She used her “Plead” rather quickly, balking when Cohen asked her to choose between Vicki or Gretchen. Vicki has been her long-time best friend on the show, but in this week’s episode Vicki grew jealous at how close Tamra had gotten with Gretchen. Her inability to choose one over the other here will likely only fuel that jealousy.

She was then forced to answer the question as to which Housewife’s significant other she would choose: Alexis’ husband Jim or Gretchen’s boyfriend Slade. Slade won that one. But much more problematic for Tamra was when Andy Cohen asked her to tell him three positive things about Alexis Bellino.

“She’s a Katie Couric, so she’s a newscaster,” Tamra said. And then she started pausing and stammering and searching for an answer. This lasted up until Andy had to throw to a break. So she basically was able to come up with one nice thing to say about her. It’s only too bad that the fallout from these kinds of interviews on “WWHL” can’t be seen on the next installment of the various “Real Housewives” shows.

“The Real Housewives of Orange County” airs Tuesdays at 10 p.m. EST on Bravo, while “Watch What Happens: Live” is on weeknights at 11 p.m. EST on the same network.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

“Doug E. Fresh is the Dougie they’re talking about, right?” Kimmel asked, uncertain. He then pulled previous guest Eric Stonestreet into the conversation, but he admitted he didn’t even know what “Dougieing” was.

“I don’t know how to Dougie,” Stonestreet admitted. “I’m open to learning how to Dougie, though.” Unfortunately for the viewers, they didn’t get to witness Upton teaching Stonestreet how to Dougie. Video of that would likely have gone viral as fast her the video of her doing the Dougie at a Clippers game.

When Stonestreet backed out, saying that he and Kimmel were in their 40s, Kimmel balked. “Speak for yourself,” he said. “I’m 19.” At 19 years old, Upton isn’t even half their ages.

“Do you like older men?” Kimmel then asked the Sports Illustrated Swimsuit Issue cover model. “I’m 20.” The difference between 20 and Kimmel’s real age is still more years than Upton’s been alive.

Catch “Jimmy Kimmel Live” weeknights at 12 a.m. EST on ABC.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

“I went to work and all of them wanted to do a seventh season, so they were a bit frosty toward me when I said I wasn’t going to come back,” he said. He further confirmed what he’s said in several prior appearances and interviews that this is the greatest job he’s ever had.

“There’s a part of me when I signed to do [Season] 7, I said let’s do 8, 9 and 10 while we’re at it,” Baldwin said. “I mean, where am I going to go to have this much of a good time?”

Perhaps the hiatus from production of the show caused that restlessness in him over the summer, but now that he’s back on the sets and filing the show, Baldwin seems genuinely committed to sticking with this particular ride for as long as it stays on the tracks.

“All these great shows, even shows that have been more successful than ours like ‘Seinfeld’ and ‘Friends’ and things, they do end eventually,” he said. “When it ends it’ll be a terribly big hole.”

For now, “30 Rock” continues Thursdays at 8 p.m. EST on NBC. “Late Show with David Letterman” airs weeknights at 11:35 p.m. EST on CBS.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

She and Eddie were able to talk it out, so the next step was to apologize to Vicki and Brooks. In doing so, she established that the apology doesn’t mean the crazy jealousy has been diminished at all. She admitted that she went crazy when she would see them holding hands or even high-fiving. But when they mimicked high-fiving again across the table, she lost it again.

“No! Stop!” she shouted. “You’re my two best friends in the entire world. I don’t want you touching. I don’t like him touching you.”

She then apologized to Brooks for being disrespectful; an apology he graciously accepted. So everything is good between the friends, so long as Eddie and Vicki never touch one another ever again.

Or at least it seemed that way, until later in the episode when Vicki got jealous of the close friendship that seems to have sprung up overnight between Tamra and Gretchen.

