#the closest we get to seeing it in s4 - s5 is like. his second last scene | Explore Tumblr Posts and Blogs

twdmusicboxmystery · 3 years

Text

Revolution Theme, Part 4 - The Governor’s Episodes

What led me to wanting to rewatch the Gov’s episode was a discussion with @galadrieljones. She talked about Lenny from 4b being an anti-Daryl, and that sparked something for me. I totally agree about Len, but it made me remember that, a long time ago, I remembered that Mitch (guy who operated the tank for the Gov and helped bulldoze the prison) was also an anti-parallel to Daryl.

Now, back when I first realized that, I didn’t have anywhere to really go with it. I mean, we had the leader (Governor) pitted against Rick and his right-hand guy (Mitch) pitted against Daryl. Mitch operated the tank, which Daryl blew up. And then of course Daryl ends up shooting Mitch in the heart. The thing that first made me realize Mitch was a Daryl parallel was the fact that he had no sleeves, lol. I know that’s goofy, but I think it’s intentional.

Anyway, I hadn’t thought about it in a long time. And while we’ve talked about Gov parallels to Beth in these two episodes lots of times before (like the stigmata walker in the yellow wheelchair) it suddenly occurred to me that there’s probably a LOT more to it than that.

Recently, especially since the bonus episodes, I’ve been big on looking at entire sequences and multi-episode arcs from a broad, bird’s eye view because I think they’re templates for future story lines. (It’s totally Find Me’s fault. Lol.) Anyway, I just realized I hadn’t done THAT with the Gov’s episodes, and I probably should.

Long story short, I was right.

Long story long, here we go:

So we start by seeing the end of 3x16 again, right after the Gov kills all his own people and takes off with Martinez and that other guy whose name I don’t remember. He doesn’t show up again and Martinez says he pretty much gave up and got eaten by walkers.

(We’ll skip the discussion about how Karen was a Beth proxy at this part in 3x16, because she was left for dead and even pretended like she was. In other words, she played possum. Then she returned to Tyreese and eventually became romantically involved with him. But that’s beside the point, right? ;D)

Okay, so we see the Gov and the two guys at a camp site and a very Beth-ish walker stomps through his fire, trips, and starts burning before Martinez kills it. I’ve always thought that was a Beth hint, and I still do. I think it’s just the writers’ way of signaling that this is a Beth template for the future.

When the Gov wakes up, his guys have abandoned him and he’s alone in this bright yellow tent that stands out against the bleak landscape. (Yellow.)

Then he goes and burns Woodbury. I’ve always tried to connect that to Beth, particularly because of the Moonshine shack. But looking at it now, there’s just something else entirely going on here. Emotionally, I mean.

We know Bethyl burning the moonshine shack symbolized something positive. Letting go of their pasts and moving forward. When the Gov does this, you don’t get that vibe at all. It’s more bitter and resentful. He’s angry and grieving over losing his leadership, the town he built up, and his people. It almost feels like a “if I can’t have it no one can” sort of thing.

So, this is total conjecture on my part, but I feel like there will be a Beth parallel to this. Probably not quite as destructive, but I’ve always had a head canon that somehow, after waking up, she’ll end up at Terminus, find the riot gear and Daryl’s poncho, and assume they all died there. That may be where the bitterness and sadness will come from. Just my head canon, though.

After that, the Gov starts on his long, lone journey (another thing we’ve always theorized Beth would do). Oh, and the song that plays over this part, which I’ve always thought was very pretty, is called The Last Pale LIGHT in the WEST (emphasis mine). I think the Gov goes west when he leaves.

youtube

Then we get voice overs, and this part is SUPER interesting and makes me very happy. We heard two women talking to the Gov about where he comes from and where he used to be. We now know those voices to be Tara and Lilly, but at this point in the episode, he hasn’t met them, yet. So, what’s interesting is that neither of them are named in the subtitles. They are just “woman.”

And where have we seen that lately? In 9x05, every voice (like Lori and Abraham, for example) was named, but Beth wasn’t. We immediately recognized her voice, but she wasn’t named in the subtitles as “Beth.” It just said “woman.” So, what does this mean? We wouldn’t have recognized Alanna’s voice yet at this point, unlike Emily’s, but we had yet to meet Tara yet. So, on a basic level, I think it shows that the unnamed “woman” will soon be a character on the show.

And why would they do that with Beth when, like Lori and Abe and the others, we’ve already met her? I think it’s probably in line with the theme about her being a different person when we see her again. In a good way. “Meet the new Beth Greene.”

The next important thing about this part is what is actually said. I’m paraphrasing here, but Tara and Lily ask where the Gov was before and he says something about having been in a town. Tara asks if the monsters were there. He says no. It was a good place, with walls. But “he” lost it. She asks, “who?” And he says, “the man in charge.” So clearly, he’s talking about himself in the third person, and Woodbury.

But.

If this is a Beth template, then Gov = Beth, right? We always wondered why they would use him, being evil and stuff, as a Beth proxy. But keep in mind that Gimple took over as official head honcho and completely reworked a reportedly terrible 3x16. They were basically done with the Woodbury/Gov storyline, and they needed a good sendoff for him. In a way, this was Gimple’s first Sirius arc. Someone who leaves, is presumed dead, but then comes back. We know Daryl (and Michonne) searched for him, but lost the trail (kinda like losing Beth’s body) and the Gov is even down one eye. Siriusly.

So, my point about the voice over is that everything said there could be applied to Rick, especially during the S4/S5. He lost it. He screwed up. Beth was left behind/separated from them.

Okay, now I’ll jump forward a little faster. For the rest of 4x06, there are really only two big things of note. 1) Tara and Lilly = two sisters who eventually lose their father. A foreshadow of the Greene family dynamic. And even though Tara’s father dies of natural causes (lung cancer), the Gov does end up bashing his face in to keep him from biting Tara. I think that was supposed to be kind of like him “killing” the dad, and therefore a foreshadow of him killing Hershel by taking his head.

The second thing, in terms of future Beth arcs, is that he lost everything, was left behind/abandoned by his people, went on a long journey, and eventually found people that he came to care about and protect. And I think the same will happen with Beth. In fact, it actually works in line with the Charleston template I laid out. Just a community of people she cares about and protects/takes care of.

And I’m sure some people will wonder about the fact that the Gov finds a love interest in Lilly, and if that will translate to Beth. Well, it’s possible. She might have had boyfriends over the years. We’ve discussed this. But it’s also important that her *true* love interest, Daryl, is already back with TF. And that wasn’t true of the Gov. He was never going to return to the prison and have some beautiful relationship with…anyone. The closest thing would have been Andrea, and she’d already died by this point.

There are, of course, small clues in 4x06 that I haven’t gone over, and of course I’ve skipped the rest home with the stigmata walker, because we know about that. But a few highlights: At one point, Tara says, “Ray Charles could have seen it” about their truck out front. Blindness mention. Lilly used to be a nurse, which ties to Grady. And she even talks about being bored, which is a direct link to Edwards being bored.

Pirate theme, of course. I do think Megan represents Beth, though perhaps not directly in the template. She wears a lot of pink and yellow, blond hair, etc. And I think she’s just another way to say that this template is about the blond girl who, apparently, dies.

We should also probably appreciate that the way the Gov’s arc ends (the situation in 4x08) is a prisoner exchange situation where a Greene dies, and both directly ties to and foreshadows Grady.

But let’s move on. The end of 4x06/beginning of 4x07 is where they fall into a pit and meet Martinez. Let’s be real. In the show they call it “the pit” and it’s just used to keep walkers from overrunning their camp, but it’s clearly a grave. So, we have the Gov and Beth—I mean Megan—falling into a grave with a bunch of walkers (death) but surviving and eventually getting out (resurrection). Side note: we also saw the Gov kill one of the walkers that went after Megan by ripping it’s jaw off. (Speak no evil.)

So, here’s where we get to talk about Mitch and Pete a little bit. And it’ll be fun. I promise. :D

Watching this with an eye toward them representing Daryl and Merle, a lot of the symbolism became a lot more obvious. Keep in mind that they’re anti-parallels, not parallels.

See, between the two, Pete, who actually represents Merle, is the more sweet, compassionate one. While Mitch is the more brutal one. But again, they’re anti-parallels, so in this case, Mitch, the brutal one, is Daryl’s antithesis and Pete, the kind one, is Merle’s.

In fact, the first time we meet them, Mitch doesn’t want to let the Gov’s group in because they already had too many mouths to feed, and Pete says, “come on, man. They have a kid.” Just reminded me a lot of Daryl’s “they had a baby” in 3x10 after saving the family on the bridge.

So, they come back to the camp and start living in a trailer. The Hole in the Roof theory is huge here. The roof of the trailer keeps leaking water and, I shit you not, it looks like it’s dripping from a bullet wound. So, clearly….

