AIRBENT
I was wondering if you felt that June was a bad character, now that her arc is done? Because honestly, to me she had good intentions with Blaine. Such, as showing him to people who could later help Blaine in his career. It was nice to have a some tell Blaine, that he deserves to shine too.
Anonymous

Oh hi hi anon, sorry for the lateness of this response~

I actually think June was a great character as far as being an actual character goes, with purpose and personality and not…like, y’know, just one of those rando guest stars that pop in and out for their name recognition and to waste time and space that could be better used elsewhere.  I like her more than I like Holly, April, and even Jan from last year, just for instance.  And yeah I think it was way past time for someone to be enamored of Blaine’s talent and to push him in the direction of…well, really going for this thing that he’s passionate about, no holds barred.

But June also says and does several things that I find pretty inappropriate for her relationship with Blaine.  Like…she’s his benefactor and patron and even mentor in a way, but she’s not his friend, so it’s not her place in the least to involve herself in his personal life.  And the way that she’s rude to Kurt and discards him so easily (at first) gives me the impression that she only cares about people as far as they can be of use to her, which is not real caring at all.  She admires Blaine, but she doesn’t admire Blaine if you know what I mean, and either way it’s not an unconditional admiration.  If he doesn’t present himself to her liking and utilization I don’t think she’d hesitate to discard him as well.

Which is her right, obviously; June’s the one who’s quite literally giving Blaine things for free, for no other reason than the fact that she believes in him, and is certainly under no obligation to coddle him about it.  But we shouldn’t, y’know, overestimate her affection for Blaine just because she likes the way he sings and projects her own life onto him. “Finally someone likes Blaine and his helping him succeed!!” well, yeah, but it came with fine print.  June’s not Blaine’s Fairy Godmother, she’s his Crossroads Demon.

The nice thing is that some of her perspective does change by the end of the season because Kurt and Blaine are magic and change her views with the power of music and so forth XD.  I think Blaine might be a good influence on her, and actually she might legitimately be a good influence on him in many ways as well.  And, let me be clear on this, I don’t hold her the least bit culpable for the problems Kurt and Blaine went through; that’s all on them, and then pretty much most of it on Blaine.

Basically, I often tag my June posts with commentary like “June’s not here to be liked,” which works in several ways.  Obviously June doesn’t give a poop if people don’t like her because she likes herself too much to care about that.  Secondly, June was written to be an obstacle just as much as she was written to be a benefactor.  We’re not meant to, like, root for her and her opinions or something, we’re meant to root for Blaine has he circumnavigates their relationship.

Hi, you described klaine as a "work in progress" in the writers eyes that need to go through its hardships and ugliness in order to grow. I agree with you, i never thought that klaine was perfect, but now i am seeing maybe too much ugliness for my taste. Maybe i feel concerned bc i've been there, i made the kind of mistake that blaine made, and i've been through ugly fights. I just hope (like i did) that blaine in season 6 will be a bit more selfish.
Anonymous

:D Hi Anon!  I agree.

……..

..

…………….

…yup that’s pretty much it.

*whistles a tune*

Lol yeah it’s no secret that there’s a number of things that I didn’t like about Klaine in that finale.  I did think it was ugly, and things that other folks seemed to like are the things that worried me about Klaine instead.

That saaiiiid.  I’m not particularly worried about anything coming up for them because there’s been a number of great interactions between them as well during the NY arc.  I can’t complain about the attention they’ve been given recently, even if I don’t like absolutely all of it, and at least their current problems are problems that feel naturally built-up and developed over the course of many episodes, if not over the course of many seasons.  That is something that I have totally wanted for them and that I felt was missing from…oh let’s just say for example…the break up episode, for instance.

The other thing that I think might not get considered too often is that Ryan Murphy?  Is not a cynic.  He is actually the biggest fucking sappiest, mushiest, most hopeless romantic in the world.  There’s no doubt in my mind that he wants Klaine to end up in a wonderful place as much as anyone does.  I can worry about his execution, but not particularly about his intent.

So.  Yeah.  I suppose we’ll all see how it goes down!