“The Real Housewives of Orange County” airs Tuesdays at 9 p.m. EST on Bravo.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

On “19 Kids And Counting” (Tues., 9 p.m. EST on TLC) Josh and Anna Duggar shared daughter Mackynzie’s first haircut with viewers.

The Duggars went to a local cosmetology school for the big event, and a friend of Anna’s trimmed Mackynzie’s hair.

Things went surprisingly smoothly, and any tears or difficult behavior was ironed out with the aid of games on Anna’s cell phone and some judiciously timed candy.

At the end of the visit Miss Mackynzie looked just adorable in her new ‘do.

Follow the adventures of the extended Duggar clan on “19 Kids And Counting,” Tuesdays at 9 p.m. EST on TLC.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

Since Day One, she’s had at least one target to focus all of her eye rolling towards. Bob Harper made a very astute observation this week when he talked about how much power Conda has in the house. This was evidenced completely this week by how things played out after a Temptation created a whole week of childish behavior and questionable decisions.

Daphne Dortch has been on the outs since returning to the house. Her brother was eliminated the first chance the Red Team had to get rid of him, and she’s been on a warpath ever since. While last week’s episode saw her weight alone carry her team to victory, Daphne wasn’t ready to let bygones be bygones. She won Temptation and decided to make a move solely as revenge against Conda and her brother Jeremy.

She had the power to reorganize the teams any way she saw fit, and all she did was switch the brother-and-sister pair. Awkwardly, this put Conda on her team, and strengthened the Red Team with the addition of Jeremy. Not that it mattered, though, as the Black Team was talked into throwing the Weigh In by Daphne’s newly appointed teammate Conda. She smirked and smiled all the way through that joke of a weigh-in, lying along with the rest of them as to why their weight loss was so deplorable.

Daphne was obviously eliminated, but with Conda still in the house, it’s unlikely the drama will change. Now that she’s lost the latest target for her love of creating drama, she’s going to have to find someone else. Chris seems a likely candidate, as she was the only one on the Black Team who didn’t play along, and has been a bit on the outs for a while now. Had the Aqua Team not returned to the game, Chris would have probably been eliminated weeks ago.

How long can Conda go? Will she ever stop stirring up the drama in the house? Will this season ever be about the competition and not petty grudges and vendettas?

Find out as “The Biggest Loser” continues Tuesdays at 8 p.m. EST on NBC.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

But that sense of pride and excitement doesn’t go both ways. While Schmidt wants to scream their exploits from the rooftops, Cece is mortally embarrassed and ashamed of her own weakness that she keeps coming back. It doesn’t help that Schmidt keeps being so very Schmidt with her, and yet she keeps finding herself drawn to him.

She admits at a party that she’s embarrassed to be seen with him, leaving him in the car while she makes a 20 minute appearance inside. But as part of that deal, she agrees to be seen with him in public with him at breakfast the next morning. Just so long as it’s not anyone she knows.

When Schmidt gives her a moment of sincerity as to why he’s so drawn to her, and it’s far less shallow than she expected, she gives him permission to tell the waitress about them. Instead, Schmidt stands up and announces to the entire restaurant that he’s sleeping with her, making an obnoxious production about it.

Find out if and how the gang finds out as “New Girl” continues Tuesdays at 9 p.m. EST on Fox.

TV Replay scours the vast television landscape to find the most interesting, amusing, and, on a good day, amazing moments, and delivers them right to your browser.

A Conversation with Wounded Warriors During Grammy Rehearsals

During Grammy rehearsals, I had the privilege of interviewing four veterans who were at the event courtesy of the Wounded Warriors organization, their host being Annie Nelson from American Soldier Network. Here is our conversation that occurred on February 11, 2011. FYI, we were informed that Whitney Houston died just minutes after the interview concluded.

L-R: Richard Gonzales, Jake Henry, Sara Bryant, Chairperson Annie Nelson, Ryan Seacrest, and Blake Bibbins / photo credit: Mike Ragogna / engineered by Theo Shier

Mike Ragogna: Okay, “Fireflies” was a major hit for a certain group we like to call Owl City except the group is a “he” named Adam Young. Fair introduction?

