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glasskey · 1 month ago

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I’m Gonna Cut Your F#cking Heart Out - The June Osborne Hit List Pt 4

Season 4 and 5 saw June’s homecoming and departure and it was bumpy to say the least. When she wasn’t dodging explosions, stray bullets and Mad Max wannabe’s, she was up to her old tricks of hooking up with Mayday and offing commanders. Even amongst all of this she still managed a bit of Nick and Luke to and fro….Busy girl.

You want me to meet up with Nick?

I am fascinated by this scene, the subtext is limitless and OT’s acting was nothing short of fucking masterful. There’s an incredible delicacy to his delivery here that displays a whole new thinly veiled facet of Luke. It’s purposeful, precise, surprisingly cunning and at the end of the day, not that pretty. The room is utterly silent apart from the patter of rain against the windows, it’s night time and it should be soothing but the air is heavy. June and Luke sit on opposite sides of the table and behind Luke is a picture frame in the shape of a circle, symbolizing a wedding ring.

Behind June there are windows and a glowing light; an avenue to hope. There’s something about the aura of this scene and it’s in the way Luke MEASURES June, OT plays the uncomfortable silences perfectly, shifting and reorienting to match Moss flawlessly. There’s more said in this one scene about their relationship than in a multitude of others combined. Luke tries to casually suggest that June go and meet up with Nick to acquire new information about Hannah, instead it lands like a bomb. She’s astonished. Now if you think that Luke is just some sort of ignorant idiot who doesn’t know that his wife is in love with another man, think again. He fucking knows. She’s told him as much, and he can tell from her general reaction whenever Blaine is even remotely alluded to, that she is. The fact is, he’s under the illusion that it’s not real. It’s some kind of fantasy she cooked up in her melon out of desperation, because the guy helped her out of a tight spot. He knows, he’s thought about it and he’s willing to risk it. June is heartbroken.

When June tells Luke that she thinks Nick would do anything for her and his daughter, it visibly stings. It tells him something that he really didn’t want to hear; she has an abiding faith that this man will come through for her. It’s something he’s felt like he’s fallen considerably short of, and as we later learn, so has she. He can also tell from her hushed careful tone, that she’s still deeply in love with him, it IS real and it’s a truth she’s tried to save him from. It would be easy enough to mistake this as a mere moment of Luke’s male ego turned blind, stubborn or stupid enough to play chicken with the truth about Nick and June’s relationship, but you’d be wrong. He’s got plans.

This was not only Luke trying a new avenue for information about Hannah, it was also his “subtle” way to test June, to feel her out and see exactly how much Nick meant to her because essentially, its currency. I’d known that Luke was still harboring some pain over this relationship, however it was at the point that he proposed they dangle Nicole, in front of Nick; that I became less understanding. He also knew that Blaine wanted his family, and badly, as much as he wanted his own and knowing that gave him exactly what he wanted; the ability to use that love to access his own daughter. I’d liked Luke until now, if nothing else he was caring and gentle, but this seemed opportunistic. I could hardly blame him for his absolute desperation and granted Nick did seem a viable avenue, but Luke knew the pain of being a father separated from his family, and he weaponized it. It was an act of cunning from him, I’ll admit completely blindsided me.

Run

Fred was horrible and thankfully now he’s dead. He was a nasty little bully with an unearned sense of self-entitlement that extended to rape, murder, kidnapping, torture and imprisonment. As an absolute killer track in this mix we have “Run”, don’t worry if you don’t know the lyrics because most of it’s just Fred screaming anyway. “I know you can’t shoot me” Fred says to June as he’s offered the gun or the whistle, once again Fred is assuming what June is and is not capable of. Unfortunately for him, he’s underestimated her badly and things are about to get a whole lot worse than a mercifully quick death. She shrugs her shoulders, either way Fred dies tonight, and admittedly that whistle does provide a lot more entertainment than the gun ever could. Ignorant as always, Fred just seems to make matters worse by pleading for his life with the words “I have a son”. Stating that he’s actually got a male child just waiting to be born, in which he can instill his special brand of toxic masculinity, is not a great way to plead his case to his sexual assault survivor. What can I say? Fred was an idiot.

As the Handmaids gather and his terror becomes real, June instructs Fred to run…but why bother, he’s so clearly fucked. I can only assume, it’s because the hunt will be more fun that way. This is no average television death, this is pure Old Testament karmic retribution. This is a frenzied murder by a pack of emotionally scarred sexual assault survivors, taking a literal pound of flesh by hunting an abuser down and ripping him apart. I’m still struck by its brutality, June’s look of ferocious rage and unrestrained joy as she savored her kill was utterly savage and fucking delicious.

There’s something intensely primal inside June Osborne, it’s an appetite that remains barely contained when she puts on her “happy housewife” garb, and it’s free to run whenever she sheds these shackles. In the midst of her hunt she leans in and bites Fred until he screams and the blood flows through her teeth. This is the manifestation of June in her truest, most undiluted form. It’s intoxicating. We’re given a peek at her wilder tendencies and savage appetite when June bites Nick at the Boston Globe.