On the nature of dragon bonds

One of the more persistent questions that people seem to have with How to Train Your Dragon 2, at least from what I’ve seen, concerns the character of Drago.  Specifically, some folks may be confused or incredulous about how Drago is able to do a very important thing that he does.

Spoilers for the film beneath the cut, obvs.

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I think your view of the final episode makes sense but I do not think the writers intended it that way. The writers intended it to be a resolution to their NY arc, and maybe overdue resolution to their break up issues. All written badly, which is why it´s easy to read into it something else. But the reality is glee is badly written so I don´t think the writers are viewing it the way you do. The NY arc started with Blaine moving out and resolved with him moving in. They´ll have new conflict in S6
Anonymous

*noncommittal sounds of neutrality* Mmmmmnnnneeeuuuh.

I agree that the writers tend to try to wrap things up real quick in neat bows and move onto other things, and that this whole “The Incredibly Difficult Problem Is Solved With A Loving Heartfelt Speech From One Character To The Other” thing is something they’ve done a lot with Klaine (and also with many other characters in many other contexts) and that we’re meant to think that this fairly unsatisfying resolution to Klaine’s current problems is meant to be really satisfying.

But what I also think is that Klaine is absolutely not perfect in the writers’ eyes and that these two have always had problems, and will for some time yet, that will need to be tackled and resolved.  The idea that Klaine is this flawless ivory immaculate thing has always been a very “fandom” mindset, one that I never believed was shared by any of the writers.  Klaine has always ever been a “work in progress” in the writers’ eyes, one that needs to work through its hardships and ugliness in order to grow, and so I also definitely don’t think we’re meant to look at this episode and think “And then things were totally perfect forever after.” There is more to come, and more room for them to both grow and make mistakes to a more healthy end.

Whether that end will line up with what I find satisfying and correct, or what others find satisfying and correct, is more nebulous…but the fact that they’ll continue to chip away at the puzzle that is Klaine does satisfy me, for now.

Moreover, I can’t ever truly agree with an “It’s all just bad writing, the end” sort of approach to Glee because I’ve truly lost count of the amount of great writing and satisfying resolutions to many issues of many characters on this show, some of which involved Klaine, some of which occurred very recently, some of which occurred in this very episode.  Yes, it’s always a sort of scary grab-bag with this show when it comes to their storylines, but when it delivers?  It hella delivers.  Kurt and Blaine themselves have had it pretty good when it comes to the writing, certainly much better than many other characters have been afforded.

Eh.

I wouldn’t place the “Clara reconciles with Maggie” thing squarely on Chris, or even attempt to expound too much about Chris’ own mindset from it.  That sort of idealistic forgiveness thing is the exact sort of thing Glee and its assorted writers have been portraying over and over again for five years and probably lines up pretty well with anything Murphy and the Murphettes would’ve written, if they were the ones constructing this plotline.  They’re all pretty solidly on board the “people who do bad things aren’t bad people” train, and the power of music magically fixes all the ills in the world or whatever.  That’s Glee for ya.

Frankly, I don’t even dislike that it happened here.  Coming from someone whose relationship with his own father is strained to the point of nonbeing (and it’s kind of absurd that I even have to preface this opinion with that completely irrelevant tidbit, but I know someone will call me out about it if I don’t), Maggie was neglectful, not abusive.  So what if Clara decides to stop ignoring her mother and goes to see her show?  She’s got nothing to lose and everything to gain.  I don’t think it’s remotely realistic that Clara would take the advice of a stranger to go reconcile with Maggie, but I don’t hate that it happened.

More to the point, maybe Clara shouldn’t be guilt-tripped into forgiving Maggie, but neither should she feel like it’s wrong if she does forgive her mother.  Maybe it ends up making her feel better, maybe not.  Maybe she should’ve done it before now, or maybe it would’ve been a mistake back then.  Maybe it’s still a mistake now.  Hell, maybe she’ll regret it a day or two from now.  Either way, that’s her own choice to make and she’s the one who lives with it, and she’s not you or me or anyone else; if she’s happy with the choice that she made in this episode, then by all means it was the right choice for her, period.

lettersfromtitan:

So back when Klaine fandom was sort of wandering in the desert of having only B- and C- plots in large swathes of seasons 3 and 4, there was often a lot of “But why don’t we see them? Why aren’t they kissing/holding hands/snuggling?”