Adam Young: That was good, yeah, that was. It was one of a kind, but it was wonderful.

MR: (laughs) So, Adam Young of Owl City or just plain Owl City or Adam Young, can you fill in the audience about your new DVD Live from Los Angeles, what that tour was about, your history and like five other questions I haven’t asked yet?

AY: Sure, sure. The DVD was really just a fun way to capture what has become such a big thing, at least for me, in terms of where I came from, you know, where I grew up, my roots as sort of an aspiring musician. So, just this last year, filming this DVD in LA was really kind of a culmination to date of this tiny little project by this one, solitary, shy kid from Minnesota. All of a sudden, three years later, here we are in LA filming our first DVD. It was just kind of a fun way to capture the moment and really see it as a tangible thing. But certainly for me, starting out as a musician, it was very much the introverted shy kid from a very small town, the only child, just started to write music for fun, just as an escape, really, just to get out of the everyday mundane life. Music has always been my vehicle to sort of get out of myself, so that’s how it started. It’s crazy because never in a million years would I have ever thought that I’d be here where I am. So, I am very, very thrilled to be able to do what I love.

MR: This concert was filmed at the Nokia. How incredible was that venue?

AY: It’s incredible, it’s amazing. It’s like a giant, giant recording studio. I mean, it’s this amazing room with just incredible acoustics and everything’s treated. You know how everything in LA is like 10% better in video and audio and everything technological. It was a huge honor to play there.

MR: How would you describe your music?

AY: I think it’s very much in the pop umbrella but it is very much electronic by nature, and certainly, that kind of pop-electronic hybrid is something I’ve always been really interested in because it allows the memorable polished pop melodies that stick in your head, music to sing along with. I think the electronic nature of it, since I’m kind of a quirky guy, really allows me to be a passionate artist with a paintbrush and a blank canvas. It’s like you can do anything, and suddenly it’s one kid, a producer, alone in his bedroom on his computer. I can suddenly be a conductor in front of a symphony and it’s just endless, and that’s what I really
love about it.

MR: You have the studio part down, obviously, and that’s comfortable. But how would you describe your relationship with an audience in a live setting?

AY: You know, for me, it’s always kind of changing, certainly for the better. When I started playing live on the road and started touring about two years ago, I realized that performing in front of people was just the tip of the iceberg for me. There is a sort of irony that I was never in a band or choir or orchestra growing up. I never sang in church, my parents weren’t really musicians or even music consumers at all, so the idea of standing up in front of people and performing or speaking or anything with people watching was pretty scary. So, two years ago, I was just kind of this evil genius mad scientist off stage just behind his laptop hiding behind screens and his computer. It was a challenge to bring that sense of quirkiness and that pop sensibility that appears on the record and blow that up bigger than life and bring it to the stage and make it fun and make it big and make it interesting because it is so different. It’s not just based on guitar, drums and keyboards. It’s got more to it on the record and that was a fun challenge. That connection to the audience, I think, having gone through the change has only grown. It’s a lot easier now for me to be the front man and to connect with the audience and that’s a big part of the show. That’s important.

MR: When you’re recording your studio albums, do you have a sense of what you’re going to present live? Or might it be vice-versa, live affecting your studio recording process?

AY: Having been on the road nonstop for the last few years, being on the road six months of the year the last few years, it certainly influences how I go back into the studio because I’m thinking that live performances sort of influence a lot of things like what key is the song going to be because if I’m going to sing the intro down an octave, so how can I arrange the song? Or, what key should it be in so I can sing it full voice in a live setting, which is very much different given the energy and everybody in the room, than just by yourself in the vocal booth in the studio. So, yeah, things like that certainly influence it. That’s what I love about it. If I was just a studio guy–and I do love everything about the studio–but certainly the music would be in a very different place if the touring was not in the picture. It’s really fun how both parts of it really influence each other and really steer the music into really interesting directions to follow. It’s always evolving and I love that.

