#look all i want is for them to do my boys justice (particularly mike considering how much of his character is idk ambiguous)

[autistic-katara]

ive been the biggest byler fan since season 2 but im not sure if i want them to get together in s5. from a writing perspective i think it could come off as rushed since we havent had and probably wont have enough time to properly adress and explore mike's feelings and sexuality. as much as i want byler to happen i think it would be better if we had more time, which is unfortunate since this is the last season.

yeah honestly i’m kinda worried its gonna be a bit rushed myself. like i still want it to happen ofc (id rather rushed byler than mikes character actually just being a badly written AH nd will’s arc being badly written and lowkey homophobic) but i am a bit worried that they wont have enough time to fully flesh everything out. i mean its not like itd come out of nowhere like there’s been seeds since as far back as s1 (both for the queerness and just for mike’s subtle character stuff in general) but yeah idk i kinda get where ur coming from

(tysm for the ask tho anon <3)

[miasswier]

miasswier’s ultimate glee ranking: no 8

8: Hold on to Sixteen

Written by: Ross Maxwell Directed by: Bradley Buecker

Overall Thoughts: I don’t know how Glee did it. I don’t know how they spent seven episodes making a giant mess of things, only to bring it all to a conclusion in one of the best episodes it ever made. And yet, they did. Somehow Glee took all those boring, messy plotlines and brought them together for one of the absolute best episodes ever. It’s amazing what the Glee writers can do when they actually set their mind to it.

What I Like:

Where to even begin?

Oh, I know, MY BOY SAM EVANS IS BACK

The amount of interactions that Quinn has with women in this episode! Rachel, Shelby, the Troubletones… It’s amazing! And I so love how it was Rachel who managed to talk Quinn out of her ridiculousness, and then Quinn used that to get Rachel to help her bring the Troubletones back.

Going off this, fuck do I love it that it was Quinn who brought the Troubletones back. It would have been so easy to have made it Finn who did, but thank god they didn’t. I love that scene in the bathroom, and I love that Quinn knows her friends well enough to pre-emptively ask Rachel and Schue about the Troubletones doing a number for competitions. I just love that whole scene, okay?

I know it’s a little happily-ever-after, but fuck if I care, I fucking love how Mike’s story ended up! He didn’t get as much focus as the rest of the plots during these eight episodes, but I’m glad they gave him several scenes to work his plot out. It didn’t feel rushed, which allowed it to be really emotional. Mike’s face when he sees his dad arrive in “ABC” always gets me.

Tina is also the best girlfriend ever and don’t let anybody tell you otherwise.

Even though it was also a much smaller plot (much, much smaller), I’m glad they resolved the Blaine/Finn tension. It also happens to make for an awesome scene where Blaine is super angry and super tiny and Finn is so tall and trying to calm him down. Love it.

That it was Santana’s decision to allow the New Directions to join Troubletones if the Troubletones won. It’s such a small detail, but it makes it so much more powerful.

At the strip club when Sam sees Rachel and is like “Rach-RACHEL” and gets all wide-eyed

Sam’s dad being Clark’s dad from Smallville

It’s so funny seeing Blaine and Sam be at odds when you know that they’ll become ultimate BFFs as the seasons go on.

Blaine wagging his finger during “Red Solo Cup” and Kurt looking at him and asking “What’s wrong with you?”

Honestly just Kurt’s judgemental looks during “Red Solo Cup” while everyone gets super into it

The fact that Santana actually kept a notebook of burns for Sam when he came back. Like I’ve said before – Sam and Santana had such a great opportunity to be frenemies, and it sucks they didn’t use it as much as they could have.

The music is so awesome in this episode.

That short scene with Kurt, Blaine, and Sebastian. It’s particularly funny because it makes me think of that Glee crack video where Kurt is like “I don’t like you” and then that song that’s like “I don’t like that bitch” starts playing. I always hear it in my head when I watch that scene.

Barely any Will!

When Sam is telling Quinn about that John Mellencamp song and Quinn is like “please don’t sing”

Sam and Mercedes!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! End my entire fucking existence I love those two so goddamn much

I absolutely love the imagery in “We Are Young” of Santana standing by herself after everyone has had somebody come and bring them back into the Glee club, and then Rachel comes over and brings her home. I saw a post (that I can’t currently find) that talks about this in detail, about how much it must have hurt Santana that everyone was so upset over Mercedes and Brittany leaving ND but nobody seemed to care about her. Then all that shit goes down with Finn and her coming out, and it just becomes this giant mess, and she feels so alone, like nobody really cares. And then, this. Everyone is welcomed back, but nobody comes to get Santana. She stands alone, asking someone to carry her home. So Rachel comes, and carries her home.

