#also props to you if you catch the foreshadowing and themes at the end. we love writing huh

[spritewrites]

Hi! I love your writing! I was wondering if I could ask for prompt 30 with lee!Essek

oh, anon, if you only knew how much you absolutely can.

this got away from me so far it’s not even funny. like i can’t even see it on the horizon. expand at your own risks, this boi is beefy

30. “I’m not ticklish, who do you think I am?”

“Caleb?”

“Scheiße—” Caleb jumps.

Oh. Essek.

It wasn’t that he… forgot the man was there, that task would be nearly impossible. It’s only that Essek hasn’t spoken in a few hours, and Caleb had been wondering… well. Maybe he isn’t enjoying the book; recommendations for people you don’t know very well can be tricky. Maybe he simply has to go home. Maybe he got a Message from the Bright Queen, announcing that all of the Nein were to be executed immediately.

All were possibilities.

That is why he is surprised to see Frumpkin’s tiny owl form perched on the drow’s shoulder, investigating a studded ear with nimble precision. The shoulder in question is hitched up quite high, seemingly trying to protect the thin skin but only succeeding in giving the owl further access to the pointed tip.

There’s some kind of quivering tension playing around Essek’s lips. Caleb consciously stops himself from staring. It wouldn’t do to offend his research partner.

“He is—ah, he is nibbling me, Caleb,” Essek hisses. His ear flicks, and Caleb watches his fingers twitch, tracing half-beginnings to a number of spells that he seems to reconsider mid-cast before squeezing his hand into a fist.

Oh, dear.

“Frumpkin,” he says sharply, and snaps his familiar back to his own shoulder. Frumpkin immediately chirps and nuzzles the side of his own rounded ear, and Caleb huffs fondly and gives him a little scritch on his head. “Be a good cat. I apologize, he should know better than to attack anyone ticklish. I believe Fjord taught him that lesson rather well.”

He’d hoped the quip would smooth things over well enough to continue their study. Instead, Essek… bristles. “I’m not—I’m not ticklish, who do you think I am?”

Fuck.

“I do not mean to offend,” Caleb says quickly. Frumpkin gives a skeptical quirk of his head, clearly indicating his thoughts on the matter. Well. We can’t all go around rubbing up against attractive wizards, now can we? “I only thought… well, no matter. I am sorry that he bothered you.”

He shoots the drow a look that he hopes comes across as generally respectful and amiable—he is their liaison, after all, and they’ve worked far too hard to jeopardize such a relationship—but Essek’s eyes aren’t on him. They’re off, just slightly, trained on the spot where Frumpkin’s feathers are brushing the crook of Caleb’s neck. “It’s quite alright. You are… not, I suppose?”

Caleb swallows the “No, Nott is the goblin” that wells up in his throat. “Hm? Not what?”

“Not…” Essek gestures vaguely in the direction of his own recently victimized ear. “Not ticklish.”

After several months of dealing with tieflings, the way he stumbles over the word is not lost on Caleb. A flush begins to rise in his cheeks, and he can only hope his scruff hides the full effect of it. “Ah. Ich verstehe. Ja, but not…” He casts a sideways look at Frumpkin, who blinks. Bastard. “Well, a long time with fluffy animals on one’s shoulder builds up a certain tolerance in the area, I suppose.”

Essek also blinks, unreadable. His face is perhaps a bit more violet than it had previously been, but it may also be a trick of the light.

And Caleb could certainly blame that for making him bold, or something pent up inside from sitting across from Essek for two hours and forty-seven minutes without talking, or something else, but...

“It is funny,” Caleb continues before he can talk himself out of it, “that you say that you are immune. You seemed quite ticklish a moment ago.”

Essek goes still. Scheiße, if Caleb could just maintain enough composure around this man to talk about magic and research like a normal person, and not ask personal questions, they might manage to get out of Xhorhas alive.

“You are…” Oh, Essek’s speaking. “You are not wrong, Caleb Widogast. I suppose it has been… a while. I was under the impression that I had grown out of such things.” He clears his throat, and his ear flicks again. Must be involuntary. “It appears I was mistaken.”

Oh.

Well, that wasn’t what Caleb was expecting at all.

“I see.” He manages a small smile. “I will be sure to keep that information away from the others.”

Essek looks alarmed. “Would they… I mean…”

Oh, dear, the Shadowhand might be in greater trouble that even he realizes. Caleb’s smile pulls harder at his dimples at the thought, but he stifles it. “They can be a bit mean, if they know too much. Not to worry, I will keep them at bay for you if anything were ever to… come up.”