MR: Adam, you’re a strong Christian. Do those topics often come into your material? Are you often categorized as a “Christian” act in addition to being a pop or electronic artist?

AY: You know, that’s something I’ve always been interested to watch from the sidelines and to kind of see where people inherently categorize me as an artist. I’ve never wanted to go out and say, “Here’s where I belong and here’s where my music should be categorized along these other artists,” or in whatever circles. I’ve always tried to make sure that my faith was part of the music writing and I was never sort of putting on a mask or trying to be somebody I wasn’t. But given that the songs are certainly very honest and up front and maybe kind of brave in that respect. I’m certainly not opposed to people filing the project name amongst other things that are similar as far as content. It’s always interesting to see what’s going on without having a specific say. I think a lot of times people are looking to the artist to say, “Are you calling yourself a Christian band or not? Give us something we can run with,” and when the artist is silent, it’s interesting to see where culture or the industry as a standard will place you. So, it’s been cool seeing me placed in the Christian world and sometimes not and sometimes in between, and it’s always been really compelling to watch when it happens.

MR: You’ve had huge success, especially with the song “Fireflies.” But after watching Live from Los Angeles, which of these performances do you look at and you go, “Wow, I really like that”?

AY: You know, it’s a chain reaction thing. The intro dips down in the middle and just kind of pulls out. It’s just solo voice and piano. Then, at the end, it just ramps back up. The few times when I’ve watched it all of the way through, I think I’ve always been really inwardly proud where it’s like, “Wow, at the end, I actually pulled it off and I actually did it and here’s this nobody from nowhere.” Suddenly, I can watch this DVD–that’s been the last 3 or 4 years–of a lot of hard work, energy and time, blood, sweat, and tears all in this tangible performance. Once I get to the end of this, it’s like one of those rides, like a rollercoaster.

MR: Let’s talk about your influences. One of them is seems Thomas Newman, of course, from the Newman dynasty that includes Randy, Alfred and Lionel. How did Thomas influence you?

AY: Growing up, I was always a big fan of the Pixar films. Thomas Newman was very influential on me because of the films Finding Nemo and Wall-E. He did most of the scores for those. He’s done endless film scores that have been wonderful. I’ve always connected with him more than any other film composer. There’s some quality to what he does and it’s amazing. You can play the first few seconds of any of his pieces and you know right away that it’s him because it sounds like nobody else. I think that’s sort of what it means to be an artist. I think it’s inherently interesting to be recognized that way.

MR: Can you go into your humble origins, which has something to do with Coca-Cola, right?

AY: Yeah, it does. About three or four years ago, I was living in my hometown of about 20,000 people and I was working for Coca-Cola doing the warehouse job thing. I wasn’t going to college and I was looking for the next break. It didn’t seem to be on the horizon at all, so I was very much stuck at work everyday. I really didn’t like it. So, because of this mundane world that I was stuck in, I started creating, started dreaming and started writing. Suddenly, I could sort of escape from where I was, suddenly I could see the world or go anywhere and do anything or be anybody through writing and through lyrics and through
music. I wasn’t really a guy with a plan to make records, put out records, write songs, do music videos or tour or all of the things I’ve been blessed with the last few years because it really came out of nowhere for me.

MR: What advice would you have for new artists?

AY: I would say I’ve never been incredible with advice. But to somebody making music on their own, my advice is to just make sure that whatever you’re creating is very much pure and very much heartfelt so at the end of the day, you would be just as happy if the song were to get finished. And if it goes to number one or if no one else in the world hears it, you feel just as proud either way because you created it. What the song is saying and what it means to you, I think that is the test. You’re not writing for the radio, the charts, or for Billboard, you’re just doing what you’re passionate about, and I think that’s the heart of it.

MR: Adam, lately, you’ve been performing a song called “I Hope You Think of Me,” which is a precursor to your fourth studio album, which will be released later this year. Can you give us any hints about it?