Blaine is the complimentary counterpart of her rebellious self and this instant of uninhibited passion entwined with her rage and frustration, highlights her desires. These moments both mark a sense of liberty, one through an unrestrained display of physical love, the other via a cleansing death of a hated foe.

Fucking Nothing

“Are you going to do the same thing you’ve done for the last 7 years. Fucking Nothing?” June yells…….Ouch. This was the verbal back hand from June to Luke that we’d been expecting for the last season and a half. For a good portion of the audience, Luke’s complacency for the past 5 seasons was a deal breaker and this was long overdue. Luke’s reaction was somewhat surprising but in other respects not.

“We’re never going to be enough for you are we?” he smiled wryly and it was suddenly clear that Luke had always expected and feared this moment and now finally it had arrived. Here it was, the final realization that his wife would no longer ever be satisfied with him and the peaceful life he’d tried to reconstruct from the rubble in Canada. That it was no longer enough for her to play housewife and ignore the collective suffering outside her door. It vividly brought into focus that his inaction had resulted in a divide so great, it may be impossible for him to ever reach her again. It’s a little unfair to say that Luke had done “nothing” but let’s be clear; the actual crux of this moment of raw emotional truth lay in June’s rage and frustration that Luke had been absent while both she and their daughter languished in Gilead, that he had essentially, left them behind. This point is highlighted by her desperate attempts to vocalize her sense of failure at having left Hannah in Gilead to fend for herself. She's angry at herself, frantic for a solution and furious that Luke does not truly understand her desperation.

Junes’ search for her daughter hides something larger, it’s a quest for reclamation of what is rightfully hers, a part of her body. June’s children are a symbol of Junes’ “wholeness” and in some respects her physical autonomy. With this in mind, how Nick and Luke address the issue of them are essential to their underlying attitudes to her physical self. They reflect their attitudes, to women and their bodily autonomy, their growing understanding and their willingness to act. Luke refuses point blank to take Nicole to New Bethlehem, but the fact is she’s not his daughter and this decision is entirely up to June. He’s been entrusted with her care, in the same way that June trusted him with her physical self, it demonstrates the line between loving protectiveness and self-entitlement.

It was at this point that I couldn’t help but be reminded of the Boston Globe episode, when June demanded Nick and her retrieve Hannah against all odds…..and he let her choose to stay or go. He even gave her his fucking gun.

America wasn’t Gilead until it was

Atwood’s text wasn’t meant to be prophetic but sadly it has proven to be more and more the case. In recent times we’ve seen turns of events that reflect all too closely, the deepening divide that inched and then suddenly exploded across the America June knew and loved. Throughout S5 Gilead starts to rise, bleeding across the border in actual corporeal form. It manifests in civil unrest, the presence of Gilead dignitaries now moving freely within Canada’s borders, assassination attempts and a plot to lure citizens away from democracy by constructing a more palatable version of its former self. June’s no fool, she’s seen this lurking shadow of doom before and last time she listened to Luke….and she waited. Sure enough once again Luke seems oblivious and happy to hang around, under the illusion that everything will be just hunky dory. Fuck. That. Shit. She’ll be damned if she hands over her other daughter to Gilead and sticks around to be shackled and shipped back off to a breeding farm. She lays it out to a complacent Luke, they’re leaving and they’re leaving NOW, if they don’t it will be too late.

Nick had known June was well overdue to leave, Lawrence told him point blank there was going to be a war and she would not be spared. Less than half an hour later she was run down in the street, Luke was beating the driver to death and Nick was bolting for the border. Nick’s kiss as she lay sleeping in a hospital bed, was a call to action from her previous complacency and sure enough when she returned home, she laid down the law to Luke.

Nick had been complacent too, swallowed by domesticity and servitude for the last season, and a knife to the throat of his beloved June was just the tonic he needed to finally dig himself out of the Gilead mire and turn snitch. Tuello immediately made good on his deal with Nick to get June and his daughter the fuck out of dodge, and rushed her off to the train station. But yet again, Luke’s not going anywhere, he’s taking the proverbial bullet so that June and Nicole can flee, and giving himself up.

He’s a fairly stagnant character, essentially there to provide contrast, so this seemed all on brand. However sudden demonstrations of violence and grand gestures did not. Suddenly there were proclamations of undying love, desperate pleas for them to be reunited and Luke referring to Nicole as “their baby”. Wut?

Nevermind…..the loathe of her life, Serena is already on the train. How? Dunno. Tuello? Maybe. Needless to say she knew Gilead was coming, just like she knew long before anyone the first time. Only this time she’s running and lo and behold, she’s already hitting June up for a favour.