The anxiety in Essek’s gaze fades, but his ears are still fixed in Caleb’s direction. It’s rather difficult not to feel like an insect under a glass, with the way his dark blue eyes seem to see far deeper than they should be capable. “They subject you to this as well?” he asks.

“Sometimes.” Caleb had not anticipated how difficult this would be to say out loud. “When they can.”

Essek tilts his head. “But not your neck, you say?”

“My, ah. My ribs tend to be a bit more… productive. If that’s the sort of thing you’re after.” The flush is back. Fuck.

“I’ll have to keep that in mind.” Essek looks… curious, almost. Studious. The way he looks when they’re researching, but he’s eyeing the fabric underneath Caleb’s book holsters instead.

Caleb fights the urge to squirm.

“Well,” says Essek, catching Caleb off guard with the breeziness of his tone. “We have work to do, yes? Frumpkin seems to agree with me.”

Indeed, Frumpkin is hopping off Caleb’s shoulder to peck at a bit of blank parchment. Honestly, Caleb wouldn’t put it past him to be doing it on purpose. Probably for the best, either way.

“Yes, yes of course. Apologies, if I overstepped—”

Essek waves him off. “Nonsense. After all,” he grins, “I find it useful to learn the weaknesses of my friends along with my enemies.”

Hm. “It goes both ways, Herr Thelyss.”

He seems to consider this for a moment, glancing between the owl on the table and the blushing wizard sitting across from him. For a moment, Caleb swears he sees something in the smooth lines of his face—something darker, perhaps, or just deeper—but then it’s gone, and the drow is smirking again.

“Yes. Yes, I suppose it does.”

#critickle role #head empty only shadowgast #ask meme #these are closed!!! #anon #this is over 1k i'm so sorry #these are supposed to be drabbles #finn the nott pun is for you #credit to chock for giving me the guts and inspiration to FINISH something #hope you all enjoy #also props to you if you catch the foreshadowing and themes at the end. we love writing huh

[na-na-namine]

If y’all could indulge with my big-brain for a moment...

Most of y’all probably read Matt’s message about Sashannarcy and how it was essentially de-confirming the ship within the confines of the show’s canon.

Now, many of you have understandably took his message at face value. Heck, some of you probably even praised him for the decision. However, I for one am not entirely convinced that what he said was the entire truth.

To explain why I feel this way, let’s wind back a bit...

Remember this moment? Let’s put a pin on it, we’ll get back to it shortly.

Anton Chekhov, who is the widely cited “master of the short story,” said: “If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.”

The quote has been understood as “Chekhov’s Gun,” where an insignificant object later turns out to be important. In many of the best works of fiction, every detail given is important. If isn’t important, it shouldn’t be included in the story.

Let’s unpin the prom flyer. Myself and many others saw this detail as an intentional hint or foreshadowing to how much Marcy truly loves her friends, regardless if it meant romantically or platonically with some catching-feelings.

In light of Matt’s statement about the Sashannarcy ship, it’s reasonable to assume that this detail is irrelevant, that the crew simply placed it in Marcy’s nightmare sequence as a background prop.

However, if that were the case...

Why was it the only thing placed on those lockers?

Look, a whole lot of us have been in schools with lockers before; there will never be a shortage of flyers, posters, notes, etc. placed everywhere (it’s a constant irritation for custodians, that’s for sure). It would’ve been ideal for the production crew to include different pieces of art and visual gags/references/shout-outs on those lockers, especially since we know they love doing those sorts of things.

Strange is it then that only the one prom poster was used. Stranger then that it is made visibly clear for the audience to see. There was no way anyone couldn’t have noticed it, so it had to be intentional. I want to assume it’s the case because Matt Braly and crew aren’t terrible writers.

Throughout the show, there have been numerous references and call-backs to past events and characters. Even minor details - most notably in my mind Toady’s low self-esteem and confidence in himself making him a bit of a doormat - are brought back in importance despite how irrelevant it might’ve seemed at the time of introduction.

This reason is why I believe the prom poster will be relevant somehow, and is why I don’t buy the idea that Sashannarcy is completely off the table for the show’s finale.

I’m particularly hung up on Matt’s choice of words here. If there was absolutely no way the main characters would get together romantically he could’ve just said so, similar to the what the creator of The Ghost and Molly McGee did over on Twitter. He also didn’t issue an ambiguous statement over the characters’ friendship being the most important thing, which is a common non-statement against queer rep in media. No, Matt’s words as specifically outline above are to keep the Calamity Trio’s friendship “constructive and open” and that Sashannarcy in fandom “do right by the show and its themes.”