AY: Yeah, I’m actually really hard at work hoping for a release this summer. I’m just grinding away, just trying to create a lot of new material. I feel like a lot of the new songs are very much more dance-oriented. I’ve always been influenced by European trance music, a lot of the Dutch DJs have always been very influential on me. Yeah, it’s coming along, 10-12 songs written, so it’s just that middle phase, so it’s really exciting.

MR: You’ll be touring.

AY: Yeah, we’re shooting for August/September in North America and hopefully, winding up the rest later this year.

MR: OK, speaking of winding up, I’ve had a very generous amount of your time and I really appreciate it. Any words of wisdom from Adam Young aka Owl City?

AY: I guess I’ve never been that philosophical or anything. As far as moving forward, as my crazy journey has taught me, live every moment as if it’s your last, because it really is true that you never know what you have until it’s gone. So, really just try to hang on to every moment and cherish it.

MR: Beautiful, very nicely said. All the best with everything, Adam. As far as that fourth studio album, we’ll be waiting with bated breath, whatever that means.

AY: OK, I really appreciate it.

Transcribed by Brian O’Neal

TRAMPLED BY TURTLES – STARS AND SATELLITES

Been Trampled By Turtles lately? Here’s your chance, with their new video, The Making of Stars And Satellites, the album to be released on April 10. This HuffPost exclusive features the songs “Keys to Paradise,” “Widower’s Heart” and “Midnight on the Interstate from the new album.

A Conversation with moe.’s Chuck Garvey

Mike Ragogna: So? What happened to the La Las?

Chuck Garvey: They temporarily went “bye bye,” then we got sad and asked them to come back. They were in the outro of “Suck A Lemon.” When John Travis, who produced/mixed, took them out of the first mix of the song, Rob asked where they went. It was funny and then it stuck!

MR: You’re familiar with the group The LAs? Was this also some sort of unconscious tribute to them as well?

CG: Not at all. Nothing against them, it just came from the silly la la chorus…

MR: How did it feel having a producer helm this one?

CG: Great! We needed someone else to bounce everything off of…and to mix. We know how to do all this stuff, but having that objective, capable outsider to help get something new, while taking over the workload that “producing” entails, let us just be musicians and work on our immediate tasks. Creativity in the studio can get steamrollered by the technical workload, scheduling, etc. He really enabled us to get it done quickly and keep the quality high.

MR: Let’s get into some of the songs on What Happened To The LA LA’s. Your song “Suck A Lemon” has something to do with Halloween. Can you go into that?

CG: We asked our fans to come up with a theme for our Halloween show two years ago. They ultimately voted in favor of “The Electric Lemoe.nade Acid Test,” one of many submissions. We said that each band member would write a song specifically for this show, so I wrote “Suck A Lemon.” It went over ok, I guess! I like the newer, heavy treatment we came up with in the studio.

MR: Lyrically, Al Schnier’s song “Downward Facing Dog” is a very personal song. What’s the story behind that one?

CG: He has said that it has a lot to do with his ties to family, having parents as well as being one. Realizing his place in a continuum, perhaps? I also get a sense of mortality that is maybe fleeting, but also rewarding.

MR: You’ve been performing “Bones Of Lazarus” for like ten years. What’s the story behind “Lazarus”‘s studio resurrection?

CG: It started out life as “Lazarus,” then Rob’s brother John wrote a story called “The Bones Of Lazarus.” After the new arrangement for this album, Rob brought out the new title. This new version has an added verse, as well as a section of an instrumental segue we call “Ricky Martin” grafted in.

MR: How would you describe moe.’s sound these days?

CG: We have resurrected our own straight up rock sound for many songs, but there are always a bunch of tricks up our sleeves. Plus Jim plays xylophone, vibes, and other crazy synth sounds and samples that can easily help alter the overall personality of any song! No one stays in one spot for very long…

MR: Are there any bands out there that moe. feels most akin with and why?

