[4] Critical response was mixed, with The New York Times's Alessandra Stanley highlighting the episode's unoriginality and stereotyped characters, but praising the showmanship and talent of the cast.

Spanish teacher Will Schuester learns that Sandy Ryserson, the head of William McKinley High School's Glee Club, has been fired for inappropriate sexual behavior towards a male student.

Will also faces resistance from his wife, Terri Schuester, who urges Will to abandon teaching and pursue a more financially stable career to increase their income.

Undeterred, Will sets out to rejuvenate the glee club, renaming the group New Directions, which attracts the attention of the ambitious Rachel Berry, powerhouse vocalist Mercedes Jones, fashionable Kurt Hummel, paraplegic Artie Abrams, and shy Tina Cohen-Chang.

Will and school guidance counselor Emma Pillsbury take the group to witness a performance by Vocal Adrenaline, a rival glee club.

They perform an impressive rendition of Amy Winehouse's " Rehab," which leaves the New Directions apprehensive about their own chances in the upcoming regional show choir competition.

Murphy chose a Midwest setting as he himself originates from Indiana, and recalls childhood visits to Ohio to the Kings Island theme park.

[9] Murphy has commented that his interest lay in creating a "postmodern musical", rather than "doing a show where people burst into song", drawing on the format of Chicago.

[10] Murphy is responsible for selecting all of the songs used, and strives to maintain a balance between show tunes and chart hits, as: "I want there to be something for everybody in every episode.

from Oliver!, Aretha Franklin's "Respect", "Mister Cellophane" from Chicago, Katy Perry's "I Kissed a Girl", "On My Own" from Les Misérables, "Sit Down, You're Rockin' the Boat" from Guys and Dolls, "You're the One That I Want" from Grease, REO Speedwagon's "Can't Fight This Feeling", Amy Winehouse's "Rehab" and "Don't Stop Believin'" and "Lovin', Touchin', Squeezin'" by Journey.

[23] He explained that the diversity of the cast's backgrounds reflects the range of different musical styles within the show itself: "It's a mix of everything: classic rock, current stuff, R&B.

"[24] Lynch was originally intended to be a guest star, but became a series regular when a Damon Wayans pilot she was working on for ABC fell through.

[38] Entertainment Weekly's Ken Tucker gave the episode an A, posing the question: "Has there ever been a TV show more aptly named than Glee?

[41] The Daily News' David Hinckley wrote that the show "isn't close to perfect" but "has likable characters, a good sense of humor and a reasonably deft touch with music.

"[42] He called the pilot episode "not very plausible" but "potentially heartwarming", writing of the musical choices: "The duet of "You're the One That I Want" from Grease may be a little obvious, but setting a group dance routine to Amy Winehouse's "Rehab" shows some inspiration.

"[43] The Baltimore Sun's David Zurawik was critical of the show's characterization and comedy, but was impressed by the staging of "Don't Stop Believin'", calling it "so elevating and inspirational that it almost redeems all the stereotypes and lame humor that come before.

"[44] Tom Jicha for The Sun Sentinel similarly claimed of the episode that: "A lively score and appealing performers somewhat compensate for overly familiar characters and plotting",[45] while Rob Owen for the Pittsburgh Post-Gazette agreed: "It's the music that makes Glee a gleeful delight.

Cory Monteith gives quarterback Finn Hudson a jock-ish authority mixed with an appealingly square naivete, and Lea Michele not only has an amazing voice but manages to make her character, spoiled diva Rachel Berry, more than a humorless stereotype.

It's as if Ryan didn't trust that the audience would get behind Will and the saga of his ragtag glee club and so saw fit to give the teacher the shrewish, nagging wife from hell.

"[48] Shales was more positive regarding Lynch's performance, and concluded that: "Dramatic tension isn't exactly plentiful, but pleasingly staged songs and a general aura of retro ingenuousness come through, and seem awfully if fitfully refreshing".

[48] Variety's Brian Lowry also highlighted acting and characterization issues with the show, writing that: "It's among the adults, alas – who are mostly over-the-top buffoons – where Glee nearly sails off the rails, from Jane Lynch's tyrannical cheer matron to the salivating football coach, a bit like the Rydell High gang in Grease.

"[49] Lowry felt that: "Modest redemption comes from the stammering Emma (Heroes' Jayma Mays), who has a clear crush on Will, even though he's married to his high-school sweetheart.

Perhaps to foster a rooting interest (or at least sympathy) for a Will-Emma pairing, said wife (Jessalyn Gilsig) is initially presented as a ditsy shrew.