And while I stand by it being a symbol of Beth being shot in the head, I also think it represents toxicity of a sort. Things that are wrong and it’s just a matter of time before the crap hits the fan. That sort of thing.

Okay, obviously the most important part of this episode is when they go to the cabin, but let me mention a few things that happen along the way.

Mitch, Pete, Martinez, and the Gov go out looking for supplies for the camp. And they had a really interesting conversation that may give some insight into the spearfishing in Find Me.

They walk by the lake and the Gov asks if there are fish in the lake. They reply, no. The lake is totally dead. Mitch then adds that there are rabbits, skunks, and possums. Obviously, some symbolism in those animals. But it occurs to me that fish = life. Something they can eat, subsist and even thrive on. The lake is dead because there are no fish.

Now, clearly this is a foreshadow of the Gov killing Pete and putting him in the lake. And of the Gov already being kind of dead in his soul. And “dead water” might also foreshadow the poisoned water theme. Water that can cause death if you drink it.

But in thinking about Daryl’s reaction to both Leah and Carol finding fish in FM, it’s kind of interesting. Both times, he says, “no way,” and is pleasantly surprised that they caught the fish (life). So, I’m wondering if this is meant to be him being surprised that someone he thought was dead was really alive. And what if all the fish symbols we’ve seen represent life in some way?

Of course, it could also be that a mounted fish, like we saw near Dwight in S8 is technically a dead fish. So, it might have symbolized the death of his and Sherry’s relationship. Or that it would live again. I’m not sure how granular to make this. ¯\_(ツ)_/¯

Okay, so then they come upon a camp that seems to be doing well. Mitch wants to take all their supplies, but Pete refuses and they leave. Later, they come back to find the camp overrun, most of its people dead, and the supplies gone. Here, Mitch is just pissed that they didn’t take the supplies before someone else got them. (Very anti-Daryl.)

But I do think this points to some future arc. I don’t know for sure what it will be, but again, I think it works with the Charleston template. Like, Beth is in a community. She goes out looking for supplies, and when she comes back, the community has been knocked on its butt by the CRM. And this is one of those things that was never really acknowledged or explained in the show. Who killed off the camp? And why wasn’t anyone in the Gov’s group at all concerned that their camp might be next? Gotta be symbolism for sure. :D

Oh, and the Gov says it must have “just happened.” Just like Daryl said about the wolves and the girl on the tree in 5x15. And again, the wolves are very tangled up in the Native American symbolism.

Then there’s the cabin bit. Again, I’m not at all sure how this will fit into Beth’s arc, but I’m sure it foreshadows SOMEthing. So, we have two headless corpses, one of which says LIAR and the other that says RAPIST. And then a third that still has his head, but killed himself with a shotgun. He is, presumably, the guy who lived in the cabin and killed the first two, and he’s labeled himself MURDERER.

Now, on the one hand, all of these words describe the Governor. He says “Liar” just before taking Hershel’s head, which is what that first one points to. And it’s not too hard to figure out that he’s a murderer. We didn’t actually see him rape anyone in the show, but there were suggestions of it, especially as he attacked Michonne and manipulated Andrea. And I’m pretty sure in the comic books, he does actually rape Michonne. They just didn’t want that to be the case in the show. So, these do all work for his story line.

But I also think these may be things Beth encounters at some point in her arc. Maybe someone will lie to her (or even betray her, Lone Ranger-style) and she’ll have to take them out. We already saw her dealing with rape at Grady, and have long thought that it foreshadows a bigger, potential rape situation that she’ll have to deal with. You get the idea. So, it’s very vague and I don’t have any great inspirations about what these point to, but in general, I’m sure they’ll apply to her.

It's also important to note that all these guys are dressed in military clothing. So, we might be able to tie them to CRM, symbolically if not literally.

I didn’t find anything massive inside the cabin that we haven’t already discussed. You asked me to look for revolution/George Washington pictures, @wdway, and I didn’t notice any. I didn’t try overly hard to see every single picture in the background, but most of them looked too blurry to tell much detail anyway. The major one is of Abraham Lincoln, and I think that’s important. But I’ll come back to it.

Of course, we have all the Native American symbols in this cabin. So, here’s the thing. Because of Tonto in TLR, I feel like whoever the Native American symbolism points to, whatever group that is, good or bad, it represents the group that Beth found after she woke up/lived, who nursed her back to health. And the reason I say good or bad is because the Claimers do theoretically fall under this same symbol theme for Daryl. The first group of people he ran into after he lost Beth. After the big disaster.

And here, I think Martinez’s group works in that regard for the Governor. He wasn’t hurt badly but he was in need of help after falling into the pit. You could say the same of Daryl after losing Beth. He just needed people to pull him out of his slump.

Now, here’s the other thing I’m not entirely sure how to interpret, but it does lend credence to the idea of the guy who lived in the cabin, who took out the two headless corpses, being representative of Beth. Once they’ve cleaned the walkers out of the cabin and are all sitting down talking, the Gov finds a picture of the guy who lived their and his family. The guy’s left eye has been colored over with read. Like red pen or marker. But it’s clearly a Sirius symbol and the red looks like blood.

So, I thought about what must have happened in this cabin. I kind of thing it might have been sort of like what happened with Abraham’s family. We were told after 5x05 that he killed the people who were actually part of his group. People he trusted. That’s because while he was out on a supply run, they raped his family. They just couldn’t show that in the show.

So, for the cabin guy, taking out a rapist and liar who might have harmed his family is straight forward enough. But why would he kill himself if his family still lived? And the Gov’s group found them as walkers in the house. Why would they continue to live there if the husband/father had shot himself on the porch? So, I’m thinking that these two headless corpses not only raped but perhaps murdered his family. So, he beheaded them and, in his grief, took himself out.

Or, because he labeled himself a murderer, maybe something happened where his family went crazy, or just got bitten, and he had to put them down. And that made him feel like a murderer. Because I don’t think justly taking out bad guys would have made him feel that way.

This may feel largely irrelevant, but it’s in the episode for a reason. Once again, I think this probably points to some part of Beth’s future arc. I mean, this sort of thing, the kind of thing Abraham went through, since it happened at the hands of people that were part of his community and that he trusted, is the ultimate betrayal, right? So maybe it will be a matter of someone in her community that she trusts betraying them to the CRM or something. IDK.

I keep saying it’s the west/lone ranger stuff that = betrayal, but the Native American theme always seems to be tangled up with it, doesn’t it?

Some minor details.

They find *beer* in the cabin.

We find out that Mitch and Pete were in the army before the turn happened. And in this case, I don’t necessarily want to link that to the CRM. We could, but given that both of them are now dead, it doesn’t really matter.

But it occurred to me that this is more evidence of them being anti-Daryl and Merle. Daryl and Merle were nobodys and drifters before. So, their opposites were in one of the most disciplined professions one can enter. Daryl started in an unproductive place and evolved. Mitch started in a disciplined place and devolved.

Of course, they’re playing GOLF when he kills Martinez. After doing so, he sits like Daryl at the crossroads. Then when Lilly finds him in the RV, he says he had a bad dream. He doesn’t remember. (Memory loss mention.)

They tell the camp he was hitting golf balls, got drunk, and fell into the grave/pit. *coughs Bethyl*

There were some interesting mushroom mentions. I noticed that before they met up with Martinez’s group, they were talking about Tara’s ex girlfriend (who was named SAM, btw) who lied to her about her feelings for Tara. Lilly says, “Yeah, then you went camping, ate mushrooms, and the rest was history.” Or something like that. I wasn’t sure what to make of that, but then later, we see the same mushrooms on the trees around the Gov that we saw in Still. Hmm.

I’m also a little unsure of what to make of the walker pit they reach when they try to leave the camp. Remember they all take off in a car, including Tara’s girlfriend, but they have to stop because the road is impassible. It’s turned to mud and is full of walkers. I’m sure that’s symbolic of something, but I don’t know what.

Of course, the Gov kills Pete and recruits Mitch. You could say he has a very Negan approach, ruling through fear. He kills Pete specifically BECAUSE he’s the compassionate one and Mitch is the brutal one. Very different to how Rick ever approached things.

Okay, that’s most of what I have for the Gov. Except that at the beginning of 4x08, after he takes Michonne and Hershel prisoner, he says, “they’re the key.” (Key Theory).

