything.

At this point in her story, Piper is not the hero we're all used to seeing. So if you're looking for a success story or a feel-good series, Orange is the New Black is not for you. Step away because shit gets real in Litchfield. But I assure you that Jenji Kohan's storytelling and the cast's wonderful acting will make the journey worth it.

--

You may want to read my other Orange related blog entries:

Orange is the New Black Season 2
Orange is the New Black Season 4

Quintet 8: Music for the eyes

Quintet is a bi-monthly periodic music review of any five songs I happen to come across/stumble upon, or were recommended, any how, any time. Suggestions from readers are most welcome because music deserves to be shared. Let me be your convert or critic.


Music is everywhere. Recommendations may come from friends or family or celebrities. Sometimes express, sometimes implied. One source of music recommendation that is very underrated is TV shows. Of course not all TV shows have good music but when it does, a good TV moment becomes perfect. For this edition of Quintet, I give you five TV shows whose moments/scenes were greatly improved by good songs it used at background music. To level the playing field, I won't include musicals like Glee or Smash.

Community rarely uses music but whenever they use Ludwig Gorannson's Greendale Is Where I Belong, the feeling of familiarity and longing is instantaneous. Whatever crappy or ridiculous situation the group is in I feel, whenever this song is played, that everything will be okay. Case in point: Take a look at a scene from the season 4 finale episode, "Advanced Introduction to Finality", as the camera panned out on the study group and Dean Pelton right after Jeff's graduation party. Jeff (and Pierce) may have graduated but I am assured that they will not outgrow each other.

Warehouse 13 always has eventful finales--hello, Walter Sykes and Paracelsus--but the use of Florence + The Machine's No Light, No Light in the season 4 finale episode "The Truth Hurts" made everything seemed more intense. Another good finale-ish moment was in season 3's "Emily Lake" when we find out that Steve Jinks is dead while Placebo's Running Up That Hill plays in the background. It was so devastating and Placebo made the feeling worse.

And of course, there's the HG/Myka moment in the season 4 episode "Instinct" where we see HG watch Myka drive away after wishing Myka wished her good luck in her pursuit of a normal life, away from endless wonder. Everything the show can't or is not saying when it comes to HG and Myka was successfully conveyed through Ellie Goulding's Atlantis:

This is new

Feels unused

I've never met anyone like you

Frightened

Feeling naked

Sense in searching something sacred

I'll forget you not

I'll wait for you, maybe

Where did you go?

I'm exhausted with loving

No fight in me - I'm defeated

I'm fooled, I can't help it

You make my heart so helpless

I mentioned before that one of the reasons I like Mistresses (US) is its good music, and Odessa Rose's Mountains and POLIÇA's Lay Your Cards Out proved me right. The scene where Karen was making up notes on her sessions with Thomas Gray and Joss and Alex sexy shower scene were ordinary moments (Ok fine, the shower thing was a little over the ordinary) improved by the use of these songs. Try watching these scenes on mute and you'll realize what I mean.

How I Met Your Mother has always been a reliable source of good music for the past eight years. In fact, it was this show which introduced me to the possibility and reality that good music can come from TV shows. Being a Barney and Robin fan, I always found A. C. Newman's Prophets a magnificent song choice for that take-the-leap moment in season 4 finale episode "The Leap". I know the part of the forest where you shouldn't go, said the song. And yet, Barney and Robin went there, and here we are four years later, on the day of their wedding.

The Head and The Heart's Rivers and Roads was also used in How I Met Your Mother (I think when Ted was in the rooftop) but I felt it was more perfect for Chuck and Sarah's moment at the beach at the end of Chuck's series finale episode "Chuck Versus the Goodbye." Words are not enough to describe how apt this song was for that special moment. Please do watch it here so you have an idea. (AND BTW, WHY HAVEN'T YOU WATCHED CHUCK?!)

Scrubs deserve a special mention for introducing me to Joshua Radin, Alexi Murdoch, Colin Hay, Hooch, Josh Verdes, Mat Kearney and Pete Yorn. I remember, in college, I listened to Howie Day's Collide ALL. THE. TIME.