#handmaids tale #june osborne #june x nick #hulu streaming #max minghella #nick x june #nick blaine #the handmaids tale hulu #osblaine #elisabeth moss #analysis #tv series #luke bankole #thtplaylists&mixtapes

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bitbybitwrites · 4 months ago

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I really should change some of these banners . . because its always more than 6 sentences with me . . 😂

Thanks to the following lovelies who have tagged me for Six/Seven/Several Sentence Sunday and WIP Wednesday lately:

@porcelainmortal @iboatedhere @caterpills @nocoastposts @seths-rogens

@thesleepyskipper @onthewaytosomewhere @forabeatofadrum @alasse9

@blueeyedgrlwrites

Here are a couple of things for ya all: 1 Klaine and 1 RWRB selection for you under the cut:

Another snippet from my RWRB fic, Puppy Love

(cc @omgbarbiegurl )

Henry blushed ( way too prettily in Alex’s opinion). “I . . just help out here. It’s really Pez - He was the one who helped get this place off the ground. I don’t do that much. “ “Don’t belittle yourself, H.” Alex said as he stepped closer. “I can tell these folks here like you, look up to you. It’s a vibe. I can feel it.” Alex sidled up closer to Henry, slyly grinning as he slipped a hand to Henry’s waist, letting his fingers curl in that soft, sweet dip that he’s been aching to touch for so long. Henry shivered a little at the warmth of Alex’s palm, the closeness of him. “I . . I just want these kids to have what I never got . . .” Henry said softly. “My father died before I could come out to him. My mother is just a shell of herself since he passed. It was like I had lost two parents that day he left us. Of the remaining family, only my sister Bea is supportive. My brother Phillip is a knob and spends way too much time with my homophobic grandmother to remember that I happen to be his brother as well.” ‘H . .” Alex frowned, he didn’t like that slight tinge of sadness he heard in the other man’s voice. “ Well, fuck ‘em. Not Bea of course. She sounds amazing. But the other two.” His fingers gave Henry’s waist a supportive squeeze. “At least you have your sister and Pez . . the folks who live and run this place . . and, well, me.” He flashed Henry sweet, shy smile. Henry’s heart swelled as he leaned closer to whisper. “ I have you, do I?” “For as much and as long as you want me, baby.”

****

And this part of the next chapter of my Klaine epic: If I Can Make Your Heart My Home

(cc @datshitrandom)

Blaine’s arms reached out towards the other side of the bed. His eyes popped open as his fingers felt the cool bedsheets next to him. No warm body as he expected. No Kurt. His heart started racing as the panic started to set in. It wasn’t a dream. It couldn’t have been. Blaine’s body bore witness to that. Did Kurt leave? Again? The scent of cinnamon slowly wafted through the open doorway, causing Blaine to clumsily fall out of the bed and rush out of the room, down the stairs and to the kitchen. Breathless, he jogged through the doorway, stopping short at the sight of Kurt, wearing his bathrobe, bending over to take something out of the oven. “You’re here.” Blaine said, surprised and relieved at the same time. Kurt chuckled as he placed the hot metal tray onto of the oven to cool. “Of course I’m here, “ he said over his shoulder, all the while shaking his head. He took the oven mitt off his hand and tossed it on the counter. “I’m here and you’re . .” Kurt said as he shut the oven door and turned around . He blushed as he saw Blaine. “You’re . . . you’re . . naked.”

Annnnnnd tagging if you want to share anything you've been working on - and OPEN TAG for anyone who just wants to share:

@madas-ahatters-world @coffeegleek @little-escapist @wowbright @hkvoyage

@sophie1973 @theprinceandagcd @spaceorphan18 @annepi-blog @daisyishedwig

@tailsbeth-writes @thinkof-england @getmehighonmagic @cryscendo @special-bc-ur-part-of-it

@rockitmans @14carrotghoul @myheartalivewrites @caramelcoffeeaddict @1908jmd

@scatter-the-stars @yadivagirl @kirakiwiwrites @bowtiesnmusicals @shame-is-a-wasted-emotion

@cerriddwenluna @kurtsascot

#bitbybitwrites #klaine fanfic #klaine fanfiction #klaine fic #klaine #kurt hummel #blaine anderson #fic: if i can make your heart my home #rwrb fanfic #rwrb fic #rwrb fanfiction #rwrb #red white and royal blue #firstprince #alex claremont diaz #henry fox mountchristen windsor #fic: puppy love

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sepublic · 10 months ago

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Continuing my ramblings on Predator (1987), there's an interesting choice of cinematography when the protagonists start fighting back against their titular antagonist; Once Anna explains the Predator's schtick as a chameleon, our heroes begin making new traps meant to fool the Predator. And as they do, there's some pretty choice shots emphasizing the bulging muscles of characters like Dillon and the like. Dillon is interesting especially given he's framed as the least masculine of the guys due to being a dishonest pencil-pusher; Here, it seems as if everyone, even Dillon, is reclaiming their masculinity with this chance to fight back. With this chance to turn back the odds and restore their conventional status as action heroes.....

And then we know how it all goes down; The Predator breaks free of the trap, and kills its last four victims of the film to leave only Dutch and Anna. The Predator as a dark reflection of the characters' machismo makes more sense when you consider how he can mimic the voices of the others, and the wound that puts him down is identical to that of his final victim Poncho; Both are felled by a log trap.