#beth greene fan art #Beth greene lives #beth is alive #beth is coming #td theory #td theories #team delusional for the win #team defiance #beth is almost here #bethyl

5 notes · View notes

tamalam11 · 7 years

Text

Long Winded Bellarke Reunion Spec

I’ve been thinking a lot about The Bellarke Reunion. (I mean, who in the fandom hasn’t, right?) How’s it going to happen? When?? Where? Who sees who first? Will there be A Hug? A Forehead Kiss?? (Shout out to Team Forehead Kiss!) Tears? All of the above?? And then I realized something that I felt stupid for never thinking about before: I think that Bellarke’s goodbye tells us everything we need to know about their reunion.

The fact that the S4 finale directly parallels the S1 finale is no secret. I’ve talked about it myself. The Season 1 finale has a reluctant & tearful Clarke shutting the drop ship door on Stupid Finn and Bellamy as they struggle to get inside; right before a blast of fire takes out everything in its path. She doesn’t want to. She waits until the last possible second. It’s Miller, arguably one of Bellamy’s closest allies, who urges Clarke that it’s now or never. Flash forward to the S4 finale where a reluctant (to say the least) & tearful Bellamy closes the rocket ship door on Clarke as she struggles to get back before a wave of fire destroys everything in its path. He does not want to. He waits beyond the last possible second. And it is Raven, arguably one of Clarke’s closest allies, who urges Bellamy that it’s literally now or never. I mean– they’re the same scene. They are. The same.

The 100 loves their parallels. And the fact that Bellarke’s goodbyes so beautifully & symmetrically mirror each other makes me think – so. Will. Their. Reunions. S2 finds Clarke sobbing “I thought they were” dead over and over again after she finds out that Stupid Finn and Bellamy actually were not incinerated alive. When she sees Bellamy walking through the gates of Arkadia, she leaves behind Raven (who will “catch up”) and launches herself at an unsuspecting Bellamy. He doesn’t process it at first; but once he realizes that Clarke is here, Clarke is in his arms, he clamps them around her like he’ll never let go. When they finally do, they smile at each other, they stare wordlessly at each other. Octavia makes a sarcastic comment. Bellamy asks how many of their people Clarke has with her, and she says “none.” Later, around a campfire, Bellamy watches Clarke sleep. When she catches him, he absolves her of any guilt for shutting the drop ship door and leaving him outside. “It had to be done”, he says. Flash forward to S3 where Bellamy sees Clarke for the first time in 3 months, across a large distance, through the scope of a gun. ‘”It’s Clarke,” he says, and tries to run to her; Bastard Pike stops him.

So! Bellarke’s S5 Reunion Will Parallel These Speculation: Clarke will see the space kids ship come down (or maybe she’ll just see them across the way and know its them) and head toward them. Once she’s close enough, she’ll start running. Bellamy will hear/see her and raise his gun to get a better look through the scope. He’ll say (disbelievingly? haltingly? joyously?) “it’s Clarke” and start to run. There is no Pike to stop him this time. But he’ll suddenly remember Raven (who has now become his closest ally) and turn back to look at her. She’ll say (disbelievingly? haltingly? joyously?), “go ahead. I’ll catch up.” And so Bellarke will rush to each other. Clarke will launch herself at Bellamy. But he’ll be ready this time; he’ll catch her and hold her like he’ll never let go. He’ll begin sobbing “I thought you were dead” over and over again. He’ll tell her how sorry he is that he left her behind. She’ll tell him that “it had to be done.” They’ll pull back just enough to stare wordlessly at each other, both smiling through their tears. He’ll kiss her forehead, and then rest his own against it. They won’t realize that the rest of the space kids have caught up to them until someone makes a sarcastic comment. Probably my boy Murphy. It will break them apart (but not too far). Everyone else will get a (much shorter) Clarke hug. Bellamy will ask how many of their bunker people are with her and she’ll say “none.” And then-- BOOM OUT. End of episode. End of reunion.

#bellarke reunion #the 100 speculations #bellarke #the 100 season 5 #The 100 Parallels

44 notes · View notes

papermoonloveslucy · 6 years

Text

THE NOT-SO-POPULAR MECHANICS

S5;E22 ~ February 19, 1973

Directed by Coby Ruskin ~ Written by Bob Carroll Jr. and Madelyn Davis

Synopsis

Harry buys a vintage car at the same time that Lucy and Mary Jane are taking an adult school class in automotive repair. When Harry goes away on a trip, he asks Lucy to phone his mechanic, but she forgets. Lucy thinks she can do the work herself – but things don't go as planned when Harry comes home early from his trip.

Regular Cast

Lucille Ball (Lucy Carter), Gale Gordon (Harrison Otis Carter)

Lucie Arnaz (Kim Carter) does not appear in this episode, nor does she receive screen credit. Except for the clips seen in the season finale, the character will not return to the series until the fourth episode of season six.

Guest Cast

Mary Jane Croft (Mary Jane) played Betty Ramsey during season six of “I Love Lucy. ” She also played Cynthia Harcourt in “Lucy is Envious” (ILL S3;E23) and Evelyn Bigsby in “Return Home from Europe” (ILL S5;E26). She played Audrey Simmons on “The Lucy Show” but when Lucy Carmichael moved to California, she played Mary Jane Lewis, the actor’s married name and the same one she uses on all 31 of her episodes of “Here’s Lucy. Her final acting credit was playing Midge Bowser on “Lucy Calls the President” (1977). She died in 1999 at the age of 83.

Robert Rockwell (Jack Scott) is probably best remembered as biology teacher Mr. Boynton on “Our Miss Brooks” (1952-56) opposite Gale Gordon (Osgood Conklin) and Mary Jane Croft (Miss Enright), who were also series regulars. Although not the first to play Mr. Boynton, he assumed the role on radio and made the transition with the show to television. He previously played Viv's handsome match in “Lucy Digs Up a Date” (TLS S1;E2) the second installment of “The Lucy Show” in 1962. He continued working until 1995 and died in 2003 at age 82.

In addition to being an auto mechanic and a teacher at the Valley Trade School, Jack Scott is also a sailor who docks his boat at the Paradise Yacht Club. The character’s name may have been inspired by Jack Scott Fones, an advertising executive working with Philip-Morris who befriended Lucille Ball during “I Love Lucy.”

Leigh Adams-Bennett (Mrs. Foley, student) makes her first of only two TV appearances after doing background work on two films in 1972.

The character’s surname is likely a tribute to the show’s film editor, John Foley A.C.E.

Shirley Anthony (Student, uncredited, extreme right) made more than a dozen background appearances on “Here’s Lucy.” From 1994 to 1999 she played Sally on “The Rockford Files” TV movies.

The other female students in Mr. Scott's class are played by uncredited and unidentified background performers.

The title refers to Popular Mechanics, a magazine devoted to science and technology first published in 1902 by H.H. Windsor. Since 1958 it has been owned by the Hearst Corporation.

Chevrolet provided all the training materials as well as the motor parts for the car. They received screen credit. Series Executive Producer (and husband to Lucille Ball) Gary Morton was an auto enthusiast so he acted as consultant for this episode. He was, however, billed under his birth name, Morton Goldaper.

At the start of the episode, Mary Jane has come over to take Lucy to Morton's Department Store End-of-the-Month sale. This is the second time that Lucy's married name has been used as the name of a Los Angeles department store.

When Harry drools over his new Rolls Royce, Lucy quips “I haven't seen that expression on his face since he judged the Miss Borego Springs beauty contest.” Borego Springs was where Gale Gordon lived and was briefly mayor. It is located outside San Diego, California, and was previously mentioned in “Someone's on the Ski Lift with Dinah” (S4;E7).

The license plate on Lucy's new car is 592-IMW. The last time we saw inside Lucy’s garage was in “Lucy and Aladdin’s Lamp” (S3;E21) two years earlier when she had a garage sale.

Harry's mechanic is named Mr. Nickel. Harry has entered his vintage Rolls in the Classic Car Show and needs some minor repairs performed while he is away in San Francisco.

Harry mentions (but does not sing) the song “Embraceable You,” a song by George and Ira Gershwin originally written in 1928 for the un-produced operetta East is West. It was eventually included in the 1930 musical Girl Crazy. It is now part of the musical Crazy for You.

The reveal of Harry's vintage Rolls Royce is visually similar to the reveal of the 1923 Cadillac when the Ricardos and Mertzes are “Getting Ready” (ILL S4;E10) to drive to Hollywood.

Lucy Ricardo’s knowledge of auto repair was also pretty poor! She didn’t even know how to change a tire in “Off To Florida” (ILL S6;E6).

Like the auto parts of the Rolls Royce, Mrs. Ricardo also had no idea what to do with the many parts she took out of her television set in “Lucy Does a TV Commercial” (ILL S1;E30).

Lucy Carmichael and Viv Bagley went to adult night school in “Lucy and Viv Take Up Chemistry” (TLS S1;E26).

FAST FORWARD!