After all, an often overlooked part of romance is that the strongest romantic relationships are founded on the strongest friendships. Heteronormative/allonormative society likes to convince people there’s a clear distinction between friendship and romance; that romance is somehow deeper than friendship or that friendship inevitably becomes romance, etc. etc. But it’s never that simple.

For there to be a healthy romantic relationship, a healthy friendship is a requirement. So many failed-romances would’ve taken this matter for granted and end badly as a result. Issues of trust, respect, intimacy and boundaries are present in all relationships, and if platonic relationships can struggle through those can come out stronger for it, just as what happened with the Calamity Trio, there is absolutely no reason to assume the three couldn’t carry those lessons and feelings into a romantic relationship much later down the line.

With that, lemme put forth my big-brain prediction for what Anne, Sasha and Marcy’s relationship might look like by the series’ finale.

I think after the big battle is over, no matter the outcome, there will be a little time skip where the three girls go to prom together.

Not as a polycule, but as friends.

Friends that have went through hell together and back.

Friends that are rebuilding their friendship and learning be better people.

Friends that are each other’s most important person, who love each other unconditionally no matter what, regardless of when - not “if” - they may begin to catch feelings.

Because that’s what friends do.

Finally, I believe that Marcy should be the one to ask Anne and Sasha to prom. Her character journey began and ended with her desire to have the other girls stay with her forever, so much so that she tricked them into another world to realize it.

Therefore it’s only fitting that Marcy be the one to ask them out, only this time giving them choice to stay with her and having trust in them that they will.

And the answer will be “Yes.” It will always be “Yes.”

#thank you for coming to my ted talk #amphibia #amphibia spoilers #all in #sashannarcy #sashanne #marcanne #sasharcy #anne bounchoy #sasha waybright #marcy wu #calamity trio #matt braly #shipping #shipping discourse #long post

[seenashwrite]

Notes From Nash: Season 15 Episode 1

So here's the thing.

It wasn't bad.

It wasn't great.

Both those things are fine, of course shouldn’t want it to be bad, and matter of fact I didn't need nor want it to be great, better to save great for the finale.

But thing is, it was meh.

The premiere episode of your final season should be tight, tight, tight - no extraneous information or scenes, get in and get out, convey the most crucial of information, lay a foundation upon which to build.

And, well.... 

Meh. 

[Of course, spoilers below cut]

Before we go on - If you're new, hi, I'm Nash. I don't so much recap these things (though I have been known to on occasion, time permitting) as break 'em down regarding the writing. I don't go in any particular order, sometimes it's in order of the ep, sometimes it's topically organized. Bail now if you're interested in meta and reading into shit or whatever. This is constructive critique, where I call it like I see it, both the nailed it-s and the whiffed it-s.

To begin with, let's get this out of the way - because it's relevant to what I'm about to say - that whomever is responsible for approving the release of the Jake Abel-as-Michael shots and the Sam-might-be-Samifer shots and the Dean-Mark-of-Cain shots and hey-is-that-Gabriel's-horn shots is a goddamned dimwit. They just blew some of their wad, right there. That should've been saved for gut-punches in episodes, not in previews and behind-the-scenes and all that other marketing jazz.

That foundation I mentioned before - I get what the season is going to be because, even if I hadn't picked up on it before-----

I had.

-----then I certainly did thanks to Sam's exposition anvil there at the end. *insert eye-roll*  And speaking of the end, that flashback to the shutting of the trunk was so hamfisted, it just... it just wasn't necessary. I've said this before: leave little treats for your longtime fans. That could’ve been one, that echo back to the beginning, but they whiffed it with that insert of the clip. And that's what the entirety of this season should be, frankly. There should be *zero* explaining, *minimal* flashing back, because if somebody's coming into this on year fifteen, then welcome to the fam and all, and also I am so sorry, you need to binge the fuck out of everything and then join in, we ain't got time for that. Neither should the writers. Them's the breaks. They don’t need to accrue new fans for higher/sustained ratings, it’s the end of the goddamn show, so quit spoon-feeding explanations, and with that nice little moment getting skewered, I groan at the thought of all the flashing back and explaining that could potentially lie ahead. 