CG: Hmmm…that’s tough. We haven’t reinvented the wheel, by any means, but it definitely has a unique, funky-ass Mad Max spinning rim on it! I guess there are touches of Allman Brothers and The Grateful Dead, but with King Crimson, The Who, Kiss, and Gram Parsons mixed in. I am fulla s**t. Really, I think we are just trying to condense a lot of influences and forebears–too many to really acknowledge–and have distinctive, unique voices as instrumentalists and vocalists. It’s not easy! We are all a bit schizophrenic, so sometimes the result is anarchic, but pleasant.

MR: WIll the LA LAs really ever come back?

CG: They are back, baby!

MR: Chuck, what advice do you have for new artists?

CG: You can do it all yourself, but you have to put in the time, tour a lot and build your fans one at a time. It’s hard work, but it will last longer than if you get there through false hype.

Ruby Wright gave no indication at the time – and she died last February, leaving it unclear – that her late husband’s comic collection contained some of the most prized issues ever published. The 345 comics were slated to sell at auction in New York on Wednesday, and were expected to fetch more than $2 million.

Rorrer, 31, of Oxnard, Calif., discovered his great uncle Billy Wright’s comics neatly stacked in a basement closet while helping clear out his great aunt’s Martinsville, Va., home a few months after her death. He said he thought they were cool but didn’t realize until months later how valuable they were.

Rorrer, who works as an operator at a plant where oil is separated from water, said he was telling a co-worker about Captain America No. 2, a 1941 issue in which the hero bursts in on Adolf Hitler, when the co-worker mused that it would be something if he had Action Comics No. 1, in which Superman makes his first appearance.

“I went home and was looking through some of them and there it was,” said Rorrer, who then began researching the collection’s value in earnest.

He found out that his great uncle had managed as a boy to buy a staggering array of what became the most valuable comic books ever published.

“This is just one of those collections that all the guys in the business think don’t exist anymore,” said Lon Allen, the managing director of comics for Heritage Auctions, the Dallas-based auction house overseeing the sale.

The collection includes 44 of The Overstreet Comic Book Price Guide’s list of top 100 issues from comics’ golden age.

“The scope of this collection is, from a historian’s perspective, dizzying,” said J.C. Vaughn, associate publisher of Overstreet.

Once Rorrer realized how important the comics were, he called his mother, Lisa Hernandez, 54, of League City, Texas, who had divided them into two boxes. She sent one to him and kept the other one at her house for his brother. Rorrer and his mother then went through their boxes, checking comic after comic off the list.

“I couldn’t believe what I had sitting there upstairs at my house,” Rorrer said.

Hernandez, who works as an operator in a chemical plant, said it really hit her how valuable the comics were when she saw the look on Allen’s face after he came to her house to look through the comics she had there.

“It was kind of hard to wrap my head around it,” Allen said.

Rorrer said he only remembers his aunt making the fleeting reference to the comics when she learned that he and his brother, Jonathan Rorrer, now 29 of Houston, liked comic books. He said his great uncle, who died in 1994 at age 66, never mentioned his collection.

The Action Comics No. 1 – which Wright bought when he was about 11 – is expected to sell for about $325,000. A Detective Comics No. 27, the 1939 issue that features the first appearance of Batman, is expected to get about $475,000. And the Captain America No. 2 with Hitler on the cover that had caught Rorrer’s eye? That’s expected to bring in about $100,000.

Allen, who called the collection “jaw-dropping,” noted that Wright “seemed to have a knack” for picking up the ones that would be the most valuable and managed to keep them in good condition. The core of his collection is from 1938 to 1941.

Hernandez said it makes sense that her uncle – even as a boy – had a discerning eye. The man who went to The College of William and Mary before having a long career as a chemical engineer for DuPont was smart, she said. And, she added, Wright was an only child whose mother kept most everything he had. She said that they found games from the 1930s that were still in their original boxes.