From the perspective of the Predator, other characters' voices become noticeable high-pitched; I wonder if this is, in a way, meant to show how even a badass like Dutch is emasculated in the eyes of the Yautja. The line between Predator and the protagonists is further blurred when Dutch achieves his own form of cloaking that is also sabotaged when he comes into contact with water; He learns to fight more like the Predator, relying on stealth, ambush, and the environment around him to hide and attack. So now the Predator becomes the hunted too. Its final words are to repeat Dutch's only lines back at him before laughing in Billy's hearty voice.

You know that one post circulating around here, where people joke about what if the Predator was more the exception to his home's culture, rather than the norm? What if he was the Yautja equivalent to bored middle-class dudes who decide to go on a hunting trip for fun, to collect trophies from lions and other animals that are otherwise harmless and victimized, to flex how 'badass' he is? And meanwhile everyone else back home is rolling their eyes because what a loser. What if that's really just what the Predator is meant to symbolize, in the context of the original film at least; People who like to kill and hunt to show off how masculine they are.

But in the end, it's quite easy and cowardly, arguably, to rely on a cloaking device, whilst sniping oblivious targets from afar. Beforehand, I wonder if we could take into account how animals are treated by the human protagonists beforehand; One of the characters kicking a bird aside, Mac stabbing a scorpion. Them flexing their macho attitudes by killing an animal that for all intents and purposes is pretty helpless against the one who gets it. And then the roles are reversed where the human protagonists become the game for the Predator to make trophies out of.

I find it fascinating Dutch's reaction when Mac admits that Blain was his friend; You get the sense that this is quite uncharacteristic a thing for Mac to do. Nowadays it seems like a pretty obvious and understandable thing for any guy to do, but for someone like Mac, it IS quite the confession of emotional vulnerability here. Plus there's Poncho being a sad sopping wet cat for the rest of the film, once Hawkins is the first to die.

If Predator is a slasher film, then it subscribes to its own version of the rules, just as it has its own version of a 'final girl' in muscled badass Dutch, played by Arnold Schwarzenegger. You know how those who have premarital sex die first? It seems Predator operates on similar rules; Hawkins makes crude jokes about female genitalia and is killed first. Blain calls everyone else the f-slur and proclaims his own sexual prowess, in addition to being your typical badass macho man who's too tough to feel pain, and then he's unceremoniously killed off pretty early too. This is despite, or rather because of, being the "big guy" who wields a giant mini-gun.

Mac and Billy are stoic, but Mac unravels psychologically and sings lyrics about objectifying a woman shortly before his death, and Billy remains rattled throughout by the Predator's presence, even openly admitting to Poncho that he's afraid. And of course there's Poncho, who is on the verge of tears 24/7 once the movie's genre shifts, voice constantly wavering.

On a final note, one could be half-joking about homoerotic undertones between Mac and Blain, at least on Mac’s end. Which could be an interesting discussion in and of itself when you also account for Blain’s use of the f-slur and how he’s the most stereotypically masculine of the group. Because I know the military is known for being a place where homosexuality was often discovered and explored. How would that factor into the larger themes of masculinity in this film, I wonder?

#predator 1987 #yautja #predator #analysis #mac eliot #al dillon #jorge poncho ramirez #blain cooper #rick hawkins #billy sole

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itissadbutitsmy-artblog · 10 months ago

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blaine cant see him. he's haunting CAL.

blaine: hey, dr c? dr c? helloooo?

dr c: (blink blink) ye- yes? YES, sweetheart. blaine: youve been staring for like, ten minutes. are you alright? dr c: yes, i- im fine--

blaine: oh good. cuz uh. you look like youve seen a ghost. lol

#they left him sitting there for thousands of years hes not gonna be able to rest quiet #in my mind he is not doing this on purpose he is just stuck followng her around cuz she WATCHED and hes MAD about it #bold of blaine to be so cocky when their friend is so MISSING #im still really on about this episode apparently. something about it did something to me sowwy #adventure time #distant lands #blaine #dr caledonius #spader #larrys there too but hes just being carted around like a worry stone. rip larry its your lot in life.#digital #this is an older comic u can tell. i just never posted. it #hehe #wizard city #UGH

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receivedhope · 2 months ago

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An embarrassingly deep dive into the Klaine Animal duet

I did a personal ranking of Klaine duets and ended up at my pick for number one being Animal. Not that it was a surprise to me in any capacity, because it's one of my favorite Glee covers, but it did prompt me to try and word why I love this duet the most. And while saying "it's a good song and a cute performance" and leaving it at that would suffice just as well, I enjoy rambling wayyy too much.

First off: I am genuinely surprised it is not a more common number one pick?

While I am a total layman when it comes to music (I can only confidently say if I liked a song or not, it is beyond me to try and critique anything on a more technical level) I do think Kurt and Blaine both sound really good and complement each other well here, with the Warbler arrangement putting an interesting twist on an already good song.