Lucille Ball owned several Rolls Royces over the years, including a 1965 Silver Cloud III convertible. Lucille Ball and Gary Morton owned a 1984 Silver Spur Rolls Royce which was put up for auction after Morton’s death.

The blue gingham blouse worn in this episode also came up for auction. Ball first wore it on "The Flip Wilson Show” (1971). This blouse is also documented as being worn at birthday party for Lucie Arnaz in the 1970's.

Brand X! The brand name of the chart on the easel of Mr. Scott's classroom has been blacked out for broadcast.

Similarly, the carton of oil has the brand name taped over, but it is clearly the Penzoil logo. Unusually, the yellow oil cans have no label on them at all!

Lights! Camera! Action! Mary Jane is unusually close to the camera (and out of her light) when she brings in the oil at the start of the repair scene.

Script Girl! When Lucy is reading the Rolls Royce's owner's manual, a page flops open and there are some handwritten notes inside in cursive script. This could be some of Lucy's dialogue.

Age Check! In real life, Gale Gordon was barely ten years older than Robert Rockwell. At the time, Gordon was 66 and Rockwell was 56.

Sitcom Logic Alert! Uncle Harry rings the doorbell at Lucy’s home, but Jack Scott walks in without knocking or ringing!

Where the Driveway Ends / Where the Sky Begins! The first time we see Harry's new Rolls in Lucy's driveway, the edge of the sky drop is visible at the top left of the frame – along with a piece of equipment or pipe hanging down. The wide shot also shows were the driveway ends and the stage floor begins.

“The Not-So-Popular Mechanics” rates 4 Paper Hearts out of 5

This is the closest Lucy and Mary Jane come to replicating the antics of Lucy and Ethel or Lucy and Viv.

#Here's Lucy #Lucille Ball #Gale Gordon #Mary Jane Croft #Robert Rockwell #Coby Ruskin #Leigh Adams-Bennett #Bob Carroll Jr.#Madelyn Davis #Popular Mechanics #Rolls Royce #automobile repair #Chevrolet #gary morton #classic cars #1973 #CBS #TV #Borego Springs

1 note · View note

themostrandomfandom · 7 years

Note

Hey JJ, I was wondering what is your opinion on Klaine and the relationship between them and Brittana. Also I have a friend whose really obsessed with you and your blog and she reads it religiously so that must mean that your stuff is good ;) hope your day is going well :)))

Hey, @ruskinino!

First off, thank you forthe sweet message. Sorry it has taken me so long to post a reply.

Second, in response to yourquestion:

While both TPTB at Glee and fanon might like toimagine a close and straightforwardly friendly bond between Brittana andKlaine, I think that, in reality, things are much more complicated, and,unfortunately, less positive.

The two couples don’t hate each other, but thereis certainly a degree of caution in the way they interact, with both sides having been burned in the past.

We can break the issues down after the cut.

WARNING: I am writing this response as a fan of Brittany Pierceand Santana Lopez and a Brittana shipper. Though my intention isn’t to bashKurt Hummel, Blaine Anderson, or Klaine, there are elements of my analysis thatare critical of their behavior and which discuss some negative views which I believethat Brittany and Santana hold towards them. If you ship Klaine, proceedcautiously. What follows probably won’t be your cup of tea.

___

Brittana, Klaine, and Glee’s Writing

First, let’s talk aboutBrittana and Klaine on a production level.

In terms of Glee marketing,Brittana and Klaine were very important. For a show that prided itself on itsdiversity and forward-thinkingness, having two same-sex teen couples at itsfront and center was a big deal. While a lot of the critical praise for Gleedied off before the first season had even ended, the show continued toaccumulate awards from GLAAD, the Trevor Project, and other LGBTQ organizationsthroughout its run thanks, in no small part, to Brittana and Klaine’sprominence.

For PR purposes, Brittanaand Klaine were often paired together in promotional materials and paralleledin episode structures. RIB loved putting them side by side because when they did,it got everyone’s attention. If having one same-sex couple getmarried on TV was a huge thing, then having two same-sex couples get married onTV at the same time was an even huger one. It was all about doubling up, and thepowers that be at Glee took the opportunity to put two and twotogether when they could.

That said, Brittana +Klaine was often better executed in idea than in practice.

The truth is that asidefrom being LGBTQ and participating in show choir, Brittana and Klaine were twovery different couples, and Brittany, Santana, Kurt, and Blaine were four verydifferent characters. While in theory there exists a fictional universe wherethey all (or at least most of them) could have been friends—a point which manyexcellent fanfics well prove—the canon Gleeverse wasn’t it, mostly because thewriters never put in the work to really establish those interpersonal dynamics.

Brittana and Klaineran in the same circles and frequently orbited around one another in terms oftheir storylines and character development, but the narration never truly allowedthem to get to know one another or to form stable bonds.

Despite various comingstogether, at the end of six seasons, shared wedding notwithstanding, one nevergot the sense that Brittana and Klaine were actually very good friends. Sure,they didn’t hate one another, but there was also no deep love between them.Klaine were still questioning Brittana’s motives. Brittana were still mockingKlaine’s clothing, mannerisms, and relationship status.

Glee had failed to provethat these kids actually liked and related to one another on any special level.It was just another instance in which Glee kept trying to tell us that thesecharacters were friends, but they never showed us that such was the case (see here).

For as much as fanon lovesto imagine what might have been, canon shows us a much more convoluted—and muchless pretty—picture, one in which, due to a history of bullying and hijinks,Klaine never got comfortable enough to drop their guards around Brittana, andso, after years of repeated rebuffs and rejections, Brittana eventually grewfrustrated with Klaine’s distrust of them and emotionally disengaged.

So now let’s talk aboutthese relationships “in universe.”

Kurt and Brittany

The truth is that KurtHummel, like most of the characters on Glee, never really gets Brittany Pierce,and his view of her doesn’t change much between S1 and S6 (see here).

To Kurt, Brittany is simpleand strange—“a girl who thinks the square root of four is rainbows” and talks openlyand unironically about unicorns.

He tends to accept what hesees from her at face value, buying into the early stereotype she perpetuatesfor herself, namely that she is slutty and dumb, in some ways unaccountable forher own actions because she doesn’t understand what she is doing (see here).

Because Kurt’s initialimpression of Brittany is that there is not much to her, he never really thinksto look at what might be going on beneath her surface, and his opinion on hercharacter remains generally static. Consequently, he has trouble comprehendingher more nuanced behaviors, and he oftentimes patently misunderstands herbecause he is unaware of what her true motivations are and where her emotionalstakes lie.

Initially, the fact that Brittanyis one of the most popular girls in school is somewhat intimidating to Kurt, andespecially because she and the rest of the Unholy Trinity don’t mesh well withthe New Directions. For a long time, he doesn’t understand Brittany’smotivations for joining the glee club and so doesn’t entirely trust her. Whenshe is revealed as a spy in episode 1x13, he feels his distrust of her hasbeen validated (“You leaked the set list! You don’t want to behere. You were just Sue Sylvester’s little moles!”).It is well into S2 before he begins to trust that Brittany really wants to bepart of the glee club and that she isn’t just out for herself.

As time goes on andBrittany becomes more integrated into the group, Kurt tries to be nice to her inthe same way that people try to be nice to infants and pets, but oftentimes hispatience with her shenanigans wears thin, which is something that we see fromhim both when she serves as his beard in episode 1x18 and when she becomes his presidentialcampaign manager in episode 3x02.

When the things she saysbaffle him or when her behavior comes across to him as particularly nonsensical,Kurt has a tendency to snap at Brittany and drive her away. Lack ofunderstanding and patience for Brittany notwithstanding, Kurt does seem togenerally like her and is sometimes even protective of her. If asked, he wouldprobably say that he considers Brittany a friend, albeit not his closest one. Attimes, he even calls her by an affectionate short name, “Britt.”

Kurt and Santana

Kurt’s dynamic with Santanaover the years is similar to his dynamic with Brittany, in that it is alsopredicated on an initial poor first impression and the inability to advance thoseinitial views, even given an accumulation of new evidence.

To Kurt, Santana is thequintessential mean girl, motivated largely by malevolence and spite.

When she initially joinsglee club, he doubts her loyalties, just as he does Brittany’s. However,whereas the biggest fault he finds with Brittany is that, in his view, she isstupid and has a bad taste in friends, with Santana, he finds that she isvicious and even dangerous, particularly as she has a tendency to makehomophobic comments towards him (K: “Can we talk about the giant elephant inthe room?” S: “Your sexuality?”).

While there is some debateas to whether or not Kurt realizes that Santana is gay prior to her S3 outing, thefact is that, no matter what he knows or doesn’t know, he remains fairly alooffrom her throughout S1 and S2, and, in the few instances when they do interact,he is openly wary of her intentions.