So, foundation: is the foundation we're building upon this little town? Since that’s where we spent 98% of our precious season premiere time? This town where the ghosts who were interchangeably referred to as souls from hell are all clustered instead of flying away to wherever the fuck they want? Also, don't monster “souls” go to Purgatory? That specific clown was a creature, a rakshasa, not a ghost. If this is the ghost of that monster, did Purgatory bust open, too? If not, why? Why weren't souls also expelled from Heaven? From the Empty? From the Veil? The logical answer is, of course, because Sam and Dean would be no match for all of those, and we have to get them to the end of the season. But those are some nice places to start for laying a foundation: the rules of the game. At least some of the rules, so that they aren’t all dropped in one fell swoop with an exposition anvil from someone later down the road.

****

---> ETA: Several people have brought up to me that the clown is Gacy, not the Rakshasa who appeared as a clown in Season 2 Episode 2 "Everybody Loves A Clown". 

Two things here:

(1) Yes, I checked, and see what y'all mean - the clown we saw is indeed dolled up just like the Gacy ghost from end of S14. I think the writers whiffed this because... 

(2) ...the Rakshasa fits more with what they've shown in 15.1 (the Rak went after a child at her house in 2.2), and it also fits the theme of ghosts from the way-back-when, re: Bloody Mary and Woman In White, so since they've got such a hard-on for this Sam-and-clowns thing and apparently want to drive it into the ground, they should've chosen the Rak  

Also worth noting, the writers never should have made it Gacy in the first place, the most cursory google of Gacy would've told them that the clown thing has been blown way out of proportion and has essentially nothing to do with his murdering (i.e. - it wasn’t his killin’ costume/part of his killing m.o./routine). I won't go into detail here, you can go on that journey yourselves, but his jam was not going after a cabin full of teens, nor children’s birthday parties, nor was it just willy-nilly murdering whomever he laid eyes on. 

It was stupid call by the writers, and they should feel stupid.

****

[pause]

The reason I mention all of these places: these aren’t just the monsters that Dean and Sam have killed. This is what it *should* have been. But I feel - at this point, having no other info - that this is a major whiff on the writers’ parts, having all the souls in hell come to the surface. Because that’s what new demon friend said - that all the doors opened, that hell was chaos. So it’s not just the ones that Sam and Dean killed, at least that’s what I’m divining from that statement. 

[unpause]

I give no fucks about this little town. Try this: Have them going back to the bunker to re-group and seeing things along the way, such as that car on the side of the road like they did. Perhaps they hear about a massacre at a slumber party from Jody. Perhaps Sam is checking the internet while Cas is frowning and looking at his wound, and is like "A mother and child escaped from a birthday party where a bunch of people were killed and they swear it's a clown. Dean - these are all our old cases."

[pause]

Stop with Sam and clowns. We got it. 

NO REALLY WE GOT IT

Or if gonna do it, be creative about it. 

---> shameless plug <---

[unpause]

Then speaking of Cas and the bullet wound - another bit of bad writing, here. Subtlety, writers. Look it up. Here's how it should've gone:

. Cas: [frowning as hand hovers over Sam's shoulder]

Sam: What?

Cas: [narrows eyes; hesitates] Something... I'm not certain. [meets Sam's eye] I don't think I'm able to heal it completely. Are you in much pain?

Sam: [seeming a bit surprised at his own answer] No, actually. It's not-----

[Sam cuts himself off as Cas' hand makes contact with his shoulder; sees blurry, muddled flashes of suggestive visions; gasps and stumbles back] .

See? We arrived at the same place, but elegantly. Less "YOU'RE TOTALLY GONNA BE LIKE A SAMIFER SOMETHING-SOMETHING YOUR VISIONS ARE BACK BLEEEECCCCHHH VOMITS CHUNKY FORESHADOWING"

The point is, the fuck with this town? We're back there next week, too? WHO CARES. And I bet you money, with how much time they wasted in this ep and the time I betcha they're gonna waste next ep, that I----

Er, um. I mean that "they". Ahem. The writers.

----could've combined whatever is going to be accomplished next ep into this one for an actually meaty season premiere. Which this was not. This was not a hearty, filling steak. This was yesterday's meatloaf that's still pretty tasty but soggy.

It's the little things. You scrap every single extraneous bit. Seconds are precious because when you add up enough clumps of them, they can equal minutes. Here's a tiny example: Sam laying on the floor of the crypt and being like "I hear water" then it's like "you hear water?" then "yeah maybe it's a drainage line" then "or a sewer" then "let's break this open", then the breaking, then here comes corpsey friend.