“There were some really hard to find books that were in really, really great condition,” said Paul Litch, the primary grader at Certified Guaranty Company, an independent certification service for comic books.

“You can see it was a real collection,” Litch said. “Someone really cared about these and kept them in good shape.”

___

On the Net:

For an episode that was supposed to be all about Regionals, “Glee” flipped a switch on its audience and, instead, turned out an episode that I don’t think anyone saw coming.

Suicide attempt? Check. A potentially fatal car accident? Check. Regionals win? Who cares!

“On My Way” managed to fit several important story lines into about 42 minutes, and while I wish they would have trimmed some of the Regionals fat (I mean, does anyone really care about Regionals anymore?), I’m happy that Dave Karofsky was brought back from oblivion, bringing to light one of the more tragic realities that gay teenagers face.

In a cruel sense of poetic justice, the tormenter became the tormented as Dave Karofsky had to deal with the outcome of being seen with Kurt at Breadstix. He was bullied, emotionally and physically. His mother even told him that he could be “cured” from his “disease.”

Karofsky decided that the only way to escape his pain would be to commit suicide. It’s an emotionally heavy scene, and I have to applaud Max Adler for doing such an amazing job.

I was reading some of the early comments on Twitter, and I was shocked by how many people called this scene “unrealistic.” They think that because he was only bullied once, it’s unrealistic for him to try and kill himself.

Are you kidding me? It only takes one hurtful act to change the way people feel about themselves, and whether he was bullied for one day or one hundred days, that’s not the point. The point is that he felt so alone, so hurt and so awful that he tried to kill himself — and that is never okay.

While I applaud “Glee” for using Karofsky’s story line to drive home this message, I do think that it should have had more screen time. “On My Way” felt more like a PSA. It plugged everything from The Trevor Project to Lady Gaga’s Born This Way Foundation.

Honestly, I would have preferred if Karofsky’s story line would have been the focus of the entire episode. Why did we have to spend 10 minutes watching everyone sing at Regionals? Why were Regionals even necessary? So that we could see how Sebastian changed his devious ways in light of Karofsky’s tragedy? Or so we could see New Directions take home eternal show choir glory? To me, it all felt so unnecessary.

There was a heaviness throughout the entire episode. At one point, I truly thought that Karofsky was going to try and kill himself again, only to succeed in the end. The scene between him and Kurt was almost too perfect.

Thankfully, Kurt is the only character who didn’t get caught up in Regionals hoopla. He was the only one that managed to place the importance of Karofsky’s suicide attempt above winning Regionals.

The best scene in the entire episode is when Kurt visits Karofsky in the hospital. “I’m really happy that you’re alive, David,” says Kurt. “Yeah, me too,” replies Karofsky. Dave Karofsky truly looks helpless, and it’s absolutely heartbreaking.

It’s also a powerful image, seeing Kurt support his former tormenter. There’s a reason that Kurt has always been my favorite “Glee” character, and this scene highlights it perfectly. Kurt, inlike Rachel and Finn, has grown tremendously over the past three seasons.

Kurt tells Karofsky to imagine his life in 10 years, when he’s living the life of his dreams. Karofsky imagines his life as a successful sports agent, with a handsome partner and a young son. It’s a truly beautiful moment between the two.

If only that moment wouldn’t have been overshadowed by “Glee” next shocking — and heartbreaking — drama. Remember when I said that I felt this ominous force throughout the episode? Well, I had no idea that “Glee” could go from depressing to downright bleak in a 42-minute span.

Amidst winning Regionals, suicide attempts and Sue being pregnant (yes, you read that correctly), we learn that Rachel and Finn are serious about the whole marriage thing, So serious, in fact, that they decide, in light of Karofsky almost dying, that they want to get married immediately after Regionals.

Even though their parents are strongly against it, the entire glee club comes to the court house to support them.

After having a change of heart — and being welcomed back into the Cheerios — Quinn decides that she too wants to be apart of the Berry-Hudson wedding. Unfortunately, Quinn never makes it to the wedding.