And with one particular exception that did just feel weird to me (a lack of a kiss in the celebration of the nationals trophy montage), I was generally pretty irritated by this. Kurt is private.  Blaine is cautious. And the story, with how little focus they were getting, just didn’t demand it.  You’ve got 42 minutes a week on Glee and 4 - 6 songs to throw in there too.  No one has time for ten seconds of the Yes Klaine Likes to Kiss! show.

Over time, my feelings about this has had some weird interpretations by a few people in fandom.  If you didn’t know, I apparently hate gay people and don’t think Klaine should kiss ever.  *eyeroll*

Mostly, I kept being like “When Glee shows physical affection it’s for a plot purpose; it serves a thing.  Them being physically affectionate to Tumblr standards in the background, doesn’t serve a thing, so it’s not there.”  People got strident at me, and I got strident back.

Anyway, when 5.14 aired, and everyone cooed over the opening and “You Make Me Feel So Young,” I saw all this relief.  “Klaine is allowed to touch! The network isn’t censoring the show anymore!”

Aside from my feelings about how much Fox Standards cares (what did we learn at Christmas? You may have hated that episode, but Fox Standards don’t care) and the use of the word censorship to refer to non-government related activities, I was happy fandom was happy, and that we’re getting that stuff.  They are a really fun couple.

But we’re not getting that stuff because representation and equality! We’re not getting it because the fans were heard on physical affection because Kurt and Blaine!  We’re getting it because it serves the damn story.

We see Klaine cuddling in bed to set up Kurt’s relationship claustrophobia in 5.14 and to make it all the more devastating when Blaine climbs into Kurt’s hospital bed in 5.15.

We see Kurt and Blaine in bed because it helps tell the story and they are getting a story right now.

Ideally, stuff happens in stories to tell us things.  Kurt and Blaine haven’t been set free to be affectionate, rather we’re seeing the affection because it’s a narrative tool.

I’m thrilled that they have focus right now, that the cast is smal enough right now for that to be relatively ongoing, and that the stories being told are interesting and tight. 

But I’m still so uncomfortable with the focus on their physicality with each other as being the measure of the show (or their arc) as opposed to how their physicality with each other is used to do the thing Glee is supposed to be doing — which isn’t saving the world or being responsible or providing equal representation — but telling a damn story.

Just to be clear: I’ve had virtually no complaints and pretty much only praise about the depiction of affection on this show for a little over a year now.

Fair warning: I’m about to be a massive asshole about it anyway.

Of course everything about this sort of topic will always depend on all sorts of contexts in all sorts of circumstances, but something that won’t change is that my stomach will always churn to hear any defense of disparity driven by any notion that it “didn’t serve the story.”

You would never, ever hear that justification used for any questionable depiction of non-marginalized demographics, and you would never, ever think to use to that justification for straight couples or the lack of straight affection.  Because you would never need to!  It is a buzzphrase that is tailor-made for the mistreatment and non-representation of sexual minorities, racial minorities, and characters with disabilities in media.  I’m sorry, but I’ve simply heard that term used to excuse far too damaging choices far too many times in far too many different situations to give it anything but the most dismissive response.

"It’s right for the story." Do we imagine every single creator who’s ever wrote something problematic, who’s ever disempowered or sidelined one of their minority characters to the point that it’s one of the most prevalent cliches in the business, didn’t also think what they were doing was totally right for their story? That writers after writers, from the maligned Murphys to the celebrated Whedons to the controversial Abramses and Davises and Moffatts — haven’t had that custom-built excuse of the integrity of their story ready to hand out on a moment’s notice to anyone who questions their disparities?  Their hands were totally tied, it’s just the way it has to be; obviously, the only two possible options facing all writers at all times were to write a shitty story or to affect inequality in their works.

And we the audience swallow it right up, over and over again, because of course there’s nothing more important than doing what’s right for the precious storyline, and so the cycle continues.

Look, if our notions of what “serves the story” always just so very conveniently happened to have dubiously disproportionate treatment between male and female characters, and white characters and characters of color, and straight characters and queer characters, maybe we all need to fundamentally overhaul our notions of what actually “serves the story.”

