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And That's What We Missed on Glee: an outline for a season seven that never was

Summary:

A season seven of Glee that never was, following the original Glee kids who go back to New York after a semester in Ohio in season six. Written as an outline, not a prose story.

Notes:

I’ve been working on this outline for a season seven of Glee since the summer after the show ended. I’d hear a new song and be sure it would have been on the show, or I’d be thinking about what would happen to the characters after they returned to New York and what kinds of challenges I think they might face. The arcs and songs here have been 95% set since that summer. (Any overlap with songs actors have since sung is coincidence, and I have chosen not to change my outline.) I can see it all so clearly in my mind, which is actually part of why it’s taken me so long to post it; I’ve had a lot of joy thinking about these ideas but also a lot of sadness spending time in my head with the characters I love so much and knowing I’ll never get to see more of them.

This thirteen-episode season (like season six) is supposed to take place right after the end of the Ohio part of season six - when Klaine and Brittana are married, and Klaine and Rachel are moving back to New York to go back to school - and fits into canon, in that we know people like Sam and Mercedes didn’t visit them. It runs through the spring semester from winter into early summer. I took into consideration how the show used guest stars and who they might be, though not their shooting schedules and how many songs they might want to sing. I tried roughly to hold to songs that were out when a season seven of Glee would have aired, as well, and I chose a mix of oldies, iconic songs, and current hits to fit with how the show mixed things up. I stuck with four to six songs per episode, like the show did, and with a variety of people singing them.

It’s definitely not what Glee would have produced - there are no new newbies, no Will, no Sue, no Ohio, and no long-term new characters beyond guest stars - but also not what I would write just as a prose story about these characters. I wanted it to feel more like the show, with its type of songs, arcs, and beats, than my usual stories. I needed more characters on stage with arcs than simply my big three of Kurt, Blaine, and Rachel, though they’re still the driving forces of the season, so Artie, Brittany, and Santana feature. I tried to tie together the big arcs of the season about growing up and figuring out one’s path and add to them odd diversions, crack-y references and situations, and improbable opportunities here and there, in the way of the show. It’s a mix of the general structure of the show and the story I would have liked them to tell us.

There was a lot I couldn’t include, particularly songs. I just couldn’t fit them all in. A busy New York “Ray of Light” number and a recreation of the “Money for Nothing” video are ones I’m especially sad about leaving out. Also, Santana singing Blondie’s “Call Me,” Blaine singing The Police’s “Message in a Bottle,” and Artie singing Eminem’s “Lose Yourself.” (And more. So much more.) I also couldn’t give enough solo songs to any of the characters; the story as I was writing it demanded various groupings, like we often got on the show.

The biggest reason I’ve kept these ideas to myself for so long is that I simply didn’t know the best way to share them. I didn’t know how to make the show come alive to a reader. It is with great sadness that I’ve had to admit to myself that there’s no way I can get what’s in my head onto the page. Even if I wrote this season as a full prose story, hundreds of thousands of words long, I couldn’t give you the show. Glee is way more than words. It’s excruciatingly frustrating for me that I can’t share the full vision with you. I can’t give you the visuals, the songs, the scenes, the acting, the costumes, the dialogue... but I can give you the skeleton. I hope it sparks your imagination to fill in the rest. :)

If Ryan wants to hire me to be the showrunner for a season seven reunion, I’d be happy to give it all to you. :D

Music is linked at the top of each episode; I apologize I can't make mash-ups or have the Glee cast sing for us.

My thanks to Liz for brainstorming songs with me, listening to me yammer about these ideas for far too long, and reading a bit of the early episode outlines.

(See the end of the work for other works inspired by this one.)

Chapter 1: EPISODE ONE - "RENT"

Chapter Text

Kurt and Blaine both try to not to fall into old patterns of disagreement and hurt as they look for the perfect apartment in the middle of the bitter cold NYC winter, but their new behaviors create their own problems. Artie has a crisis at school when his documentary film professor tells him his work isn’t deep enough. Rachel debates between the bustle of dorm life and Jesse’s more emotionally complicated invitation to live with him.

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.