Instead: They're talking and there's increasingly aggressive banging on the door, they all scootch a little closer to the opposite wall, then corpsey busts through. We don't need all that blah-blah. And as much as I love new demon friend, I genuinely do, there was too much blah-blah-banter with him, as well. Huge props on the Alastair callback, *that* is the shit I was talking about earlier, callbacks with no other explanation, just the look on Dean's face when he said it was plenty. Well played, there. 

Otherwise, let's goooooooooo. The pacing was all off, there was *way* too much time wasted, especially with all the Sam and Cas going through the town stuff. Easily two-to-three minutes could've been shaved off of that alone.

Because here we are: what was accomplished that was of import? Jack's body is possessed (and that demon is great, best part of the ep), and he confirmed the cage is open. This is interesting info to have. We got a glimpse of the return of Sam's visions, which hints at a return to how the guys were in the past, so might make us think they - along with the world - are in rewind mode, as well. Also interesting to ponder upon.

[pause]

Which, this then begs: why is Cas not being reset, too? Why are his powers still wonky? Wouldn't THAT have been a real kick in the pants, seeing Cas whup some ass, even if just moderately here at the first and everybody having a "WHOA" moment of looks at each other? And then if so, continuing with the earlier questions that at least should have been asked - I don’t expect answers in ep one but lay the foundation via asks - are all the angels back, as well? Is Billie still officially Death? Because Dean killed Death, did he not? So is O.G. Death back?

[unpause]

And... that's it. That’s what we learned. We knew at the end of last season that Chuck was resetting things. This wasn't new information. We were given the scenes of Bloody Mary and the woman in white and the clown at the end of 14's finale. So this information doesn't count. And like I said above, the guys catching on to this could've been handled in a more expedited fashion so that we can get on with it. The writers have very little time to wrap up the show, and thus far I’m not encouraged by what I’ve seen.

::sigh::

We got work to do, indeed.

#SPN Spoilers #15.1 #SPN Season 15 #SPN S15 #SPN XV #season 15 episode 1 #Notes From Nash #Queueby Dooby Doo #Dad's on a blog post and #he hasn't been queued in a few days #Nash Recaps

[spaceorphan18]

Finding Kurt Hummel: Transitioning

Masterpost

6x07: Transitioning

It’s not really a surprise that an episode called Transitioning is in the smack middle of this shortened season.  It certainly makes much more sense than Swan Song being in the middle of the season, lol. 

So, we get a lot about Beiste, and Trans rights, and a whole lot of stuff I’m happy not to touch.  And we get a, well, sort of awkward Kurt and Blaine story.  Truth time - I was really disappointed by this episode first time around, because I wanted it to do more.  It’s grown on me a lot, but I still have a few minor nitpicks about it.  But - the two things that really stand out to me in retrospect are a) this particular story line is more about Blaine than Kurt -- Blaine’s the one going through a transitional period back to Kurt and b) the pacing of their story is fine through the episode - it’s really, unfortunately, the wedding episode the botches the ending.  

Growing Up

It’s nine minutes into the episode before we see our dear Kurt.  A quarter of the episode! Ug!! 

And - it’s Sam who’s carrying Rachel’s emotional baggage this week and dragging Kurt with him.  So, Rachel’s dads are selling the house (which is the reason they got a divorce - so that Rachel is forced to move out and grow up.  Good lord the lengths these writers go to - to teach Rachel a lesson).  Sam goes on about how Rachel’s making a difficult transition into adulthood - one that they’re all going through, but the rest of the characters don’t matter - just Rachel.  She’ll carry this theme for all of them, lol.  

I also love how Glee’s like - okay, bam, Rachel is now dealing with adulthood, as if the past few years haven’t really counted.  But - you know, it’s the end of the series, and that’s when these big life changes actually happen.  

Anyway - anyone up for meta’ing the giant spider on Kurt’s shoulder?  

Wheel of Destiny

So - they interrupt the weekly lesson of Ohio artists (sorry Kitty, no Marilyn Manson for you), so they weekly theme can be transitioning.  Kurt says that sometimes life throws you a curveball and sometimes you just have to go with it. Huh. Foreshadowing? I think so... 

Blaine then goes on this long thing about Rachel having trouble facing adulthood, and how are they going to help her deal? Why - throwing a party because that’s what adults do, lol. 

So.  Picking names out of a hat for duet partners is boring, so Artie constructed a giant wheel of names! I mean, why not - it’s fun.  And it’s Kurt turn! The wheel /almost/ lands on Artie, but Kurt gives destiny a little push and makes it go to Blaine.  And -- just look how shocked he is for that to have happened, lol.  I love this Kurt - manipulating things to turn out how he wants them.  I haven’t seen him pull this kinda thing in a long time, and it’s hilarious and adorable.  You go sing that duet with your sweetheart, Kurt! 

