Puck gets sprung from juvie a little early thanks to his smooth ways with the parole board, so Mr. Schue decides to celebrate by having New Directions split up to compete in "The Second Annual Boys Versus Girls Tournament." Kurt again makes to team with the ladies, and if he looks especially put out this time around when Mr. Schue orders him back with the guys, well, it's because White Boy Jock Meathead's been especially brutal with the between-classes abuse as of late. Mr. Schue himself witnesses one particularly violent body check into a locker and decides to try to accommodate Kurt a little bit as far as this week's assignment is concerned by dictating that the girls perform boy songs while the boys perform girl songs. Initially, this pleases Kurt, but when the Glee Guys balk at sporting a set of cunning marabou boas to trill Diana Ross tunes, Kurt flounces off in a pout to spy on the first of the club's two recently announced Sectionals rivals, The Dalton Academy Warblers of Westerville.

Of course, while at Dalton, Kurt meets Blaine, a superfantabulous gaylet who's comfortably out amongst his peers, mainly because The Dalton Academy is the gayest all-boys school you're likely to see in your entire lifetime, but officially because The Dalton Academy has a strict no-tolerance policy for bullies like White Boy Jock Meathead. The wee Mr. Hummel is instantly smitten and, armed with several of The Superfantabulous Gaylet's superfantabulous platitudes, he returns to McKinley determined to stand his ground the next time White Boy Jock Meathead takes a whack at him. And because Glee would be nothing were it not for its clichés, it turns out White Boy Jock Meathead's been such a massive cock all this time because he's secretly gay himself, and nursing a massive meathead crush on Kurt. Kurt has the gall to act as if he's never seen this particular plot twist anywhere else on television, and things are rather ominously left up in the air when White Boy Jock Meathead immediately retreats back into the depths of his closet after his entirely unsurprising revelation, so expect a few more wacky hijinks from him over the next couple of episodes.

In news of far lesser importance as far as this episode is concerned, Lady Lips Von Bieberhausen, Frankenteen, and Single-T Tina take to picturing Coach Beiste in a variety of scantily clad and extremely amusing positions as a way to cool down when their mackery sessions with Quinn, Rachel, and Gaylord Weiner get a little too hot and heavy, and through a variety of contrivances, Coach Beiste finds out about it. Deeply insulted, and with her authority thus so miserably undercut, Coach Beiste decides she has little choice but to resign, much to Sue's cackling delight and Will's guilt-ridden dismay. In the end, however, saintly Will manages to pep-talk (and smooch) Coach Beiste back onto the faculty, and all is forgiven when the Glee Guys dedicate their mash-up performance to her.

And in news of absolutely no importance to anyone, Puck takes Artie under his wing to fulfill the mandatory community service obligation ordered by his parole officer. I'm sure various lessons were learned by everyone involved, but I can't for the life of me remember what any of those lessons were at the moment. Too bad.

Featuring an overproduced a cappella version of Katy Perry's "Teenage Dream" as performed by that all-gay all-boys school, a strummy al fresco version of Bob Marley's "One Love/People Get Ready" as performed by Puck and Artie, a bizarre mash-up of Bon Jovi's "Livin' On A Prayer" and The Rolling Stones' "Start Me Up" as performed by the leather-clad vixens of New Directions, and an even more bizarre mash-up of The Supremes' "Stop! In The Name Of Love" and En Vogue's "Free Your Mind" by the fleet-footed Glee Guys.