In his mind, Santana isinherently selfish, so the idea that she would put herself on the line forsomeone else without expecting anything in return just doesn’t add up to him. Why does she protect him from Dave Karofsky? How come she goes out of her way to get him back to WMHS from Dalton? What gives with her suddenly using her prom queen campaign to protect him when for the lastseveral years she has taken every opportunity to bully him for being gay?

His cautious attitude towardsher continues into S3, when he doesn’t know exactly what to make of herattempts to be nice to him and behaves towards her as one might a cat that hadpreviously attacked him but is now purring. Though after her outing, he has abetter idea of why she does some of the things she does—such as going with him,Blaine, and Brittany to confront Sebastian Smythe after Dave Karofsky’s suicideattempt—much of her behavior still remains a mystery in his mind.

Why, for instance, does shenot appreciate his and Blaine’s attempts to serenade her during Lady MusicWeek?

In S4, when Santana becomeshis roommate in NYC, Kurt finds her behavior invasive and at times infuriating,though he generally gets along with her better than Rachel does.

In S5, he feels forced to choosebetween his loyalties to Santana and his loyalties to Rachel, and he inevitablychooses the latter.

In S6, he regards Santanaas a friend, though he still struggles to reconcile her behavior with what hethinks he knows about her basic motivations, which is why it so surprises himwhen she seemingly “out of the blue” decides to share her wedding day with himand Blaine.

As I discuss elsewhere,

Santana spends much of S1 and S2 making homophobic comments aboutKurt, so, to him, Santana is a mean girl, and he never really allows her togrow out of that role in his eyes.

Though in later seasons she becomes his roommate and tries tobecome his friend, he always keeps her at arm’s length and will side withRachel over her in a heartbeat, even in situations where Rachel is in thewrong.

At best, Santana is his fun, bitchy lesbian acquaintance. Atworst, she is his caustic, bitchy lesbian acquaintance.

He seems convinced that she is an awful person who sometimesmasquerades as a sweetheart rather than a sweetheart who sometimes masqueradesas an awful person, and he treats her accordingly, for the most part—though, infairness, he seems somewhat more amiable toward Santana than is Rachel, on thewhole.

Kurtand Brittana

As stated above, Kurt’sopinions of both Brittany and Santana remain fairly static throughout theentire series. When he first gets to know Brittana, he observes that Brittanyis a ditz and Santana is a bully, and his views on them don’t much change overthe course of the next six years.

If he encounters behavior fromthem which deviates from what he thinks he knows about their characters, then hecounts that behavior as aberrant and doesn’t shift his schema to allow for thenew evidence.

In other words, if Brittanydoes something undeniably clever, then he is likely to suppose it was anaccident—an exception rather than the rule. Ditto for if Santana does somethingcertifiably nice.

By S6, he knows enough torealize that, generally speaking, he and Brittana are on the same side.However, he continues to doubt their intentions, and, even up to the pointwhere they are graciously sharing their wedding day with him and Blaine, hestill questions their characters, failing to understand that they have grownand changed a lot since they were fifteen years old.

Overall, he does notunderstand Brittana’s dynamic. He either assumes that they function like he andBlaine do (see episode 6x03)—which they don’t—or else just plain fails to wraphis head around how they behave and what they feel for each other,underestimating the strength and depth of their bond. At his core, he can’t seewhat they see in each other. Why would someone like Brittany want to be withsomeone like Santana? Why would someone like Santana want to be with someonelike Brittany? What do they have in common? How do they make things work?

Brittana really are amystery to Kurt, but one he doesn’t spend too much time trying to unravel.

The fact that he soadamantly opposes their engagement even after six years of knowing them showsthat he doesn’t really get what they’re all about because, if he did, he wouldrealize that through all the ups and downs and changes with them throughout thetime that he has known them, they’ve always been each other’s only constant,and their bond with each other is strong, deep, and mature.

Brittany and Kurt

In S1, Brittany primarilyseems to pity Kurt Hummel—and especially because she very much understands hisunderlying motivations at that time.

Brittany is out long beforeKurt is, and she seemingly never wrestles with her own sense of identity in theway that Kurt does (see here).However, she does still feel for Kurt, and particularly as she recognizes thathe and Santana are essentially in the same boat.

Though at this point in theshow, few people would see similarities between an unpopular, virginal gaychoir boy and a popular, slutty “straight” cheerleader, Brittany knowsthat Kurt and Santana actually share much in common, albeit below thesurface.

Both Kurt and Santana carrya secret that that they’re desperately trying to suppress. Both Kurt andSantana worry that if they are honest about their identities, they will losethe love of their family members. Both Kurt and Santana perform socialgymnastics in order to maintain a sense of equilibrium in their lives, tryingdesperately to balance who they really are with who they think they need to bein order to survive.

Brittany is aware longbefore Santana says it out loud that Santana looks to Kurt as thequintessential canary down the mineshaft and that anything she sees happeningto him, she fears will also happen to her. Whenever Kurt faces homophobia orsuffers a setback as he negotiates his outness, Santana takes note, andBrittany, by extension, does, too.

In my view, that is why throughout S1 we see several instancesin which Brittany helps Kurt to interact with his father on his own terms, suchas in episode 1x04, when she and Tina convince Burt that Kurt is on thefootball team so that Kurt can save face (see here),and in episode 1x18, when she acts as Kurt’s beard so that Kurt can prove toBurt that he is “straight” (see here).

At this point in herdevelopment, Brittany is still very much in the business of helping Santana tomaintain the illusion of their straightness, and she essentially does the samething for Kurt. While she may not personally feel the need to hide her same-sexattractions, she knows that Kurt and Santana do, and she doesn’t hesitate toplay along in their schemes to convince the world that they are “outstandingheterosexuals,” no matter how overblown and ineffectual said schemes may be.

It is only as Brittanystarts to change how she relates to Santana during S2 that her relationshipwith Kurt also changes, and she becomes less about trying to help him obfuscate his true self and more about helping him to celebrate it.

Nowhere is this attitudefrom her more apparent than in episode 2x20, when she acknowledges how strongKurt has to be in order to be himself and encourages Santana to stand by him inhis time of trouble (“Go back out there and be there for Kurt. This is gonna bea lot harder for him than it is for you”).

While there is an element of self-service to Brittany’s actionsin this situation—Santana helping Kurt to feel comfortable with himself in turnhelps Santana to feel comfortable with herself, and a comfortable Santana isone who will be able to date Brittany—there is also some genuine pride andappreciation underlying them.

Brittany is glad that Kurt has gone from being someone who wouldlie to his father about having a girlfriend to being someone who can takeownership of a shitty situation by saying, “I’m proud to be who I am.” She seesthe progress he has made, and she applauds his real bravado.

Though she hasn’t said so out loud, to this point in the show,Brittany has considered herself to be in a position to “help Kurt up.” While hehas struggled to accept himself and later to forge his identity as an out gaykid at a conservative school, Brittany has already been there, and she has beenquietly watching him, lending him help when she can, and rooting for him fromthe sidelines.

Come S3, she feels that Kurt has finally peaked and that theyare now on equal footing in terms of being comfortable in their own skins.

That’s why she turns to him as an ally in her quest to make WMHSa safe place for other, potentially still-closeted LGBTQ kids, includingSantana—because she assumes that she and Kurt are both in a position to helpothers reach the point they’ve gotten to and that they’re on the same pageabout the importance of activism in their community (see here).

Her assumption is a mistake not because Kurt doesn’t care aboutLGBTQ causes but because he doesn’t understand her and her motivations.

For one thing, like most people at the school, Kurt doesn’t seemto think of Brittany as bisexual, her openness concerning her orientationnotwithstanding (see hereand here).Particularly given that Brittany and Santana are not yet openly dating at thetime when episode 3x02 takes place, Kurt doesn’t get that Brittany has theproverbial dog in this fight. In his mind, she is an ally at best, so it’s nother personal safety, comfort, and wellbeing that are going on the line in thiscampaign, just his. He is the out gay kid, so he’s the one that will have to facethe backlash, not Brittany, who, according to his understanding, is ostensiblystraight.

For another thing, because Kurt views Brittany as naïve, he believesthat she is wildly oversimplifying the matter at hand and that she doesn’tunderstand the grander implications of her own actions. He assumes that shethinks that running a campaign of this nature will be easy and that no one willpush back against it because her world is all rainbows, puppies, andbutterflies. He doesn’t realize that Brittany has been watching how peoplereact to him for as long as they’ve known each other. He also doesn’t get thatshe is smart enough to know what happens to anyone who dares to be toodifferent at their school.