After the meeting - Kurt catches up to Blaine (who is kinda secretly thrilled with Kurt’s meddling).  However - Blaine’s concerned about the whole thing - cause Karofsky might just get jealous.  Kurt thinks that’s silly -- and there’s a little bit of frustration there - cause I mean, Karofsky already has him as a boyfriend, he can’t keep them from being friends, too...  

Blaine states that Karofsky might think there’s something still between them.  And Blaine wants Kurt to say -- why yes, yes there is.  But he doesn’t - cause he feels like Blaine’s made his choice, so really, Kurt needs a sign from Blaine that there isn’t...  Hmmm, I wonder if that’ll happen.  

And then we get this whole awkward hug thing, which Kurt isn’t really sure what to do with.  And I’m not really sure what to do with Kurt’s final reaction here that’s a little -- oh, well, huh, that just happened.  I would have Kurt smile a little at the end of it - but I guess the director wanted to go for ambiguous? 

Which leads me to say this -- this episode I found difficult and unsatisfying the first time I watched it.  It’s grown on me a lot since then, but I think one of the things I was jarred by was that up until this point, we’ve had mainly Kurt’s POV on the whole break up thing - but this episode is nearly all Blaine’s POV.  And I get it, we needed to get him to the point of breaking it off with Karofsky.  But seeing everything through Blaine’s eyes when we’ve been with Kurt so much this season feels like a strange switch up in a few places.  This, I think, is one of them. 

Everyone’s Favorite Gays

So -- Rachel’s party has started, and it must be a different day because Kurt has changed his clothes.  Also - Sam mentions he’s slipped a little something in Kurt’s drink - which is a nod to the fact that he’s over 21 now.  I mean, we were all waiting for that top happen, this is just confirmation. 

I’m also slightly uncomfortable that a group of college students who are acting as teachers and mentors have invited a bunch of high schoolers to a party with alcohol at it - but Glee doesn’t seem to care, so I’ll just look away. It’s not like it’s a plot point.   Though, man, who wouldn’t want to see Drunk!Kurt - that would have been fun. 

Anyway - Mercedes and Roderick sing All About That Bass - and it’s super fun and light.  Kurt’s not in it very much - but he’s bopping along right with Mercedes.  And one point Blaine shuffles over towards him, and they dance together for a hot second - but then Kurt’s mysteriously absent for the last minute or so of the song.  Not sure what happened there. 

So - after a scene of Rachel and Sam hooking up because Rachel’s afraid to leave her childhood behind (um, okay fine) - we get Kurt and Blaine’s duet, which is Somebody Loves You.  And I just love every iota of this song.  The last time either of them sang was that dreary and depressing Carole King song back in Jagged Little Tapestry - now they have a fun, upbeat, song about being there for the person you’re in love with.  

I could pretty much quote all of the lyrics here, oh and here I will... 

Who’s around when the days feel long Who’s around when you can’t be strong Who’s around when you’re losing your mind Who cares that you get home safe Who knows you can’t be replaced Who thinks that you’re one of a kind

Somebody misses you when you’re away They wanna wake up with you everyday Somebody wants to hear you say Ooh somebody loves you Ooh somebody loves you Ooh somebody loves you Ooh somebody loves you Ooh somebody loves you

I’m around when your head is heavy I’m around when your hands aren’t steady I’m around when your day’s gone all wrong I care that you feel at home 'Cause I know that you feel alone I think you’re going to miss me when I’m gone

Somebody misses you when you’re away They wanna wake up with you everyday Somebody wants…

So - the thing I love about this song is that Kurt and Blaine pretty much trade off on all the lines.  But the point is - this song is about both of them, and how they feel about each other.  I love the message of - hey, someone loves you - and they’re going to be there for you when life sucks.  I think especially, I enjoy the part where it says - somebody misses you when you’re away.  Cause I have to wonder if they are back at the point where they miss each other when they’re not around.  

I’d also love to know how they decided this would be a good song to sing.  Cause, seriously boys, serious overtones here, lol.  Plus - I want all the texts and conversations they had about doing the song -- more reconnecting!! 

While this song is one of my favorite Klaine duets - I’m not sure it’s one of my favorite performances.  It’s kinda reminds me of Just Can’t Get Enough - when there’s a ton of other things going on taking away from the Klaine time, lol!  