Ya, I feel like we'll probably learn that June had to make the choice when she was younger between relationships and her career and obviously she chose career. Whereas Blaine and Kurt will do whatever they can to have both.
Anonymous

Y’know, something about the way June talked in this episode made it seem like it wasn’t just a matter of protecting her career, it was almost a sort of scornful nihilism against the concept of love in and of itself.  Like, how she thinks it’s human and expected, but not something particularly admirable or uplifting.  So it’s not like she wished she could find a place in her life for love but just never could, it’s almost like an attitude of “been there, done that, visited the gift shop…ehh, wasn’t super impressed.” There definitely may have been a bad experience in her past…or perhaps June’s just intrinsically not a person who even likes to fall in love and have romantic relationships, period.

Which is of course such a fundamentally unBlainelike attitude to have, which is what originally gave me pause about June’s claims that she and Blaine are so much alike, and so in my mind I don’t think June was ever really, actually Blaine even when she was young.  Which doesn’t mean that the danger of Blaine becoming June isn’t still very real, though, simply because Blaine is such a fluid personality that’s still discovering himself.

:D

Good lord, this episode was so meta.

I kinda loved it.

The song pacing felt really weird.  Not “Movin’ Out” weird, but maybe because the pacing has been so good for the NY episodes so far, this one stood out a little.  Ultimately I didn’t mind so much because I thought the actual plots going on were so danged interesting.

I find it very interesting that June parallels herself with Blaine so closely.  I’ll have to see more of this character before I determine if that isn’t just a wishful projection on her part — after all, just because June has it in her head that she and Blaine are a lot alike doesn’t mean that she and Blaine are actually anything alike — but it’s interesting because I don’t think Blaine has ever been so specifically “mirrored” on this show before.  Finn was mirrored against Will, Sam against Finn, Kurt against Isabelle, Rachel against Shelby and Cassandra and even Jesse, Puck against Beiste, Quinn and Terri, Santana and Sue.  But I’m not sure we’ve ever had a character on this show quite so directly set up as Blaine’s spiritual reflection.

But the point of these sorts of narrative comparisons isn’t always to portray just how exactly alike these characters are, but to examine the cracks in the mirror, the things in their lives that set them apart…and the more you examine it, the more evident those cracks are.  In the case of most of the adult-vs-children comparisons, the story of Glee tends to tell us “This could be you someday.  This is how you might end up if you’re lucky…or if you’re not.”

June seems to have everything that Blaine thinks he wants, seems to be everything Blaine thinks he wants to be.  But she clearly doesn’t have his heart, his love, and his love for love.  Blaine could very well end up becoming June someday…we know all about his “dark side,” after all, and his tendency to take on different roles depending on different circumstances of his life (Is it just me, or did he seem a bit more like Blaine Warbler today than he’s been in a very long time?), but I think that, no matter how glamorously Glee might be portraying June (she’s Shirley MacLaine, after all), this show is ultimately telling the story of how Blaine needs to be…not necessarily “not June” per se, but better than June.

tina-warriorprincess:

sorta-out-there:

disneyfrozenprincess:

peterapanzel:

pile-on-the-years:

baku-babe:

jordanpowers1995:

baku-babe:

frozenheadcanons:

Olaf will melt when Elsa dies.

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I’M SORRY, IT WAS A THOUGHT.

Well then *ahem* WHY WOULD YOU THINK SOMETHING LIKE THAT?!!!
 *cries*

Um, I hate to be that person but…imagine Anna singing Do You Want To Build A Snowman at Elsa’s grave. 

first of all how dare you

i’m so done right now

i’d like to apologies before hand for this.

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i am very sorry.

NO.

Actually, I have an alternate theory about this.

Since’s Elsa powers are controlled by her emotions, I believe that incredibly powerful emotions might cause those powers to transcend death and persist even if Elsa passes, especially if she feels those things near the time of her death itself…almost like a ghost of Elsa that lingers after she’s gone.