I also think the performance itself is so carefree and works flawlessly as a music video on its own. The entire warehouse scene is really well shot and has a distinct color grading to it - one of my favorite shots in almost the entire show is the Crawford Country Day girls' knee socked legs framing Blaine when he gives his speech about how they need to be scream-worthy for regionals. I think it's a very playful shot, getting Blaine between the girls' legs, lol. I also like the foam machine, which is honestly just funny to me and I like thinking this somehow references the Jonas Brothers' foam spray stunt from the late 2000's - which just ties the more innocent, one-sided love and boyband appeal of the song and performance (represented by Kurt) with the more raunchy interpretations of the lyrics, explicitly chosen for the purpose of being sexy with a foam machine complete (represented by Blaine).

Animal is also just a surprisingly innocent song despite the context, since it captures a crush that is about to get serious and the yearning and uncertainty that comes with - my friend and I were talking about Klaine duets and after she mentioned this it clicked into place (and inspired this post).

Because Kurt is leaning so much more on the cute side of things rather than sexy that even when singing "you're just a cannibal and I'm afraid I won't get out alive" I buy that he's talking about exposing his heart and feelings to Blaine, a boy he's still trying to figure out - even if one with a dirty enough mind could interpret that line, in a vacuum, to be about sex.

(As a side note, it bears repeating that Kurt is such A CUTIE here. It's okay Kurt, I think you're sexy in a very adorable and virginal way.)

I actually forgot myself that Animal's lyrics can be considered kinda more flirty and dirty if you squint? And funnily enough, Animal is not as inappropriate as several other songs Blaine picks to describe softer feelings. I like the thought of Blaine choosing it as a "sexy" song and forgoing the "will they won't they" one sided love the song is actually about, to describe a more animalistic urge to "not sleep tonight".

Meanwhile Kurt sings it much more innocently. Partly, we know that Kurt has faced a lot of issues with his sexuality and that he loves romance and marriage. Even though we only get confirmation later in on the episode that he is actually uncomfortable with sex to begin with, we can already sort of deduce that based on how we saw him act around Finn and Sam - I don't want to digress too much, but Kurt was very far from a "sexual predator" considering his wildest fantasies boiled down to another boy singing him a love song and kissing him or that the showers is just a place for him to check what shampoo Sam uses and if it's right for his color treated hair - as well as how he is pretty consistently set up as the antithesis of an average teenage boy. Sex is the last thing on his mind.

And when you rewatch his performance, you GET that he thinks this is only about one sided love and it also contributes to his attempts at being sexy be so goofy and a bit cringey. Not only is he uncomfortable, but he does not see the song in the same way Blaine (and perhaps everyone else in this scene) does. Or at least, it's how I explain away the strike contrast between his demeanor in Push It (confident, he even slaps Finn's ass lmao) and Toxic (playful and a bit detached) compared to Animal (very silly...<3) aside from his recurring and staple trait of losing all of his cool and measured manner when he is working to impress someone, rendering him just so very cringe, like when he tried to impress Burt in Laryngitis, Blaine in most of Season 2 and June Dolloway in The Back-Up Plan (most notably).

While I absolutely feel like I am almost trying too hard to explain some indecency into the lyrics (when it is really not what it's trying to convey) Blaine does consistently misinterpret the emotions of people around him and I'd argue, of his own as well. Would he really pick up on the emotional core of songs that easily?

While this may be an almost appropriate enough segue to talk about why Glee being a musical dramedy plays a lot into how one should interpret the songs and musical performances accompanying them at length, I will refrain for now and condense my thoughts on it: Glee (at least initially) follows the adage "when words are not enough to express your feeling, you sing, and when song is not enough, you dance" and the comedy usually takes a backseat (or is played straight faced) so the emotional state of the characters can shine and guide the story. I guess it is up to you how much you are willing to indulge in the characters themselves picking songs rather than the writers, but I find it much more satisfying to consider them part of the narrative and characterization just as much as you would dialogue, for example.

Thus, Blaine consistently choosing inappropriate songs is an interesting look into his character: he picks When I Get You Alone as a serenade song for Valentine's Day, Candles to sing with his fresh new boyfriend, It's Not Unusual to express his happiness over getting to spend even more time with his boyfriend, Cough Syrup as an inspirational song and not to mention the two break up songs he sings to (and with) his brother.

I don't think it is that much of a reach to think Blaine read "No, I won't sleep tonight / Oh-oh, I want some more / Oh-oh, what are you waiting for?" and went "Oh yeah this has crazy sex appeal".

If Baby It's Cold Outside is a look into how Blaine pursues Kurt, Animal is a look into how Kurt pursues Blaine and why I believe they are so prone to miscommunication.

In BICO, Blaine is crowding him and not taking his teasing protests seriously, which is pretty much what the song is about - a cheeky "we know we shouldn't REALLY do this, but let's anyway" duet from a time when women weren't allowed to express such forward interest. It, coincidentally, fits really nicely with the narrative of two gay school boys alone in some common room who end up flirting, despite the society they live in harshly discouraging them to do so and would not let them perform the song together. You know, as two artists.