But importantly - Kurt’s just having a fun time, sing his little heart out, wearing an astronaut costume, and playing with a blue feather boa.  (Oh, the boas are their proposal colors - nice touch props.)  

And of course, during the song -- Blaine is zeroed in on.  He’s getting his heart eyes back - because as Kurt just kind of bops around in (sorta) his own little world - Blaine’s noticing, and falling in love again.  We’re almost there, guys... almost. 

After the show’s over - Blaine decides to get outta there - because the feelings are too much!! But he claims it’s because of a Karofsky reason.  Feeling guilty, Blaine - uh, yeah something like that. 

Anyway, Kurt is a little bummed he has to go.  He had a ton of fun dueting with Blaine, and he’s missed it because they haven’t done it in a while.  (Also a metaphor, people!! okay maybe not - but I’m making it into one.)  Anyway - all this talk brings them back to Baby, It’s Cold Outside - yes, the time they did sound the greatest.  And Kurt admits that way back when - all he wanted was to make out with Blaine. 

It’s a sweet little moment at they remember - and Blaine wonders why he just didn’t kiss him - and Kurt throws out the whole Jeremiah thing (god - you guys remember that??) Well, Kurt and Blaine barely remember that - because Kurt doesn’t remember the dude’s name, and Blaine totally forgot the guy existed.  Because in this moment, they’ve both only got heart eyes for each other. 

Kurt then starts in on how crazy it is that some people mean a lot to you at some point in time -- and then stops.... because Blaine’s lips come crashing to his.  But.. I kind of love this little moment, where - it’s sorta like saying, oh hey, we meant so much to each other, and then you move on, but nope - sometimes some people mean so much to you -- and they still do after all the time that’s passed, and after all the stupid things you’ve done.  

So, um, yeah, Blaine and Kurt are kissing again.  See - the kiss in the elevator? That was a forced thing - and yeah, they felt something, but it wasn’t of their own volition.  This kiss is mostly for Blaine - a chance for him to figure out if what he felt in the elevator was real, or if it was just the heat and the manipulation.  Turns out - oops, yeah, totally still has feelings for Kurt...  And thus, he jets outta there, cause he still, technically, has a boyfriend waiting at home for him - and he really doesn’t need to add another cheating incident.  

Meanwhile - Kurt’s just stunned.  Blaine not reciprocating back is something he was beginning to get used to.  Blaine turned him down when Kurt came back for him.  Blaine was the one that insisted that the elevator kiss meant nothing.  Kurt’s happy that their friendship is back, and all the rest of it he can compartmentalize.  But this?  This is confirmation that Blaine still has feelings, and that’s something huge! 

Kurt’s left kinda stunned - what does all that mean? Why did he do that? Does he want more? Why’d he run off?  Just a lot of things swimming through Kurt’s head as Blaine pretty much runs away.  

I’m okay that Kurt doesn’t run back after him -- this moment is for Blaine to realize his feelings.  Kurt already knows his, and he’s not going to push at Blaine any further than he already has.  

But -- I will say this is where the narrative gets a little clunky heading into the wedding episode.  Blaine’s still got some stuff to do -- mainly break up with Karofsky.  But really, this is the point where Kurt needed to ditch Walter and have a conversation with Blaine about feelings - because clearly feelings are still being had.  Unfortunately, this is not what we get (because Glee needs it’s third party drama).  But I’ll get more into that when it’s more relevant.  

Time After Time

Klaine time is cut short by Rachel and Sam needing to sing 80s love ballads to each other.  And then there’s a whole montage where they all help Rachel take down her memory wall - and this is the closet we get to a clip episode, lol (which is fine - clip episodes are dumb).  

I don’t know what picture Kurt takes down! But, you know, it’s one of those moments where you look back at the old memory and smile, but it’s fine because growing up isn’t a bad thing.  It’s just... different. 

Also Kurt (and Blaine) are helping Rachel move -- I kind of wonder what awkward conversations happened that day that we didn’t get to see, cause we know from Karofsky it’s been a few days since the party before they break up.  Ug, Glee, all these untapped things... 

The Break-Up

Obviously, Kurt’s not in this scene, but I feel the need to go over it, because it does, in part, pertain to Kurt.  And because I think it’s a nice scene.  I’m going to give Karofsky a little bit of credit here, and say he isn’t entirely dumb.  He knows Blaine’s been acting weird, and he’s known that since Kurt’s been back in town, their relationship wouldn’t last that much longer.  (So then why did you move in with him, weirdo?)  