For instance, this means that if Hans really had murdered Elsa at the time when she was overcome with grief, believing that she had killed Anna?  The endless winter wouldn’t have simply stopped.  Instead, Elsa’s agony and despair would have raged on even after she was gone, essentially becoming frozen in time by her traumatic death (if not even further magnified by it), leaving Arendelle trapped as an icy barren wasteland for all eternity.  A death curse, in other words, fueled by tragedy and pain.

Alternatively, if Elsa passes away surrounded by love and peace, I believe things like her enchantment upon Olaf — who is himself a physical manifestation of her love and happiness — might also endure beyond her death to become a sort of benevolent spirit that can’t be destroyed.  The last vestiges of her power might, in fact, bind itself to Olaf like a protective talisman.

What’s the use of magic, after all, if it can be so easily undone?

seveneaglestar:

brianwilly:

I’ve been thinking a lot about Sam and that diner scene. Specifically, that “oh hell no” moment where he asks Mercedes’ friends whether their hair is real and reaches out to touch it.

I laughed at it. I thought the whole scene was well-executed, from Sam’s obliviousness to Mercedes’ distress to…

From what I’m reading in the Glee fandom, this went over a lot of people’s head. Some people seems to not have understood the problem with Sam’s behavior in that scene, instead, they saw it as an example of Mercedes not accepting who Sam really is. They saw Sam as the blameless, harmless, innocent victim of people who are racist and a girlfriend that doesn’t accept him.

I can’t really blame them because the writing was so simple in regard to this issue, that it didn’t really show why what Sam did was wrong and Mercedes not really addressing it reinforce their believe that Sam did nothing wrong. 

But I have to say that I kind of do blame those viewers if that’s the reaction they had to the scene.  I mean, I can definitely see people not understanding why Sam was wrong specifically in this specific case if it’s not a problem they’ve ever heard of before, which is absolutely possible, and you’re right that the episode doesn’t elaborate much more on the issue other than having Mercedes’ friends be irritated at Sam.  But it’s the responsibility of the individual to be able to recognize racist actions whether a TV show blatantly spells it out for them in cliff’s notes or not, and the fact that they might go as far as to interpret Sam as the white victim of…black…racism?…says more about them than it does about Glee.  I mean the episode wasn’t clear about that stuff but you had to have had some iffy personal preconceptions to come away with that.

And like, even that’s kind of besides the point because, well, on some level Glee can even be as problematic or outright bigoted about an issue as it can possibly be (and I’m not saying it went anywhere as far as that in this instance, just laying out a hypothetical) and if the viewers we’re referring to actually agree with that bigoted depiction, well, they still have to take responsibility for that.  We fans are not mindless drones whose only interaction with the world and its issues revolve around what a 1-hour TV episode shows us once a week.  Or at least, we shouldn’t be.  We can’t be.

So at the end of the day, I can only judge Glee on what Glee does and not how its fans watch Glee.  Because I’m sure all of us here have seen a lot of viewers give some super iffy reactions to Glee’s treatment of its issues, whether Glee depicts those things a little right or a little wrong or even a lot right or a lot wrong.  Glee’s audience is simply too diverse to use as that standard.

:D

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thegourmez replied to your post: I’ve been thinking a lot about Sam and…

To add to your internal debate, there were likely people who saw that scene and wondered why it was supposed to be rude, as in what had Sam done wrong at all? And maybe those people learned a little something. Or maybe it just went over their heads.

Oh yeah, I’m certain there were viewers with both sorts of reactions all across the board.

The problem I’m mulling over is whether, by making the scene a mostly “funny” moment, Glee might instead give the impression to those types of viewers that “Hmm, well, they are joking about it, so even if it’s bad I suppose it can’t be that bad, right?” and maybe not getting that, no no, this is super bad, it’s just that Glee made a joke of it anyway, as Glee does.  I’m sure the majority of people who actually watch Glee are able to put two and two together…but maybe, in instances like this, Glee doesn’t exactly make it easy for them to do so.

But then again, I tend to fall on the side of the fence that believes that, unless Glee is overtly espousing something wrong and problematic — and there have been instances of this — then it’s not fair or logical to hold it responsible for the way that people choose to watch it, because that tends to say more about them than it does about Glee.  At the end of the day, something that depicts problematic behavior is not inherently problematic, and it was clear in this case that Sam was the butt of the joke here, not the other way around.