While Kurt is finally to the place where he is comfortableclaiming his identity as a gay man and publicly being in a relationship withBlaine, he isn’t eager to become the face of the gay rights movement atWMHS—and especially not after being driven to Dalton the year before. The waypeople react to him is different than the way people react to Brittany andalways has been. While she may be comfortable associating herself with ProjectUnicorn, he isn’t, and so he and Brittany butt heads.

Whereas in the past when Kurt has snapped at Brittany (see episodes1x18 and 2x02), Brittany has typically backed off and done as Kurt says, in S3,Brittany actually stands up to Kurt, and the fact that she does so isreflective of her own personal growth during the Back Six of S2.

That said, it is also reflective of her changed view of Kurt nowthat he is out and more at ease in his own skin. In the past, Brittany viewedKurt as delicate, so she was all about being gentle with him and going alongwith things at his pace so as not to spook him. Now she knows that he isconfident in himself and that he can handle tough love. In her mind, that meansthat she can take the kiddie gloves off with him. So she does.

When Kurt says he doesn’t want her to run his campaign for thesenior class presidency, Brittany comes back swinging. Though she initiallyshows shock and disappointment about his decision, after a pep talk fromSantana, she tells Kurt that she is going to continue the campaign without him,becoming a candidate herself. While she isn’t mean about what she says, she isfirm, and she doesn’t back down.

This action represents a major shift in the way Brittany relatesto Kurt. No longer does she pity him or look at him as someone she has to baby.

—and that point is important, because going forward into S3,Brittany really seems to take off her rose-tinted glasses when it comes toKurt and how he treats her.

Brittany has always been aware that everyone aside from Santanathinks she’s stupid. Some people are meaner about it, like Finn, while somepeople are nicer about it, like Mercedes. It’s the difference between outrightdisdain and condescension versus “being too gentle” with her. Kurt was alwayson the nicer end of the continuum. Brittany knew he didn’t think of her as anintellectual equal, but she was willing to let it slide because at least mostof the time he was kind.

But as their political campaign heats up, Kurt starts to getannoyed with Brittany’s antics—and particularly as she gains over him in thepolls—and his interactions with her become noticeably harsher. Whereas beforehe always at least tried to hide the fact that he thought she was as dumb as abox of rocks, now he is much more open in his patronization, and Brittany isn’thaving it (see episode 3x03).

Between the disrespect he shows Brittany as a political rivaland his participation in Santana’s humiliating public outing experience (seeepisode 3x07), Brittany starts to get a bit passive aggressive towards Kurt. Ofcourse, it’s not that she outright hates the kid—she still likes him wellenough—it’s just that she is no longer giving him a free pass in how he treatsother people.

That attitude is the one she carries into S4 and S5, as Kurtgraduates and moves to New York, where Santana eventually becomes his roommate.While Brittany doesn’t have much direct contact with Kurt during this time, shehears through the grapevine about how he is treating her girl, and, honestly,the reports leave her troubled.

That Rachel and Kurt would kick Santana out of first the Loftand later Pamela Lansbury when Santana wants nothing more than to be theirfriends doesn’t sit well with Brittany. That Santana always seems to have tobeg for Hummelberry’s acceptance and friendship even though she freely givesthose things to them hurts Brittany’s heart.

In episodes 5x12 and 5x13 especially, Brittany sees just howmuch of a toll it has taken on Santana to constantly have to be on her guardaround Hummelberry, and she feels frustrated because things didn’t have to bethat way.

If Kurt had just dropped his guard, Santana would have been hisfriend to the end. Couldn’t he see?

Again, Brittany doesn’t hate Kurt for his behavior, but she alsodoesn’t entirely excuse it. In her mind, Kurt can be a nice guy when doesn’thave his head up his ass. It’s just that Kurt does have his head up his ass alot, and particularly when he is caught up in the constant drama that seems tosurround Rachel and Blaine.

Honestly, Brittany is never a big fan of Blaine, a point whichwe’ll discuss in more detail later.

Come S6 when Brittany starts interacting with Kurt on theregular again, her m.o. seems to be that she wants to remind him to be true tohimself and to heed his better impulses. She goes about doing so by behavingpassive-aggressively towards Kurt when he fails to toe the line (see episode6x02) and calling him out when he crosses it (see episode 6x03). Throughoutthis season, we see her use more tricksy troll!Brittany behavior on him thanshe ever has before, usually with the intent to take him down a peg or two whenshe believes he is getting too full of himself (see here).

At this point, Brittany knows that Kurt will probably neverfully get her and Santana and that their relationship will never be superclose, even given their shared history at WMHS. Still, she wants to be ondecent terms with him, and she wants him to show her and Santana basic respect,even if he doesn’t understand them or their dynamic at all.

As for Brittany’s push to share her wedding with Kurt andBlaine, suffice it to say that there’s a lot more to that story than meets theeye, and, despite what she professes, Brittany is no Klaine shipper (see here).Brittany has her eye on a prize in that situation, and Kurt is just in thedetails. She is on her way to a happy ending, and if she has to let him mooch herwedding venue to do so, then so be it.

Her attitude in that episode is indicative of her overall attitudetoward Kurt to end the show: She feels like she and Santana tried to connectwith him, but it never worked out. At first, she was hurt by the fact that Kurtnever came to understand her—and especially that he never came to understandSantana—but now she’s over it. She can be friends with him on a superficiallevel as long as he’s nice to them, but she’s not going to sit back and let himtreat her or Santana badly anymore. She knows they’re worth more than that,whether Kurt sees it or not. In the end, Kurttany has become a fairly neutralrelationship, and Brittany’s m.o. with it is to do no harm and take no shit.

Brittany and Blaine andKlaine’s Relationship

As I discuss elsewhere,

While Brittany doesn’t hate Blaine like she hates Rachel, she alsoisn’t his number one fan. In general, Brittany doesn’t take well to anyone whobelieves that they’re better than everyone else, so Blaine going after everysolo and role and class presidency with aplomb, regardless of whom he steps onto do so, doesn’t sit well with her. Brittany believes in being a team player,and, the way she sees it, Blaine isn’t one. He will always put himself in thepoint position, even if he isn’t the best person for the job.

—which brings us to his treatment of Kurt.

Historically, Brittany has been protective of Kurt, as she cansympathize with him (see here, here, and here).Brittany likes to see Kurt succeed because she likes the idea that someone whomarches to the beat of his own drummer can make it in a world that tries tomake everyone conform—hence why she helps Kurt with his campaign and why sheacts as his background singer for his NYADA audition and why she is generallynice to him, even though they’re not necessarily close friends.

Of course, just because Brittany generally likes Kurt and wantshim to succeed doesn’t mean she always agrees with him and his choices or willrefrain from giving him a little bit of tough love should she feel the need todo so.

Enter her “advice” to Kurt in episode 6x02 “Homecoming.”

Brittany has watched Kurt’s relationship with Blaine from thestart, and, honestly? I don’t think she likes most of what she sees.

For Brittany, a real partnership is about two people supportingeach other and helping each other to fulfill their dreams, and from Brittany’sperspective, I don’t think she sees Blaine doing those things for Kurt, thoughKurt often does them for Blaine.

In her eyes, when Kurt and Blaine both want the same thing—i.e., asolo in glee club, a role in the school play, a prestige spot at NYADA, acertain rule to be honored in their relationship—Blaine almost inevitably endsup getting whatever the thing is, with Kurt stepping aside or bowing out inorder to allow him to have it.

Add on the fact that Brittany has undoubtedly heard all about the“Klaine can’t live together without fighting” fiasco from Santana, and,frankly, I think Brittany probably views Blaine as a negative factor in Kurt’slife rather than a positive one.

That said, Brittany is all about respecting the choices peoplemake for themselves, so for as passive-aggressive as she may be about and eventowards Blaine, she isn’t going to stand in Kurt’s way once he decides he wantsto be with Blaine forever.

If Kurt loves and wants to be with Blaine, then Kurt loves andwants to be with Blaine, and Brittany will accept that Blaine is Kurt’s person,even if she doesn’t understand the appeal (see episode 6x03 and 6x08).

Santana and Kurt

Santana’s relationship with Kurt follows a similar trajectory toBrittany’s.

However, while Brittany runs through the cycle of sympathizing withKurt, wanting to befriend him, realizing that a deep friendship with him is notpossible because he never makes an effort to understand her, and then gettingover it mostly over the course of S1-S3 (at least on her own account),Santana’s cycle runs over the course of the whole series, and it runs on higheroctane than Brittany’s does overall.

Santana is the more emotionally reactive half of Brittana, so shetends to take things with Kurt harder than does Brittany on a whole, and especiallybecause her relationship with him is wrapped up in her own sense of identity asa gay person and in her dynamics with Brittany, Rachel, and her feelings abouther future, and it is marked by insecurity from start almost to finish.

As I say elsewhere,

Santana’s relationship with Kurt iscomplicated.