Later, however, we find out that Blaine can't easily differentiate Kurt's teasing from his hard no's, so he interprets all of Kurt's actions, someone naturally impish, to be sarcastic most of the time. I don't think it is an entirely off-based assumption by Blaine, but since he is not exactly the best at reading people in the first place, it's even harder to discern for him how Kurt feels, who is more subtle about his emotions than most people.

But it works this time because Kurt is into Blaine, is teasing him and wants him to crowd him.

Kurt has a tendency to never really say word for word what he expects of Blaine so Blaine takes everything Kurt says either at face value or tinted by Blaine's own wants and needs - I firmly believe the scene in the Lima Bean from TPPP is the first time Kurt actually does come out and say he seriously wants Blaine to transfer (and why Blaine drops everything to do so rightaway). Or why such controversial scenes that can turn people off this pairing entirely, like the car scene of TFT or the entirety of their DWS plot, could happen. They always had pretty severe communication issues.

Which is why when the song ends with them sitting down so close to each other, Kurt almost expects a confession after such an undeniably flirty duet (you did NOT make it all up in your head, Kurt!) but Blaine would rather run away from the sudden closeness (and ambiguity) instead and promptly exits. He is not there yet to recognize his own feelings.

Meanwhile, everything Kurt does in Animal is a clumsy attempt at seduction (which he has no experience at). He does high kicks, rolls his hips, tries to stick his tongue out as much as he can when singing the words and is not put off by, or even registering Blaine's worried and confused glances at him.

Kurt has a tendency to be so romantic it dips into delusion. We see this a lot with Finn in S1 and until The Lamp Incident of Theatricality, Kurt is ascribing romantic undertones to Finn's actions very generously and guards what he wants to see of Finn very closely to his heart (a knight in shining armor devoted to him), shielding it from the cruel pain of reality (Finn being an easy-going and nice, straight guy who is very susceptible to peer pressure and a bit too dumb). You can see this the best in Home, when Kurt shows off a bunch of swatches to Finn very proudly and Finn manages to break the illusion for a bit - telling Kurt he has a cowboy wallpaper and ultimately, does not care about something Kurt does so deeply for. You can even see Kurt's expression shift at this moment - but then Finn ends up indulging him and randomly picks a color and that's enough for Kurt to consider it another common interest they can share, going back to fantasize about their future shared room's decor.

The lyrics of Animal are just much more relevant to Kurt than they are to Blaine, even if the lines "It's getting heavy and I wanna run and hide / I wanna run and hide" are some of the most Blaine lyrics ever.

I think Animal also stays relevant even until the next time we see Kurt trying to seduce Blaine in S6 - especially with the first line of the song being "Here we go again", setting up this cyclical nature of the relationship the song is about right away - they get close because they move each other down to their cores and want more, until they get sick of each other again, only to then go back to the pining stage - not their first time at this either, because they have already cycled through this in S4.

"And I won't be denied by you / The animal inside of you" may also be some of the most Klaine lines I have ever read, because their relationship lies on the foundation of sentimentality and this inexplicable, deep attaction to each other that regularly overrides common sense.

I also love that in-universe, Blaine kinda already made Kurt his duet partner (since they ARE technically training for regionals here) and also that he did not give a FUCKKKK about any of the other 15 or so warblers.

No notes, 10/10, five stars, etc etc, if Animal has 0 fans I am dead.

#glee meta #klaine #kurt hummel #blaine anderson #mymeta #just so unnecessarily long #sorry for the title giving “let me read a wikipedia article at you for 2 hours” youtube video essay #but rest assured this is all my own homegrown insanity

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tanhands · 27 days ago

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everyone you wanna be

for the klaine valentine's challenge. no content notes yet.

one: my fancy patter

"Hey there, Lone Ranger."

Kurt looks up from where he's sitting on the floor, knees up and ankles crossed, as Blaine drops down next to him with a commercially pleasant smile -- though that's not indicative of much, since that seems to be Blaine's default expression like Santana's resting bitchface or Finn's perplexed forehead pucker. "Hi," he says shortly, because he'd come to sit in one of the unmonitored halls for a reason and doesn't feel the need to be welcoming. Blaine makes a small, nonspecific sound of commiseration.

"I know something that'll cheer you up," Blaine says, and follows it immediately with, "--this morning's numbers were rough, and I think we're both in the same boat with being down in the polls, but the best thing is to forge ahead instead of letting it weigh us down."

With an arched brow, Kurt regards the other boy for a long moment, perversely until he sees Blaine's temples start to get a touch damp, the smile start to strain.The momentary spike of mean satisfaction is just that, fleeting, and he sighs inwardly before he says, "What's so fun that it'll take my -- our -- minds off dipping in the viewer polls and potentially getting voted out of the show and sent home covered in embarrassment and failure, the butt of memes and talk shows for weeks if not months if not years?"