What I Don’t Like:

Shelby’s scene with Quinn always leaves a bit of a bad taste in my mouth. She talks down to her, and basically excuses her bad behaviour with Puck. Honestly? Quinn had every right to tell Figgins about Shelby and Puck. What she did was wrong. I’m not sure if it’s actually illegal, but seeing as she’s in a position of power over Puck it makes consent a bit dicey. This was Shelby’s mistake, and yeah, Quinn’s reasoning wasn’t really in the right place (is it ever on TV shows when teachers and students date?), but Shelby was still the one in the wrong. Shelby, and Rachel, make it sound like Quinn would be ruining Beth’s life by reporting Shelby, yet nobody stopped to think that maybe it was Shelby’s selfish and immoral actions that would ruin her daughters’ life instead.

Quinn trying to get back with Sam. I just really don’t dig that pairing, and they still look like literal siblings.

Finn and Blaine fistbumping and saying that they’ve got this during the Troubletones performance. That’s just rude.

Honestly, it was pretty rude of the Troubletones to tell ND before the competition that they’d let them into their club if ND lost. Just tell them after, sheesh.

Songs:

Red Solo Cup: A fun and cracky number. Love it.

Buenos Aires: I really like this song. Plus, Kurt’s “oh my god it’s the gerber baby” will always make me laugh.

I’m a Survivor/I Will Survive: I do like this song a lot. Really, I do. But I mean, it’s no Adele mash-up. They can’t really top that.

ABC: A fun, upbeat song to start off an awesome setlist with! I really like how Tina sang 80% of the song. Yes, Tina! Kill that solo!

Control: I really wish Blaine and Artie did more songs together. Their voices go really well. That being said, this song isn’t a personal favourite. The choreography is awesome, though.

Man in the Mirror: A great way to end off the set, and I like that all the guys who weren’t in “ABC” got a solo! I think this is the first competition in which every member of ND that is on-stage sings at least one solo line (you know, band members non-withstanding)

We are Young: Most of the time, I find end songs unnecessary. Sure, I usually enjoy them, but most of the time I don’t find that they fit the episode well enough. This one, though. This is one of maybe four end-songs that just work so fucking well. It’s so powerful, and just the setting of them all just chilling wherever they are (auditorium? I’m not really sure) and singing because they can and they want to. Then the girls come back and sing with them, and everyone just sings together and is happy and friends. Fuck. I’m not doing the feelings this song invokes in me justice. I just really, really love it.

Final Thoughts: Season three of Glee was a mess. It relied far too heavily on Finn and Rachel’s relationship, and aside from the first eight episodes didn’t seem to be very coherent. Even then, the first eight episodes were coherent, but that didn’t make them good. There are two episodes in those first eight that I purposefully re-watch. This is one of them. This is one of those episodes that I don’t watch with shipper goggles, or that I love because of one specific story. I love all the stories, I love how they all turn out, I love all the characters, I love watching it all unfold, and I love the music. It’s such a strong episode, which I still don’t understand considering what all led up to it. But it is. It really is. And I fucking love it.

[starslooklikediamonds]

Info On David Harbour’s Hellboy character.

From interviews, there us some random bits of info, directly from the creators & actors of the movie.

You can add to the info, if you got some. Let me know.

Do with it what you want.

“Even though he’s a demon, I have to consider him human. He’s half-human, but I have to consider him psychologically like a human.”

Harbour plans to really examine Hellboy's psyche, particularly his somewhat toxic masculinity. - "I think Hellboy has a certain psycho dynamic, where occasionally he has to prove that he's the lion, has to roar, and I think he struggles with his own masculinity. But I don't think he needs that as much as maybe those other movies. I have a bit of a different take on his capability or his slickness. I sort of think that for me he's a little less skilled at constructing that persona."

In our movie, he’s very much dealing with his own [demons] being ostracized from society. There’s kind of a Frankenstein element to it. There’s a lot more self-hatred. Although those [Del Toro] movies did explore a certain aspect of that, ours is just a lot darker in terms of a character piece, who he is. He’s a much more tortured guy who, in the end, has to do the right thing. He is destined to be the beast of the apocalypse and one of our goals is to justify the temptations of that destiny in terms of the creation of a world where, as a demon, he might be accepted. As a monster he might be accepted, [but] he doesn’t feel [that] in this world.