While answering an urgent text from Rachel (It read: WHERE ARE YOU???), Quinn gets blindsided by an oncoming car. End scene. It certainly gives a new meaning to the episode title “On My Way.”

This is where “Glee” has its second PSA moment of the night: Kids, don’t text and drive!

Now, I’m not going to sugarcoat this “Glee” fans, but there is a chance that Quinn Fabray might not make it. It’s a shame, especially after how much they’ve redeemed her character in the last few episodes. But, then again, maybe that was the writers’ plan all along. After all, it looks like actress Dianna Agron isn’t signing on for Season 4.

This did feel like a sendoff for poor Quinn, who’s been put through more drama in three seasons than Rachel’s dads during a Barbra Streisand marathon.

There was this brilliant conversation between Quinn and Sue toward the end where Sue told Quinn that she admired her.

“You proved that it’s never too late to turn your life around.” I mean, talk about foreshadowing. Just when Quinn finally got her life together — she’s going to Yale, she made up with Rachel, she’s a Cheerio again — something happens that throws a wrench in her plans.

Maybe death is too heavy for “Glee,” but then again, they did kill off Sue’s sister in Season 2. However, I don’t think the writers actually have the guts to kill one of their main characters. Like Sue said, I think that she’ll once again have to turn her life around.

Looks like teen Jesus finally found his way on the glee club. It’s only a matter of time before Mercedes and Sam recruit him in light of Quinn’s accident. I can already see the God Squad (the moral compass of McKinley) praying around her beside, à la “Grilled Cheesus” in Season 2.

Because I don’t feel like any of the other plot points are even as remotely important as the above, here are a few other “Glee” observations from “On My Way.”

• All Rachel really cares about is winning Regionals and getting into N.Y.A.D.A. Is this really surprising? Why is Finn even marrying her? Do they even have any concept of real life? Where are they going to live? How are they going to support themselves? Okay, I’m through acting like my Jewish grandmother. I just don’t have the emotional bandwidth to care about these two. Their actions make me anxious.
• We find out that Rory has never tasted peanut butter. Yes, this actually is a real plot point from tonight’s episode, and it’s Damian McGinty’s best acting since “Pot O’ Gold.” Coincidently, McGinty had never had a spoonful of peanut butter until filming that episode. (Fun fact: He has yet to ever have a banana, and yes, I’m officially a Twitter stalker.)
• In a true “Breakfast Club” moment, Mr. Schue reveals that he attempted suicide at a young age. Now, I would have found this to be a more poignant moment if Mr. Schue hadn’t started his lesson by giving Rory a spoonful of peanut butter (and if the writers hadn’t directly stolen this exact scenario from “The Breakfast Club”).
• Sue is pregnant.
• Sebastian goes from major jerk to remorsefully nice Warbler in less than 20 minutes. It turns out that he was a total d-bag to Karofsky at Scandals — Lima’s gay bar — and now he feels guilty.
• The Troubletones make a triumphant return, and the New Directions win Regionals (duh).

Notable Quotables:
“Well, if it isn’t an old Barbra Streisand and a young Betty White. Where is gay Cyclops? Still stumbling in?”
– Sebastian

“That’s show choir terrorism.”
– Rachel

“I, Sue Sylvester, am with child.”
– Sue

“In the last week, you either enjoyed a really delicious curry or received a hug from principal Figgins.”
– Sue

“I want to be there to see ‘Sex and the City Part 3.’”
– Sugar

“I just want a song.”
– Tina

“i admire you for all of the ways you’re not like me. You proved that it’s never too late to turn your life around.”
– Sue

“It isn’t going to be easy. There are going to be days where life just sucks, but you’re going to get through this.”
– Kurt

“We screwed up big time. We tried playing these reverse psychology games on them.”
– Burt

“Even Patti Lupone herself couldn’t talk Rachel out of marrying Finn.”
– Hiram