Blaine blinks and breathes out a whoooo, barely audible, but recalibrates fast, something Kurt notes with interest. "Finn and Puck figured out how to work the deep fat fryers in the cafeteria," Blaine says. "They're frying everything they can find. Frozen cauliflower, those little round frozen peanut butter & jelly sandwiches, potato chips--"

"They're making fresh potato chips?"

"No, they're double-frying normal potato chips." Blaine pauses, considers. "They're not bad, actually. If you get past the singed taste."

Kurt huffs derisively, letting his wrists dangle against his knees and thunking his head back against the wall. "A glowing review. I'll pass."

"We could maybe use the pancake batter to coat some candy bars and deep fry those. Better than potato shards?" Blaine starts reaching for Kurt's wrist to coax him up, but stops when Sam and Quinn come down the hallway, hands latched together between them. "Sup," Sam says with a lift of his chin towards them, which Blaine answers while Kurt tucks his own chin a touch lower and watches them go by. Quinn doesn't even look their way, her chilly, brittle smile reserved for Sam only, her posture the envy of dressage horses and hat racks. Their blond hair seems to provide its own source of light as they continue to sail down the hallway and out of sight, a yacht passing by two bobbing sailboats.

Kurt's startled out of his reverie by Blaine moving in closer, turning towards him instead of keeping his back flush against the wall. "They don't even really give a crap about each other," Blaine says, voice dipping lower as it sinks into more secretive levels, and Kurt feels a swirl of unease in his stomach.

"They've been inseparable since Sam found the only shower room that's still got hot water. They probably bonded over sharing a bottle of highlight-preserving shampoo."

"No," Blaine says more insistently. He has extraordinarily thick, weird eyebrows, Kurt notices for the first time, like circumflex accents over the o's of his eyes. "It's been since they got their numbers and were dipping way below Finn and Rachel. That's when they got together."

Kurt's teeth clack together in his mouth at Blaine speaking aloud what he's started to get a gnawing feeling about lately. The purpose of what they signed up for, this live reality programme about the making of a show choir through the unusual but attention-grabbing method of a survivalist situation in an unused high school, it wasn't about dating or romance or any of that. The pitch had been for performers, people with talent and moxie and charisma and screen presence, not people who intended to get by with looking pretty and sucking face

When Rachel and Finn had declared they were together, and they'd immediately soared in the polls, Kurt had talked himself out of it; they were both talented and Rachel's looks were entertainment good, not magazine good. But Quinn and Sam were like Dresden dolls more than any sort of real competition in the talent department, with their adequate singing and dancing that happened to come out of appallingly photogenic faces and figures. Possibly a secret hairstylist they'd secured to give them an advantage.

"This is exactly what I didn't want," Kurt says sharply, drawing his knees in tight now, feet pulled in together. "I told myself that this would be a different sort of show, one based on ability and merit and not just whatever look is hot on social media right now. But no! It's the same old thing, isn't it? The so-called prettiest people get everything without having to try."

"Hey, now," Blaine says, tilting his head. "You and me are pretty too." He bumps the back of one hand against the crook of Kurt's knee. "You a smidge more, but I think that'll work for us."

Kurt raises his head slowly from where his chin had sunk down against his chest. "Oh, no," he says, and scoots to the side, watching in gathering concern as Blaine correspondingly scoots closer. His smile is just as commercial as before, but now there's something else to it, something more focused and determined, and that's much worse because damned if Kurt doesn't like being the spotlight of somebody's full focused attention.

"Blaine -- it's Blaine, right?" Of course he knows the other boy's name, but if they're going to play a game then Kurt's not going in with the weaker hand. Blaine seems unfazed and just inclines his head, smile inching towards amused. "Look, Blaine, while I enjoy romcom tropes maybe more than your average person, to the point where I watch people go about their daily lives and immediately visualize their minor mishaps happening as meet-cutes, this isn't the route I want to take to be part of the New Directions. I want to win my spot through my gift and my hard work and, yes, being pretty, but that's not the main thing people should admire about me. And sure as hell not because I hook up with the flashy prep."

"Whoa there," Blaine says, smiling full-on now, "hook up? I'm not that easy." He laughs and it's breezy, confident, which is annoying but also takes the awkwardness out of the whole thing, so Kurt un-tenses, just a bit, as Blaine continues with a shake of his head, "It's an advantage. We've obviously got the raw material needed to make it, but this isn't an even playing field, unfortunately, or we'd know the outcome already. It's a show, it's dramatics, it's will-they-won't-they." He sings the last bit, a plummy MGM flourish: "--that's en-ter-tain-ment!"

"Trying to win me over with show tunes is … well, all right, it's effective. But this still isn't the avenue I want to stroll." Kurt thins his eyes at Blaine, considering, and the other boy takes it as an opening to make his pitch.