On the one hand, she spent much of high school wishing she couldbe him: i.e., the out gay kid who persisted in being himself no matter whatopposition he faced.

On the other hand, she spent much of high school terrified to behim: i.e., the out gay kid who got thrown into lockers and roughed up andtossed into dumpsters and hated on and threatened because he was gay (“I mean,you know what happened to Kurt at this school”).

Kurt was simultaneously an object of both devotion and fear forSantana. In spite of herself, she identified with him very strongly. She sawhis successes as successes she could possibly have and his failures as failuresshe could potentially experience (see Santana intervening to save Klaine fromKarofsky’s wrath in 2x18 and Santana’s panic after Kurt becomes prom queen in2x20).

That’s part of why she worked so hard to make WMHS safe for Kurtin Season Two, long before she herself came out (see here).

During Season Two, Kurt was more of a symbol to Santana thansomeone with whom she had an actual relationship, but during Season Three, shemade her first overtures of real friendship to him, reaching out to him whenSebastian and the Warblers tried to hurt him and Blaine (“Today is your luckyday, because Auntie Snixx just arrived on the Bitch Town Express”).

In her mind, Santana had done Kurt several solids by thispoint—i.e., forming the Bully Whips on his behalf, bringing him back to WMHSfrom Dalton, singing to him at prom despite her own fears, taking downSebastian after Sebastian hurt Blaine, etc.—and the fact that she had done soplus her and Kurt’s shared experience of being out gay kids at WMHS should havebeen enough to make them friends.

We see Santana operate under the assumption that she andKurt are friends throughout Season Four, answering his summonsto stage an intervention for Rachel in 4x12 and bringing him Christmas presentsin 5x08 (the events of whichtake place during Season Four chronologically). Though Santana stillcalls Kurt names, she assumes he knows that she only does so because she likeshim.

That being the case, she fully expects him and Rachel to welcomeher into the Loft with open arms (and particularly as Rachel actually invitedher to live in the Loft during the events of 5x08).

Unfortunately, that’s not what happens.

From the very first time Santana does something nice forKurt—i.e., forming the Bully Whips in 2x18—Kurt questions her motivations in sodoing. Why is the girl who openly mocked him and attempted to sabotage the gleeclub during their sophomore year suddenly buddying up to him in their junioryear? Surely someone as selfish as Santana can’t have altruistic motives. Shemust have either lost her mind or stand to profit from helping Kurt somehow.

Even when he learns that Santana is gay come Season Three, Kurtstill views her largely as an outsider, and his distrust (andmisunderstanding) of her continues well into Season Four, when she moves intothe Loft.

To be fair, navigating the Hummelpezberry dynamic is trickybusiness, and particularly for Kurt, who often finds himself in theuncomfortable position of mediating between Rachel and Santana, both of whomget up to some pretty wild hijinks and who often butt heads with each other.

Kurt is a natural peacemaker, and he dislikes having contention inhis home, so he will try to counsel Rachel and Santana through their disputesas much as he is able.

That said, at the end of the day, Kurt is Rachel’s best friend, notSantana’s, so while he may try to maintain his neutrality concerning theirdisputes, when push comes to shove, he almost always sides with Rachel in theend, as per what we see during the Pezberry Funny Girl disputeof early Season Five.

As I say elsewhere:

While there is certainly no shortage of wittybanter and fun musical numbers between roomies Kurt, Santana, and Rachel, thereis a shortage of “relationship-building” scenes—or at least a shortage oflasting “relationship-building” scenes that the Glee writers don’t subsequentlyrescind, ignore, or negate.

For every one friendly gesture Hummelberry andSantana make towards one another—such as, for instance, when Santana helpsRachel through her pregnancy scare in episode 4x15 or when Rachel encouragesSantana not to give up on her dreams in the first scene of episode 5x09—thereare at least two or three scenes that then show how very unstable their dynamicactually is—such as when Hummelberry kick Santana out of the Loft in 4x16 andSantana and Rachel are at each other’s throats throughout most of 5x09 and5x10.

Just as it was always the case that the UnholyTrinity broke down into units of Brittana + Quinn, it is also the case thatHummelpezberry breaks down into units of Hummelberry + Santana, with Santana asthe odd one out.

Not only do Kurt and Rachel frequently form ranksto outvote Santana, but their bond as Hummelberry can exist independent of her,whereas her bonds as part of Pezberry and Kurtana are largely dependent onHummelberry’s bond with each other—i.e., Kurt serves as a necessary peacemakerbetween Pezberry, allowing their friendship to exist, while a common interestin and exasperation with Rachel and her antics is what keeps Kurtana united.

Santana’s bond with Kurt is more stable thanSantana’s bond with Rachel, which is to say that Santana and Kurt are lesslikely to fight than Santana and Rachel are. However, Santana’s bond with Kurtis also weaker than her bond with Rachel is, which is to say that Santana hasless in common with Kurt than she does with Rachel and also that Santana feelsthat Kurt needs her less than Rachel does.

Of course, both Santana’s bond with Kurt ANDSantana’s bond with Rachel are relatively weak compared with Kurt and Rachel’sbond to each other.

If it comes down to it, Hummelberry’s tendency isto have each other’s backs. Though they like Santana to a degree, she is extraneousto them.

And the thing is that Santana knows it.

Santana knows the difference between a secureattachment and an insecure one, and she knows that while Hummelberry aresecurely attached to each other, they are, for the most part, insecurelyattached to her. Santana knows that Hummelberry will tolerate her as long asshe is on her best behavior, and she fears the implications of theirtoleration.

Frankly, Santana is terrified of stepping one toeout of line, lest Hummelberry kick her out of the Loft again—because for asmuch as Santana says that she needs her job at the diner, she needs her placeat the Loft equally as much.

So while Santana ultimately fights less with Kurt than she doeswith Rachel, her relationship with him is just as tenuous and one-sided as isPezberry’s.

She ultimately never achieves the kind of intimacy and secureattachment to Kurt that she craves.

So cut to Season Six, when Kurt objects to Santana’s proposal toBrittany (see here):

Santana is angry that she tried for years toprove to Kurt that she was his friend, and he responded by evicting her fromthe Loft, questioning her intentions in auditioning to play Rachel’sunderstudy, kicking her out of his band, making her feel like a stranger in herown home, being ungrateful when she saved him from his high school bully anddefended Blaine against Sebastian Warbler on his behalf and scored him a job atthe diner and brought her girlfriend into his band and participated (graciouslyand quietly) in his proposal to Blaine and spent time socializing with andgetting to know him, being kind to him in his down moments, giving him soundadvice in a way that no one else was honest enough to do, etc.

Santana is angry that despite her trying herdamnedest to show Kurt that she was not the same girl he knew in highschool—that she wasn’t wrathful anymore, that she was generous, that she waswilling to share her heart in friendship with anyone who would treat it withcare—he never believed her. He always thought the worst of her. He kept her onthe outside, when she so desperately craved (and worked hard to earn) histrust.

Santana is angry but mostly she is hurt.

Santana is hurt because she genuinely cares aboutwhat happens to Kurt, but he has just shown her that he doesn’t give a damnabout what’s most important to her in return.

She showed him her precious things, and hetreated them like they were garbage.

Kurt was supposed to be Santana’s friend, and itbreaks her heart that he isn’t.

So while Santana’s capacity to forgive is muchgreater than most people generally give her credit for—and often even greaterthan those who wrong her might deserve—she does inevitably reach a point whereshe just can’t take it anymore.

And so when Kurt fucks up something that isimportant to Santana, that is sacred to her, that’s supposed to be beautifuland happy and pure, by lecturing her about learning from his mistakes? Sheloses it.

To Santana, it’s just another example of howeverything about the Kurtana relationship has always been about Kurt.

It is no coincidence that Santana spends the months that herrelationship with Brittany is at its most tenuous chasing after Kurt’sapproval. Throughout S4 and early S5, she is desperate for a place to belongand something to hold onto, and she keeps hoping that Kurt will take pity onher. She has always envied the courage he has to be himself, and now that sheis scrambling to figure out who she is outside of high school, she seeks toally herself with him, thinking that maybe some of his self-determination willrub off on her and help her find her direction.

It takes until episode 6x03, when Kurt objects to her proposal toBrittany, for Santana to realize that she should stop killing herself to winKurt’s love and approval, as, in the end, she is probably never going to getit. Going forward, she doesn’t bear Kurt ill-will. She just isn’t as hung up onwhat he thinks of her, largely because she has found where she belongs and shehas a better sense of who she is, regardless of what anyone might think. Thesecurity she feels in her relationship with Brittany makes up for the insecurityshe feels in her relationship with Kurt (and also Rachel). She’ll be friendlywith them on a superficial level, but when they inevitably do something todisappoint her, she isn’t going to take it personally—not anymore.