In our movie Hellboy’s younger. He’s rougher. He’s much more of a teenager. He’s really struggling with the idea of whether or not he’s a good person.

“My interpretation is a little more of that internal turmoil with his relationship to and his place in the world being a little more unstable. And it's maybe a little darker. He's still got this fun thing to him, but underneath it is this scared little boy who really doesn't understand human love and doesn't understand why he's beloved because of his destiny to bring the end of the world.”

“He’s a creature that was meant to bring about the end of the world, and he just sort of wants to be a good guy. He’s got that complexity to him. He’s also a monster who lives among human beings, so he’s in a sense fighting for human beings against his fellow monsters, and yet the humans hate him because they fear him and they think he’s weird looking and everything.”

“On Hopper & Hellboy - “He has a heart that’s really good and with a lot of this crusted-over stuff. What I’m dealing with in Hellboy is a lot different, bigger in a certain way. It’s very Shakespearean. It’s demons and witches and stuff like that. But it has a similar core to a dude who’s trapped in horrible circumstances who’s just trying to be a good guy.”

“David Harbour’s Hellboy is a little bit more dramatic. There’s a different edge, Mignola said. “[Ron Perlman] was very smooth as Hellboy, and there’s a whole different love interest vibe with Ron’s thing. Ron was almost playing this kind of old adolescent. And Harbour plays a grittier Hellboy, and a bit more explosive, emotionally. It’s hard to explain, but it is a very different take. The beauty is, both of them, in their own way, feel like Hellboy. It’s almost like they’re just tipped it in two different directions. There’s something much gnarlier about David’s Hellboy.”

“We met Perlman’s Hellboy at the onset of his career as a paranormal policeman, Harbour’s Hellboy has been around a lot longer, which speaks to why he’s a bit more world-weary and has a lot more attitude. The film is also adopting a key element of the comics where Hellboy is known to the public instead of the B.P.R.D. trying to cover up his existence.”

“In the del Toro films, Hellboy is kind of penned up, and kept secret, and that is not what we have here [in the upcoming film]. This is truer to the comic, in that Hellboy’s been out in the world. He’s not a top-secret, hidden away guy. He’s an out-there-in-the-world, functioning, working adult. So you’ve got that working stiff, been there, done that vibe with Harbour, that you just couldn’t have with Ron because it was played so differently,” Mignola explained, also adding, “[With Harbour’s Hellboy] there’s a little bit more angsty, find-your-place-in-the-world, a frustration with his role.”

“He's spawned into the universe by Nazi occultists to bring about the end of the world. And he is captured by Broom, who decides to raise him. So he's an orphan who was adopted. English isn't his first language, to say the least. He's destined to bring about the apocalypse and he, in his heart, just really wants to be a good guy. He idolizes people he grew up with in comic books, like Lobster Johnson, and he wants to be like a paranormal detective. So he's kind of a silly, sweet creature but also a demon. And he lives in a world where human beings don't accept him for who he is. So even when he winds up saving people, they still show up with pitchforks and torches to try to kill him. I think the biggest struggle for him is he's hunting down monsters, and yet he is one. So what is he doing, exactly? That's a big conflict in him.”

“And he deals with it in certain ways that certainly Hamlet doesn't. He's just very witty. He's got this dry, sort of put-upon humor, but underneath all of that is this desperate conundrum of like, "Where is this going to end? What's the end game for this?"

“He's an adult struggling with adult things. It's not like whether or not I should kill the bad guy by punching him. It's more like, Who's the bad guy?”

“He's the guy who the bad guy will give a huge monologue about — I'm destroying the universe — and Hellboy's like, "You talk pretty tough for a guy with no pants." He's always undercutting the situation and he has these one-liners. The script's really funny. One of the ways he deals with the world is to have this dry humor about it because it's so painful.”  

“Hellboy has a lot more issues. He's a little more lost, a little more confused and conflicted. I think that makes for a darker tone in terms of what he's willing to do.”

“Hellboy like he's such a beautiful weird creature, I mean I wanna say guy but he's like a half demon creature and I have a real kind of soft spot in my heart for what he goes through.”