"Look, Kurt -- it's just for the cameras, and I'll do all the work. It doesn't have to look as though…" Blaine reconsiders whatever he'd been about to say and reroutes, "I'll woo you as if we're lovers in some silent black-and-white film! Big gestures, romance coming out our ears, I'll be so smitten that the audience is gonna fall in love with you through me, they'll be dying to see where it all goes and if I manage to win your affections. Or at least a duet." Blaine has his hands clasped now, pressed over his heart, and he tips his head in the direction that Sam and Quinn had gone. "One a damn sight better than 'Lucky'."

"Low-hanging fruit," Kurt says, but his heartbeat has tripped into double-speed, and he licks his lips, shifting to cross-legged so he can face Blaine. "I have conditions," he says, and Blaine turns even more towards him to say, "Naturally. We should both come to an understanding so there's no misha--"

"You need to find a KitKat and get it deep-fried for me."

Blaine halts in mid-reasoning, then he hops nimbly to his feet and sweeps a flourishing bow. At the crown of his dipped head there's a wave to his hair, little promises of curls, and Kurt files that away, too, in the moment before Blaine straightens. "Whatever your heart desires," he says in a silky murmur, and then more normally, "--next time we'll do this stuff for the cameras, okay? No point wasting it where nobody can see."

"Okay," Kurt says, and if his answering smile is a touch flat, it's just because he doesn't need to care.

#klaine #klaine fanfiction #KlaineValentines2025 #magglee

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blainehasregrets · 1 month ago

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What’s your view of the Blam crush?

Also you should tag your meta with character name as it’s not being seen, only by your followers.

It makes sense Blaine would find someone to project on/have a crush on in the meantime while he’s broken up with Kurt, since he’s someone who loves love (Silly Love Songs comes to mind), but he gets over it pretty fast (he could barely even think of any good parts of Sam’s personality in Tina In The Sky With Diamonds lol I also think quite a few Blamtina scenes felt very much like Blaine completely forgot he ever had a crush on Sam) with, in my opinion, little lasting effects.

I feel like, since Blaine moved on so quickly and just went back to Literally planning his wedding with Kurt like nothing, it showed being rejected by Sam didn’t foster any hurt, resentment, or regrets inside of him. He literally just did not care anymore lol Whereas I think Kurt’s crush on Finn and even interest in Sam, though brief and done after their arcs were over, continued to affect him going forward. Those events definitely furthered his communication issues and knocked down his self esteem, which in turn ended up causing problems within his relationship with Blaine.

Though I do think Kurt ultimately loved and chose to be with Blaine because it’s what he wanted, I felt he sometimes had this belief that nobody but Blaine would ever love him. Ex: Saying “I don’t think I’m ever gonna find someone else who’s going to make me feel [safe, connected, and loved like Blaine].” in Love, Love, Love. But I don’t think Blaine had that same fear?

I mean, sure, abandonment issues are the go-to thing people talk about when it comes to Blaine, but I think his abandonment issues were like. Solely focused on being abandoned by Kurt. (Note how he didn’t give a fuck about abandoning the Warblers himself…they loved him so much and worshipped the ground he walked on and yet he left them as soon as Kurt said “I want to spend every minute of everyday…with you♥️” in PPP. Blaine would take that hyperbolic statement to heart and make it his life’s mission to accomplish just that.) I don’t think he ever thought “I have no choice! Nobody but Kurt will ever love me! 😩” It was more like “I don’t CARE about anyone else, even if another person proposed to me right now, I only want KURT!!!!!” Ex: Never pursued Sebastian despite all of his flirting, literally about to throw up after he had sex with Eli (and I think it’s interesting Blaine says “I cheated on the one person I love more than anything in the world” in Dynamic Duets, like that’s his takeaway here. It’s not about feeling like Kurt is his only option, it’s that Blaine wants his only option to be Kurt, which is made more obvious with how he could and did hook up with Eli, yet doing so just made him think “wow I really only gaf about Kurt”), had a crush on straight guy Sam which would clearly go nowhere (and could be argued to just be projection and a safe way to experience a crush without it being reciprocated…), dated Dave as a power move more than anything (and this could come with its own set of 5 canon scenes to link to and explain), and does not even care to give Jeremiah a second thought in Transitioning. Though maybe blangst fans would disagree lol

And okay I got ramble-y there for a second, but that’s all to explain why I don’t think Blaine ultimately cared too much about his crush on Sam after the fact!

And while it may be classic Klainer cope, I do think the song he sang “to Sam” in Guilty Pleasures fit Kurt better!

Also thank you for reminding me! I need to organize my tags a little more in general… I went back and fixed up my last post a little (it’s still more messy than I’d like and I also want to add more specific canon scenes as evidence 😔 I’ll have to keep working on it) and tagged it! I’m so used to writing my glee thoughts on private accounts I forget other people can and want to see this stuff…

#this opinion is untouched by rival shipper delusion though I can assure you that #I know how to be objective! and besides I felt this even before I liked Klaine (which was actually pretty recently lmaoo)#should i tag this too…#blaine anderson #kurt hummel #anaylsis #kinda

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