I’ve been thinking a lot about Sam and that diner scene.  Specifically, that “oh hell no” moment where he asks Mercedes’ friends whether their hair is real and reaches out to touch it.

I laughed at it.  I thought the whole scene was well-executed, from Sam’s obliviousness to Mercedes’ distress to her friends’ increasing mixture of disbelief and indignation.  It was super obvious what they were going for, making it really clear that Sam was being an unintentionally but completely offensive buffoon who was bringing shame to his country and dishonor to his household…and so forth.  Glee has done this before, and Glee isn’t even nearly the first ones who have ever pulled off this sort of moment.

But…

well, it’s still…………..pretty terrible, right?  It’s super terrible.  Not necessarily that “this scene was terrible,” but the fact that what Sam does is a thing that routinely happens to a lot of black people everywhere?  Is a terrible, ongoing problem that they have to deal with.

And there’s this part of me that wonders, even as I enjoy this scene on a completely superficial level, if it becomes a matter of “This is such a terrible thing that it’s a little wrong to make it into a joke, even if the problematic element itself is the punchline.” So it’s not necessarily that this scene depicted anything wrongly at all, it’s that this sort of thing — in and of itself — may possibly be, well, too offensive to be depicted as a humorous scene in the first place.  At least, not in the way that they did it.  Like, that it might cross the line of things that we are allowed to laugh at.

And that line does exist, no matter how hard it might be to see sometimes.

I laughed at this moment.  But I wonder if I would laugh if Sam had asked Kurt and Blaine, completely innocuously, which of them was the girl in their relationship.  Or if he had asked Mike and Tina if they had been vaccinated for the bird flu, just to make a funny awkward moment with them.  Heck, Glee has actually made cracks about that latter thing, twice, and neither time was I particularly amused.

I dunno.  It always seems to come down to the question of whether Glee needs to be more overt about its stances, and about vilifying the things that it needs to vilify — and sometimes it is really blatant about it — and I always go back and forth about just how much subtlety they are allowed to have with these things.  Either way, Glee does make it its business to cartwheel on the edge of controversial things, and that, I do know, is something I wouldn’t change for the world.

It’s a dirty job, but someone’s gotta do it.

Okay.  Alright, here’s my thing about it.  Here it is, no holds barred.

Carmen Tibideaux’s instruction is awful.  She gives terrible advice and is a completely unhelpful music teacher.  My friends and I who have majored in music often watch the NYADA scenes from behind our fingers because so much of what she and the other teachers say are the opposites of what you should actually do, and our worst nightmares are that people might watch Glee and think that this is remotely what an actual musical education is like.  On a grand aggregate, I would even go as far as to say that Will Schuester teaches music and performance better than Carmen does.  That’s how bad she is at doing her job.

Let’s start from the top:

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I think the line that actually stuck with me most from this episode was when Burt demanded if Kurt thought the other kid wasn’t brave or strong just because he ran.

There’s no such thing as a correct response to being assaulted.  There’s no right or wrong way to be the victim of violence.  There is absolutely no onus on anyone for any kind of action they make in that kind of situation.  And if your first instinct is to take care of yourself first and foremost then you sure as hell do that and make no apologies for it.

I’ve always hated the idea that some people had — god, ages ago at this point — that Blaine ran from his problems because he went to Dalton.  I’ve never liked the idea that Kurt switching schools to escape his stalker was somehow less ideal in peoples’ eyes than him just sticking it out at McKinley and…I dunno, fighting back or something.  That doesn’t make them passive; it doesn’t make them anything, frankly.  There’s no right answer here.  Saying “they should’ve done this instead” or “they should’ve done that” is a form of victim-blaming, for something that is not their responsibility to shoulder.

Likewise, Kurt might feel powerful and proud of himself for doing what he did tonight but there is utterly no obligation on anyone’s part to have to be “powerful” and “proud” like that.  It’s important for Kurt to do what he needs to do to be able to hold his head up in the morning, but it’s equally important to understand that not being some sort of unbreakable hero would not make him any less of what he is.

Captain America: The Winter Soldier

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Marvel does it again.

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