“The whole idea that he's called Hellboy and that struggle with the father that you live in the shadow of this father and you are of this boy and then you want to become this man but the paradoxes of that are all over the movie. I mean one of the great things is like, there's an initial scene where Hellboy is shaving his horns and his dad comes and helps him, shave his horns, while he (Broom) tells him that he's special and that he loves you. You know and there's something about him shaving the uniqueness off of him (Hellboy) and yet calling him unique, that is very interesting to me and in a way he's right because at the end of the film, it's the villain who wants to grow his horns right but in the end of the film, maybe there's something special even beyond the genetics of the horns that is unique to him, that his father does see. But there's paradoxes of identity all through that and like the control that parents have on our identities.”

“Broom is a brit, he’s (Hellboy) raised by Broom, but he talks like a guy from New York. Part of that was that he traveled all over the world. He speaks Spanish, he speaks all these different languages. I talked to a language coach about this, and he was talking about how kids learn dialects from the people that they grow up with. They don’t learn dialects from their parents. So if you have a Spanish mother or something and you grow up in the United States, you speak like an American kid. So part of the thing for me in terms of finding his voice was that he idolized Lobster Johnson. In my mind, even the trench coat plays into this idea of this James Cagney sort of [thing]”

“In terms of being a demon, one of the things he wants to do is fit in. He wants to be like a private eye who goes and solves crimes, and he is the best B.P.R.D. agent. He’s the best paranormal detective the world has ever seen. He takes great pride in his job and he takes great pride in this persona, and that persona is a lot based on his favorite superhero, Lobster Johnson.”

“Lobster Johnson is a big deal to Hellboy. He dresses up like him for Halloween. So that factors into my psychological process.”

“Yeah, he’s terrifying! There’s that question of, why am I fighting this battle? Just because of some sense of justice, or some sense of good? It’s a really interesting question that sort of is at the core of him, that he struggles with.”

“We’re taking the time to deal with that, the fact that Hellboy is a killer. He’s, truly, a weapon. And I think we spent a little more time on that, as well.”

“One of the things I like about him is that he’s a really messy fighter. This is one of the things that I actually talked to Mike about. I talked about his belt that he wears, because he wears this belt that has these patches and I was like, “What’s in those fuckin’ things?” And he’s like, “Well, he’s a paranormal detective, right? So he’s got to show up and fight vampires and witches or whatever. So he’s got like garlic and silver bullets and all kinds of shit.” But he doesn’t really know what he’s doing. So he’ll throw a bunch of garlic on somebody and then he’ll be like, “That didn’t work!” And then he just goes in and eventually he knows that he’ll just have to knock somebody out.”

“In that way, I wanted him to be strong, but I didn’t want him to be a trained MMA guy. He doesn’t have a lot of training as a fighter. He’s just big and strong and scary and almost like a pub brawler. So one of the things about the fights that have been really fun is that he messes up a lot.”

“There's all this misfit stuff working around him.”

“David Harbour - “Hellboy is probably a virgin…”

“I was describing [what] was a creative process around the sexuality of a half-demon. …”

“I feel like genetically, when you’re half-demon, you respond to different things. And I think human beings are confusing to him. They behave confusingly to him in their ways of their hatred of him, and also their love of him. So to me the genetic predisposition of sexuality was very interesting, and how that sexuality plays out. … To me it was more just about the attraction to the supernatural, the genetic attraction to non-simple human female or male.”

“I mean, he is destined to be the beast of the apocalypse. And I think one of our goals is to justify the temptations of that destiny in terms of the creation of a world, where you know, as a demon, he might be accepted, and as a monster, he might be accepted, that he doesn't feel in this world. The other thing that we explore somewhat is -- I mean, one of the interesting things to me about the Guillermo del Toro movies was that he had like a love interest, right? And she was like a fire starter, and but I just think that Hellboy can't have a human being. He probably can't have sex with a human being because it would probably end disastrously, because of his demonic parts or whatever.”

“So I feel like what I wanted to explore was that loneliness, and you know, there's the temptations that you have to, if you do create a darker world as the beast of the apocalypse, you can have sex,” Harbour continued. "You can have a girlfriend. You can live your life. But to live in the human world and to protect humanity, you have to sacrifice some of your nature, and your actual nature, as opposed to this concept of destiny, just that your actual nature somewhat gets sacrificed.”