-------------------------------------------------

You may want to read other articles on the Quintet series:

Quintet 7: Something old, something new

Quintet 6: Top 10 Performances from Glee's Season 4

Quintet 5: Original vs. Covers

Quintet 4: Radio

Quintet 3: GLEE-king out

Quintet 2: Holy Week Playlist

Quintet 1: Music to my ears

Reasons Why I Am Into ABC Family's Mistresses Right Now

(Aka My Quick Yet Well Thought Out List That Would Hopefully Convince You To Watch Mistresses)

1. Sheer curiosity.

2. It's a show about 4 strong women. What's not to love.

3. The suspense is killing me from all fronts. Even if the show is patterned (Is 'syndicated' a better term?) after the UK original, I read somewhere that they changed things up a little bit. I will not elaborate on this so as not to spoil the show for anyone who's not watching it (yet) but is reading this.

4. The drama is enough to hook you in and occasionally blow you away (hello, Carver sisters throwdown scene!) but never too over the top to scare you to make a run for it.

5. Who doesn't love a dad who's into sports, parties with Lamar Odom, has a Jim Carrey vibe, is as adorable as Steve Carell and way more intuitive than the average guy? No one. Everyone loves Richard.

6. The funny and sincere Joss-Harry conversations in the kitchen.

7. Joss' interesting and witty one liners. (You can say his name, Mona. He's not Voldemort.)

8. Savi's dresses! Actually it's a toss up between Savi's and Karen's (even the dressing gown-ish one looked good on Karen!). I am not fond of dresses in general but I appreciate good ones when I see them. Kudos to whoever is in charge of dressing these women! And whoever you are, please suggest good ones for Alex, too!

9. Rochelle Aytes' eyes. Endless conversations can be had with those eyes alone.

10. Karen's drama brings a Desperate Housewives-ish feel to the show.

11. Sam Gray is cray cray.

12. It's not only a show about 4 strong women. There's also a fair share of hot guys with accents. Australian, French, American. Pick your poison.

13. The music is good too.

14. I want to find out what Mr. and Mrs. Carver look like for their children to look so different from each other yet so stunning.

15. If Sex and the City and Desperate Housewives had a baby, it would be Mistresses.

16. All the shows I regularly watch are on hiatus, and Mistresses is the only thing worth wasting my precious little time on. Except for the occasional HG/Myka adventure.

17. LUCY IS SOOO ADORABLE!!!!!! Whether she's talking about how cutting class to see Selena Gomez is the best moment of her life or she's calling her mom a goody-two shoes.

In This Timeline, I Am Walking Away

I've given up on you many times before but somehow you always know when to make me doubt that decision. With a single act, you can make me not want to give up and keep on hoping that there's something to look forward to. And I believed you.

It's a vicious cycle. The minute I decide to go the other way, you do something that draws me back in. Whether it's a minuscule gesture that may not mean anything or means everything, or it's a grand gesture that absolutely mindfucks me in more ways than one. It's clockwork. You never do it too soon, nor too late. Just enough to make me wonder, or worse, hope, that somehow you know I was giving up and you're telling me to wait a little bit more. To be more patient--as if I was not patient for the past year and a half.

A friend once shared her go-to line when it comes to love: Run away with me or run away from me. I suggest we take this advice to heart. We cannot keep doing this. I cannot. Standing at the same place for the longest time has turned out to be more tiring than running. I'm not asking you to take the big leap forward because I know that it takes a lot of everything that you, or I, don't have right now. What I'm asking is, please let me walk away now. While I still can.

I am going in the direction that you have indirectly told me is the right path to take. I've been on this path before, don't worry. This is where I always went whenever I decide to give up on you before, and there may have been a time where I went down this road long enough--before you drew me back in again--for it to be familiar and comforting.

I have accepted the simple yet sad fact that we cannot win in every timeline. I hope that in another timeline, we're doing so much better than how we're doing now. But please know that in every timeline, I am always hoping and wishing you genuine happiness.