Rumours (Glee)
The episode was written by series co-creator Ryan Murphy, directed by Tim Hunter, first aired on May 3, 2011 on Fox in the United States, and it features the return of guest star Kristin Chenoweth.
Amy Reiter of the Los Angeles Times wrote that "the episode had its moments that made lovin' Glee fun", but called the Sue Sylvester subplot "tired".
[1] Many critics were impressed with how well the album's music was incorporated into the episode including Erica Futterman of Rolling Stone, who wrote "the songs of Rumours fit the New Directions' drama in an organic way.
Five of the six Rumours cover versions debuted on the Billboard Hot 100, and four of these were featured on the subsequent Glee: The Music, Volume 6 soundtrack album.
April Rhodes (Kristin Chenoweth) visits Will to ask for his help with her new Broadway project: a one-woman show entitled CrossRhodes.
Brittany later overhears Santana claim in an interview for The Muckraker that she is in love with Dave Karofsky (Max Adler), her running mate for prom king and queen.
When Finn and Rachel resume their stakeout that night, they see Quinn leaving the same motel room, and Sam giving her a hug before going back inside.
... We can get Stevie Nicks on the phone now, and we can get Lindsey Buckingham, who has kids, who's like, 'Oh my God, I'd love that', so twelve hours later you get the rights to Rumours."
The show's co-creators Ryan Murphy, Brad Falchuk and Ian Brennan had long "wanted to do an episode" that would be a tribute to a single album rather than to a "musical act".
[6] This relationship helped them obtain the rights to cover the songs on the 1977 Fleetwood Mac studio album from which the episode is named.
[4] Other recurring guest stars in the episode include glee club members Mike Chang (Harry Shum, Jr.), Sam Evans (Chord Overstreet), and Lauren Zizes (Ashley Fink), school bully Azimio (James Earl), school reporter Jacob Ben Israel (Josh Sussman), and cheerleader Becky Jackson (Lauren Potter).
Amy Reiter of the Los Angeles Times wrote that "the episode had its moments that made lovin' Glee fun".
[23] Lisa Respers France of CNN "had a whole ball of tissue" in her hand by the time the cast sang the "Don't Stop" finale, and concluded, "Well played, Glee.
"[2][23] The Atlantic's Kevin Fallon called the episode's focus on the Fleetwood Mac songs "a refreshing change of pace".
[27] Most other reviewers were similarly smitten with the "Fondue for Two" segments, including the aforementioned Reiter, Poniewozik, Semigran, and Respers France.
Futterman praised the return of Chenoweth's character April Rhodes, and The Wall Street Journal's Raymund Flandez said that she "brings such lightness, humor and zaniness that's endearingly button-nose cute".
"[26] Reiter was unenthusiastic: she acknowledged "Chenoweth's amazing pipes", but added "her character, which was thin to start with, has kind of worn out its welcome".
[1] The subplot of Will thinking about going to Broadway with April was roundly criticized: both Meghan Brown of The Atlantic and Bobby Hankinson of the Houston Chronicle said there was no tension at all because the viewer knows that he will stay.
Club's Zack Handlen called the entire scenario "ludicrous", made even more so by the highly compressed time frame, and their dress rehearsal "bizarre", criticisms echoed by Brown.
[25] According to Hankinson, "One of the best parts of the episode centered around Brittany and Santana, but I think all the principals—Artie, Finn, Rachel, and Quinn too—did a great job portraying the tension and distrust pervading the team.
"[28] Anthony Benigno of The Faster Times felt the show was "absurdly preachy" on the matter of rumors, though he said the episode was "decent".
[25][26] Canning felt otherwise: "It may have had a better impact if we cared more about Sam or if Chord Overstreet had delivered more believable tears, but as things were, it was just some ordinary, blah drama.
Hankinson wrote, "It feels like their relationship is developing organically", while Respers France commended Morris for Brittany's breakup scene with Artie, and Rivera for far surpassing her expectations.
Benigno was disappointed that there was "nothing special" in any of the arrangements, but Futterman saw the performances from a different perspective: "They're not as visually stunning, but they're vocally some of the more impressive renditions Glee has done all season.
Gonzalez gave the song a "B+" and Brett Berk of Vanity Fair awarded it four stars of five; both praised Chenoweth but criticized Morrison.
[31] Hankinson wrote, "I enjoyed all the smaller numbers tonight because I felt like the kids really sold the performances and infused some nice emotional context.
Futterman said it was "better than Artie's post-Tina 'Stronger'", and Kubicek declared it "proof that he's quite good at hitting emotional notes", while Semigran said she was "blown away".
[30][32] Semigran called it "one of Lea Michele's strongest outings all season", while Benigno said "this is one of those rare times her balls-to-the-walls delivery works with the arrangement instead of distracting from it" and gave it an "A".