“David Harbour quoting lines of main character, from the movie Owning Mahowny - “What was the greatest joy, on a scale of 1-10, you felt gambling?” And he said, “10.” And they were like, “What is the greatest joy you ever felt doing anything other than gambling — sex, food, whatever?” And he was like, “2.” And he was like, “So you’ll have to live with it at 2 for the rest of your life.” And he was like, “I’m okay with that.” There’s something about that thematic that I find is somewhat different in terms of Hellboy’s struggle.”

“On Alice - “her and Hellboy they kinda give each other something that says ‘You’re not alone and we can do this.’’

“The great thing about Hellboy and Alice is that it's a love story, but they're not in love. It's a demon...I think Alice teaches him about love because of their connection, but it's very different from a classic romance story.”

“On Alice - “It’s an avuncular relationship. It’s funny because, in an earlier draft, there was the temptation to do that, and I was very adamant to the fact that Hellboy cannot have sex with human women. I don’t want that to ever be an issue, and I want it to be known for him, whereas there is this Blood Queen Witch in the movie, right? So there is a world that he can exist sexually in, but it is not in our human universe. Alice is, even though she has sort of a witchcraft thing to her, she is a human being. He would never.”

[solli]

a season 2 au where seblaine is in vocal adrenaline because why the hell not  (part 1 - tina)

here’s what happened on glee - vocal adrenaline verse: it’s 2010 and vocal adrenaline are still relevant. seblaine are taking up the mantle after jesse st.james graduated. Sebastian is vicious, Blaine is ruthless, and together they are a nightmare.

or: a story told trough short episodes in multiple povs by the new directions kids. a bit voyeuristic in nature but i love me some outside perspective.

will loosely follow any storyline i can remember about season 2. if anything rings weird just roll with it.

(ao3 link)

Tina isn't sure how or why they fooled themselves into thinking Vocal Adrenaline would be a joke this year.

Sure, they lost Jesse St.James to UCLA and apparently their coach with him- Show Choir blogs supects illicit affairs- but more than half of the members didn't graduate and their coreographer is apparently still in the game.

Moreover, they apparently pulled a shorter, more hyper, more top 40 Jesse St.James out of their ass.

It's just an invitational, and it feels like they're doing the half show at Super Bowl.

Just when Tina thinks she’s had enough, that’s it, it can’t get any worse than a sexy voice crack strategically planted in the last verse of Teenage Dream, here they are, wrapping the Katy Perry up and diving into Don't Stop Me Now. She knew there had to be a reason why they're all dressed in thight leather pants. 

The Queens performance is clearly a message to anyone who ever tried and made the assumption Vocal Adrenaline was dead. The new lead might not be Jesse St.James, but he doesn't try to be. 

He doesn't need to when he’s that good.

The second the song dies and the boy let himself fall from the top of the stairs into the arms of the other members, Tina decides that A, they're doomed, B, she needs to go to the bathroom in case the nausea really turns into puke.

All the New Directions follow her when she sprints out of the auditorium, instantly flocking up in dire times.

"Who is that?" Rachel shreeks, off tune, marching into the bathroom.

It's a stupidly nice bathroom. There’s a shared hall with unbroken mirrors and some sink, girls door on the left and boys on the right. It's big enough they can all fit in there.

Tina would fill Rachel in with her show choir blogs knowledge, and tell her his name should be Blaine Anderson, but Santana is bitching.

"Where do they pull them from? Are they a metrosexual mop head business?"

"Metrowhat?" Finn asks off topic, and Kurt fills him in, and the whole conversation breaks in small bursts until Rachel is putting her foot down.

"We have to do something! What if we meet them at Sectionals? They're gonna end us!" she panics, and Tina does have to give credit when it's due: Rachel is a mood setter.

Usually, it's a positive attribute. As annoying as she is, some of her determination rubs off of them and give them confidence even as she tells them they suck. There’s always a backhanded compliment to be gripped, as she tell them they have the potential to be great, if only they didn’t have misguided work ethics. But when Rachel is panicking, there's no light at the end of the tunnel.

Tina sobs. Mercedes shouts. Puckerman punches the wall.

"We could make aliens abduct them." Brittany shrugs.

"Or we could poison them." Kurt follows.

"Or get them all mononucleosis." Santana adds.

"Or send the lead singer to a crack house!" Rachel lits up, pointing a finger to nobody.

There's some silence as they all turn to her.