Blaine’s been feeling guilty - because Karofsky turned out to be an okay guy, and Blaine had convinced himself that he really had moved on past Kurt.  Well, no, everyone and Karofsky could see otherwise.  And Karofsky is pretty nice about the whole thing (which I think is to show just how much Karofsky has grown, too, over the years).  He’s got a whole bunch of guys ready and willing to date him.  It’ll suck - but Blaine can’t change his heart and more than Kurt can.  So Karofsky let’s him go. 

I think one of the interesting things in this conversation, is that Karofsky tells Blaine to just tell Kurt, not sing it.  And I feel like that goes with the whole growing up theme.  A lot of the time, these boys have sung their emotions through song - and that’s fine, but it’s also been part of the fantasy -- but part of the Klaine narrative has been a shift from fantasy to reality, and this is one of the last parts.  And Blaine’s ready to take that step - to grow up and be a real boy, and be okay in his not-ever-changing feelings towards Kurt.  

So - Blaine gets running and goes for Kurt.  How does he know Kurt’s there? Is this just after school? Why is Walter meeting him there of all places? Idk - the set up of this scene is a little awkward when you thinking about it too much, but I’m really not supposed to.  

The point is -- Blaine is ready to confess his love to Kurt -- again.  He even wears the bowtie he wore at the proposal (do you think Kurt didn’t notice that? He did).  But --- one awkward little thing.  Kurt’s about to go on a double date with Walter, Rachel, and Sam.  

So Blaine -- doesn’t say anything.  And actually -- this is a good thing for Blaine! Honestly, it is -- it shows growth.  He let his life be dictated by his relationship with Kurt once, and he’s going to do what he didn’t before -- let go and let it be.  It’s not an appropriate time for Blaine to tell Kurt that he and Karofsky broke up.  But even more so, it’s also not his place to intervene in Kurt’s dating life and more than it was Kurt’s to intervene in his relationship with Karofsky.  Blaine’s trying to give Kurt the space he hadn’t given Kurt before.  

Kurt lingers just a little as they all head out.  He knows Blaine’s lying about being there for Rachel.  There’s a little bit of longing there, and a lot of concern.  And oh the angst is hard core in this moment, as Blaine just stands their alone.  

Kurt knows and is aware that Blaine’s feeling something.  He’s ready for Blaine to say something.  Look, Walter does not matter (and by the sound of it, Kurt’s been talking to Walter a lot about Blaine - since Walter clearly knows who he is, and is slightly feigning politeness when Blaine shows up).  But Kurt’s ditched both Chandler and Adam pretty quickly for Blaine, and he’ll do it again with Walter.  

Just this scene -- isn’t the right time.

This scene, actually, works for me pretty well  - and I’m not frustrated with this episode like I was when I first saw it, because this is the transition episode, it’s supposed to end on this angsty note.  My issues are really with the beginning of the wedding episode.  It’s clear they wanted them both to have a run to the other moment - and sure, Kurt will do that -- but Kurt lacks a defining catalyst for him to do that, which makes it feel a bit awkward and weird.  But, I’ll dig into that in the next episode. 

Turning the Corner

I am not going to comment about the Beiste story line - because I don’t have an opinion on it, nor do I think it’s my place to have an opinion on it.  But it’s nice that the trans choir had a chance in the spotlight on this show - and it really is a lovely moment.  Kurt and Co are off to the side cheering them along.  

Hey! It’s Kurt and a piano - I kinda like that that’s still a thing.  

I don’t have a whole lot to say about this scene - I feel like Will coming back to McKinley marks the beginning of the end for the narrative focus on Kurt this season.  Even this scene is really more about the dynamic of Will and Rachel - Kurt just kinda happens to be there.  

But, I mean, part of the whole transition theme is to get these guys in position to wrap up their story.  Will is going to be back at McKinley, while Kurt and Rachel go off to do what they’re supposed to do. 

The best part of this little ending scene, however, is the last bit.  First of all, Kurt can’t call Will ‘Will’ - because that would be weird. (Just the way Chris says it cracks me up).  And then Kurt wants to do a Britney 3.0 week? Really Kurt? Really?  And then Will asks if the kids have emotional issues, and Kurt’s like - yeah, I don’t get involved in that.  BECAUSE SERIOUSLY HAVE SOME DISTANCE BETWEEN YOU AND YOUR KIDS WILL!! 

But yeah - it’s a little bittersweet of a moment as we wrap up a lot of what I liked about the season to move on to things I’m not as fond of.  Ah well.  :) 

#finding kh #kurt hummel