Tina doesn't know the numbers exactly, but she knows while some are shocked, some are actually considering the plan. She herself isn’t sure where she stands on the topic.

"Or we could, you know, reharse." Quinn muses with her breathy indoor voice, somehow managing to sound the loudest.

All heads turn to her.

"Cheerios aren't National champions because we're hot, and Vocal Adrenaline aren't that good because they were born with it. I know sweat when I see it." 

Somehow Tina's brain suggests her the very notion of reharsing is outrageous, but rationally she knows Quinn's right.

"Yes!" Rachel point at her. "That's the attitude I’m searching for!"

"Shouldn't we, like, have fun? They don't look like they have fun." the new blonde kid asks and everyone blinks at him.

Just as Rachel is shouting back that show choir is serious business, the bathroom door opens and Tina almost has an heart attack.

It's Blaine Anderson.

She's seen photos online, but they don't give him justice. He's a fucking disney prince. There's sweat on his forehead, and his hair are acting out around his hairline giving him a vibe reminiscing of post orgasm. He pulls off neon yellow suspenders like Tina didn't know was possible to do, and most of all it's absolutely, outrageously unfair how he wears those leather pants. He's too short and his legs to torso ratio shouldn't make him any favour, and yet his thighs look sinful and Tina would reach for Mike's abs to steady herself, if she wasn't paralized.

Because if other than looking unfairly hot, Blaine is not looking particularly treacherous, Sebastian Smythe is standing behind him, an arm around Blaine's waist and a finger hooked in the belt loop of Blaine’s pants.

She heard the stories.

Coreographer. Son of a state attorney and a french actress. Enough mean, creative quotes to have a dedicated fan page in the show choir blogoshpear.The worst thing is, Tina can see it all- the moment Sebastian's smile turns to a smirk, the way his back straightens, his eyes narrows, and the cruel unforgiving way he gives them all a onceover. There's something familiar in the way he's looking at them.

"Oh, look." he says in a drawl, ducking his head. "The lovable little band of mistfits. Here to ask for some private lessons?"

Oh, yes. It's like being double targeted by both Quinn and Santana. Vicious and condescending.

"Sebastian." Blaine raises a hand to tap his knuckles against the other's chest. "Be nice."

Sebastian rolls his eyes but he scoots Blaine closer to him, his hand palming Blaine's hips and damn, that is an unfairly narrow waist.

"Tina?" Mike whispers in her ears when she feels his abs up. It's washed down by Santana snickering, loud enough to make Sebastian know it's mocking.

"Someone's on a leash."

Blaine closes his eyes like he's preparing for the worst, and Tina can tell Sebastian's weighing his options, but he's seemingly in a good enough mood.

"Kinky." he shrugs off, his thumb hooking in the waistband of Blaine's pants and oh. Oh. Oh.

Blaine sighs and Tina aks herself again why she's underestimating Vocal Adrenaline.

"You do look like you'd know all about leashes,-"

"Sebastian." Blaine cuts him off, and the tension's is thick enough Tina can feel it weighing down her chest.

"We didn't come here for this, did we?" he asks, titling his head up to look at him, and Tina hates those lashes and that soft jaw with a burning passion.

"Fine. I'll be nice. Hope you enjoyed the show." he flashes them a toothy smile that couldn't ooze more sarcasm.

"I think you were great at Regionals." Blaine smiles to them, and it's sickenly sweet how genuine his small, polite smile looks. "I'm really sorry we got drafted in the same turn last year, I would have loved to see what you’d have done at Nationals. Let's hope we can all make it this year."

The silence is thick as they all wait for the punch.

"I think you broke them." Sebastian smiles, and it's weirdly not hostile. "What is that they say? Kill them with kidness?"

"I'm serious." Blaine says, but there's a little smug line in his smile that wasn't there before. "We might be rivals, but there's no reason for us to be enemies. Well, not anymore." he adds, scrunching his nose, his eyes going up to his right like he's reviewing their history.

"The espionage was mostly for personal reasons that aren't on the table anymore, and Blaine is against egging, so that's also an off deal. Right, killer?" Sebastian elaborates.

"No bullying or assaults this year." Blaine confirms, and it's reassuring. "The one who'll win will do it fair and square." he adds, his head tilting and those doe-eyes of him wide and friendly, his smile perfectly polite, and suddenly Tina's bones are chilling and she's never been more terrified in her life.

They all stare as Rachel flips her hair and steps towards Blaine, extending her hand. He takes it and they shake on it.

"Deal."

"Deal." Blaine smiles, and suddenly the air turns breathable again. "Oh, and they're opening a new karoke bar down the fifth. We should all go sometimes. Have fun together."

"That sounds like a great idea." Rachel replies with a stage smile, and no one moves a muscle.

"Are you going to stay in the bathroom much longer?" Sebastian asks. "Because I have at least ten jokes about why yall apparently like to stand in here so much, but I wouldn't want to ruin Blaine's lesson in diplomacy."

There's a nervous jitters of limbs as Rachel fumbles with perfect enuntiation: "Oh, yeah. Sure. See you soon!"

Sebastian and Blaine step aside and look at them going trough the door, and Tina makes sure to be the last one in line. She turns over her shoulder and tries to sneak a last peek of Blaine in the pants, possibly from the back.

She almost freezes when she sees Blaine turns in Sebastian's arm, a hand behind Sebastian's neck to get him to lean down. He stands on the tip of his toes, flushing their bodies together, and their mouth crash against each other in a kiss that wouldn’t be allowed on national television. Sebastian’s hands are quick to lift Blaine’s shirt until his hand is flat against Blaine’s unfairly tanned and muscular back, and she’s pretty sure Blaine’s free hand isn’t so free where it disappears between their bodies.

It’s an image she won't forget.

When she lets the bathroom door close behind her, the New Direction are some feet down the hallway. She jogs to catch up, just as Rachel's march reaches her top speed.

"Fair and square my ass." Tina hears her say not using her indoor voice. "We're sending them both to a crack house."

[practicingprose]

If I Was A (White) Boy

I vividly recall my 18th birthday. My senior prom was the night before and I was doing my “grown man” thing. That morning, my friend [Chase] hit me up to hang out. Before I pulled up on him, I bought a cheap cigar just to say I could. He gets the bright idea to go to Cracker Barrel. At the time, both he and his girlfriend worked there. His plan was to leave her a little love letter in the car. Simple enough....and then the cops got called.

What I wouldn’t have given back then for the benefit of the doubt. “They might not be causing trouble. It is Sunday, the busiest day at this restaurant during the post-church rush...Can’t nobody be THAT stupid.” But, nah.

That’s what makes it so interesting to see that way certain young men are coddled and protected. No matter the damage they’ve done or how old they are, they are to be helped -- not held responsible. 

So when Brock Turner rapes a woman, he gets months in jail because they wouldn’t want a rape conviction to sully his future. 

When Billy McFarland scams millions out of people, her’s still considered a “kid” and given a chance to defend himself. 

When a crowd of kids surrounds a Native elder, we see the narrative shift from their aggressive behavior to the Black Israelites who had previously riled them up. No mention at all about any of the group -- who were there counter protesting against the Women’s March -- and their rowdy behavior even before the stand off. We’re given every reason to excuse their fangs. We’re told that dog don’t bite. And now this boy is trying to profit from his actions by suing publications for portraying him as a racist. 

The Washington Post should be more responsible for his portrayal than he should.

Throughout time, there have been thousands hundreds of thousands millions countless examples of the disparity of judgement of white males and black males. 

Black preschoolers were 3.6x more likely to be suspended than their white counterparts. A study released by the Government Accountability Office last year found that although black students made up only 15.5% of the student population, but accounted for 39% of students suspended from school.

Students with learning disabilities or histories of poverty, neglect, or abuse are particularly vulnerable to removal-style discipline that leads to the "school to prison pipeline," according to the American Civil Liberties Union, a national trend wherein "children are funneled out of public schools and into the juvenile and criminal justice systems."

Why can waves of white boys crowd and surround this elder and these “aggressive men they were so afraid of” and be seen as children when black boys can’t walk in groups of 4 or more in the mall?

Why are MAGA hats -- which are quickly becoming seen as kindling to an everlasting ember -- allowed to be displayed so prominently, but ordinances get passed just so I have to pull my pants up?

Whenever a white man commits a crime, he’s always depicted in the press as a really nice person who no one knew had this dark side. Or they snapped. This is often despite countless people who had gone on record with concerns. Sometimes, they have a long record of offenses overlooked or played off. We’ve seen this with the terrorists -- let’s call it what it truly is -- in Las Vegas,  Sutherland Springs, Parkland, Thousand Oaks, Pittsburgh and Santa Fe.

This isn’t even unique to America. It’s been less than 48 hours after the mosque massacres in New Zealand, we have sympathetic articles being written about the shooter by the Daily Mirror -- a tabloid in London. Stark contrast to their coverage of the Pulse shooter in Orlando:

Meanwhile, black boys and girls shot dead by anyone* don’t even get to grow cold before their names and images are torn apart by the media and racists worldwide -- those both unrepentant and “unknowingly” [wink wink]. The fear of some big black person attacking you is often seen as stronger than the need to uphold “the law.”  

*[Ed. Note: One day we need to have a conversation about how white vigilantism ranging from Permit Patty to Zimmerman levels stem from their inability to mind their own business.]

It happened with Oscar Grant. Trayvon Martin. Jordan Davis. Michael Brown. Dontre Hamilton. Sandra Bland. Tamir Rice. John Crawford III. Ezell Ford. Laquan McDonald. Akai Gurley. Jereme Reid. Renisha McBride. Charley Leundeu Keunang. Tony Robinson. Anthony Hill. Meagan Hockaday. Eric Harris. Walter Scott, Freddie Gray. William Chapman. Samuel DuBose. Jeremy McDole. Jamar Clark. Alton Sterling. Philando Castile. Joseph Mann. Paul O'Neal. Korryn Gaines. Sylville Smith. Terence Crutcher. Keith Lamont Scott. Alfred Olango. Deborah Danner. 

We say the names because these people should forever be remembered. 

Walter Scott’s Killer got 20 years. Laquan McDonald’s got 6.75 years. Mans who shot Oscar Grant did like 7 months. That’s it. The people are currently awaiting the sentencing of Nouman Raja, the officer who killed Corey Jones as he was waiting for a tow truck on the side of the road. Raja was not uniformed when he approached Jones at 3am. Raja claimed that Jones pointed a gun at him before he fired. This was disputed by the fact that Jones was on the phone with with roadside assistance when the officer approached unannounced.

Even with all of that evidence, it wasn’t a slam dunk that there would be a conviction in the case. Many police officers are exonerated when being investigated by their peers. They’ve got to present a unified front. These then become the cats who get fat and take pride in the system they’re perpetuating. Remember when the Fraternal Order of Police in California sang a song shitting on Mike Brown at a fundraiser? 

Look at the list of names again. How many never made it past grand jury? Isn’t it crazy that the police perform more due diligence to plan for the civil unrest after no conviction than they do during the investigation? How many names not listed here have been lost throughout history because of the justice system we can now see isn’t protecting all of us everywhere?

“Why all of the attitude against police officers?”

I don’t know, officer. Maybe he knows. He knows that had he been someone else, he would be home right now. He knows that despite what you’re saying to both he and his mother, you’re not just “doing your job.” Perhaps there are some actual violent crimes that the Violent Crimes Unit could be investigating. Mans went to the store for a slushie and got handcuffed for an improper turn?

There’s something to be said about the fact that it’s being done so blatantly yet people refuse to address these issues. Why do you think it’s so important to control the internet? Or that shaming people talking about issues is where we’re at as a society. There are two realities in America and when attention is brought to an issue, it’s called “racebaiting.” FOH. How do we engage in a dialogue about things we’re choosing not to discuss? When has an out of sight, out of mind approach ever fixed an issue?

That’s what’s got us to this point -- where the people being oppressed are being told that everything is fine by those doing the oppressing. And everyone else is on the fringe dancing along to the beat. People automatically believe that people who look like them act like them. They’re able to extend those people the benefit of the doubt. “I wouldn’t behave that way, so I know he wouldn’t behave that way.”

Remember that young girl who sued the University of Texas over their Affirmative Action policy? I wonder how she feels that the entire time she was looking at black people being the reason she didn’t get into school...whole time, the actual culprit was people with deeper pockets who looked just like her? 

But somehow this will be overlooked. Another week in this high speed newscycle and this will become a joke to some. Those are the people far removed from single mothers being jailed just for trying to get their children into better schools. Somehow one of those is a justifiably incarcerable offense. The other...the verdict is still out. But something makes me think that money, fame and influence will play a factor.

The rich are buying their underachieving children’s way into elite schools and high society networks while others are busy trying to protect their kids from the school-to-prison pipeline. 

This is America. There are definitely two sides.

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