This attitude towards Kurt is the one that Santana carries intoher wedding day, and it is what allows her to offer up her nuptials for Klaineto take part in as well. Everything that has happened between Santana and Kurtover the years is water under the bridge now, so if Brittany wants Klaine toget married at her and Santana’s wedding, then Santana is cool with it. She’sgame. She can be altruistic, and if Kurt notices, then awesome, but if not,that’s his deal. She doesn’t need his validation anymore. She is just going tobe herself.

Santanaand Blaine and Klaine’s Relationship

The central dynamic between Brittana and Klaine is always mostlybetween Brittana and Kurt, as neither Brittany nor Santana has much of apersonal relationship with Blaine beyond his being Kurt’s boyfriend/fiancé/husband.

To this end, Santana and Blaine don’t often interact on a one-to-one basis, andmost of their exchanges center on and are filtered through Kurt.

On the few occasions when Santana does take notice of Blaine forreasons not directly related to Kurt, her interactions with him are notnecessarily positive.

In episode 2x12, Blainetana get off to a bad start when Blainesingles Santana out at BreadStix, singing to her that she may never find loveat all and compounding her already horrible, awful, no good, very badValentine’s Day by drawing attention to her loneliness and (inadvertently)playing on her fears.

Things get worse in S3 after Blaine transfers to WMHS from Daltonand immediately starts grabbing up solos left and right, exacerbating Santana’ssense that there is no place for her in an already crowded New Directions (seeepisode 3x04).

That said, though Santana does not have much love for Blaine on apersonal level, she is willing to tolerate him for Kurt’s sake.

In general, Santana follows the same rule as Brittany when itcomes to how she treats Blaine and his relationship with Kurt, which is to saythat, though she may not personally see Blaine’s appeal for Kurt or think that Blaineis a particularly good match for him, she acknowledges that if Blaine is Kurt’sman, then Blaine is Kurt’s man, and so treats him like a friend for Kurt’s sake.In her case, “treating Blaine like a friend for Kurt’s sake” translates to hersnarking at him as she does at Kurt but also protecting him like her own whenneeds be.

The place where this behavior from her is most apparent is inepisode 3x11, when she “goes to battle” against Sebastian Smythe after hethrows rock salt in Blaine’s eye, sending Blaine to the hospital. Her musicalduel against Sebastian and the reconnaissance work she does against him is allfor Blaine’s benefit, a way to prove that Sebastian is guilty and get him backgood for what he’s done.

To Santana, that’s just how one treats a friend’s significantother—and it’s what she would expect Kurt to do for Brittany were the situationreversed.

Note: Santana’s expectation that friends should respect theirfriends’ relationships even if they don’t necessarily like or “get” themunderlies her hurt when Kurt objects to her proposal to Brittany in S6. No matterhow she feels about Blaine, she would never undermine Kurt’s right to be withhim or place her objections over Kurt’s feelings.

Overall, Santana seems to view Blaine as conceited and feelannoyed with him for his grandstanding, but she still accepts that Kurt loveshim, and that’s good enough for her. The only time she ever truly “goes after”Kurt and Blaine’s relationship is in episode 6x03, after Kurt objects to herproposal to Brittany. In that case, she is lashing out to hurt Kurt because hehurt her first. In her mind, he broke the “your friend’s relationship is sacred”rule, so she’s punishing him for it, plain and simple. The fact that she laterforgives Kurt enough to let him and Blaine share in her wedding proves that herdiatribe was mostly a nervous reaction and that, underneath everything, shebears Klaine no real malice. Again, she is over it, and if Kurt wants to marryBlaine, then that’s his business, and she’ll respect his decision.

Blaineand Brittana

As stated above, Blaine doesn’t have many individual interactionswith either Brittany or Santana, as he knows them mostly through Kurt (and, inBrittany’s case, through Sam).

That being the case, his views of the girls andtheir relationship seem mostly to fall in line with Kurt’s: He thinks Brittanyis dumb, Santana is mean, and Brittana is somewhat inexplicable. In general, heseems to be amused by the strangeness that is them, and he doesn’t really gettheir whole “thing,” but he plays it off because, well, why not?

On the few occasions when Brittana do nice things for him—such as when Santana protects him and Kurt from Karofsky in episode 2x17 or when Brittany invites him and Kurt to share in her and Santana’s weddding in 6x08—he is grateful, if befuddled, as he doesn’t really understand where the niceness is coming from.

Following Kurt’s lead, he never really pushes for a deeper or more intimate friendship with either Santana or Brittany or with Brittana as a couple. He seems mostly fine with the pleasant but superficial status quo and with Kurt being closer to the girls than he is. Whatever history is there, he’s not going to poke at. There is nothing that really personally compels him about Brittana, one way or the other.

Conclusion

Brittana and Klaine end the show as neither friends nor enemies.

Santana’s early bullying and Brittany’s seemingincomprehensibility put Kurt off on them early on, and Kurt’s inability tochange his opinions put them off on him later. Though over the years, they singplenty of songs together and show occasional care for one another, ultimately,they fail to achieve true understanding. To Kurt, Brittana are still asimpleton and a mean girl. He doesn’t recognize Brittany’s cleverness orSantana’s ooey-gooey center. To Brittana, Kurt is impossible. They feel theyhave tried to win his friendship to no avail, so now they’ve given up. Their relationshipstops just short of real intimacy. They have shared history, but they don’tbare their souls to one another.

In the end, Brittana and Klaine represent a failed experiment bothinside and outside of their fictional universe.

The writers tried to make “two same-sex couples as buddies” fetchhappen, but they never truly allowed the groups to overcome their rocky startswith each other. Their inability to scaffold and build up this friendshipcorrelates to a larger failure on their parts in the way that they wieldedSantana as a character—namely, that they never quite knew what to do with heronce they could no longer just straight up treat her as a villain following herdevelopment in S2.

They knew that Santana could be nice, but she made such aconvenient heavy that they were reluctant to label her a hero. Their attitudetoward her is reflected in Kurt’s treatment of her, and it accounts for many ofthe starts, stops, and stalls that she and Kurt experience over the years.

The same is also true to for Brittany and Kurt, as the writerswere never able to gracefully transition Brittany between what they had firstenvisioned her as in S1 and what they eventually made her into from S2 on, and,consequently, Kurt was never able to advance his views of her, either.

Since Kurt’s attitudes eventually became Blaine’s, the wholeBrittana and Klaine friendship stalled from the onset. For every one bondingmoment they experienced, there was always a fight or a misunderstanding or agrudge that prevented them from truly drawing close. Klaine keep their guards up. Brittana have hurt feelings and eventually move on.

Of course, none of this analysis is meant to discourage peoplefrom enjoying the idea of a Brittana and Klaine friendship in fic and fanon. It’sjust to say that, in canon, I think that the Glee writers choked in theirexecution and that the whole situation is a lot more complicated than itappears on the surface.

As for my own views on Klaine, I don’t personally ship them,though I respect those who do.

Sorry this answer turned into such a monster piece.

Thank you for the question!

#Crazy Brittanalyst answers #ruskinino #Also @dive-right-into-you: I got your question and I'm working on a response

38 notes · View notes

kiss-my-freckle · 6 years

Text

Liz’s baby pro-con list is backwards, all things considered. The cons are actually her pros because they fall into Red’s promise to her in Drexel’s episode.

Red: People say youth is wasted on the young. I disagree. I believe wisdom is wasted on the old. All you can do is part with it, but very few will take it. Least of all, the people closest to you. They want no part of it. No matter how often I warn you about Tom, you seem intent on discovering those perils for yourself. I know I say things that unsettle you about the dangers that lie ahead. I know I anger you with things I say about Tom. But if I’ve ever given you the impression that you won’t survive this, that you and your child aren’t going to have the simple life that I know you long for, I’m sorry. Because you are going to have that, Lizzy.

Sure, Liz will be investigating Red, but the overall feeling I get, is their readiness to show what happens when they remove Tom from the pro-con list.

2x18 -

Red: I understand what it’s like to be drawn to something that is unhealthy, to a part of yourself that you are afraid of. But I want you to remember what your life really was with him, and imagine all that it could be without him. Liz: I don’t have to imagine. Red: Good. Because I have a case.

Taking a look at this list.

Pros -

“My baby”

Since choosing to keep Tom in her life, she and Agnes were kidnapped, she’d been separated from her child throughout the first half of S4, and Agnes was put at risk multiple times - even in utero. From Solomon holding a knife to Liz’s belly, her being suffocated in the orange box and requiring Aram perform CPR, those complications during childbirth after their wedding crash, being In the car when Mato crashed into them to kidnap her the second time, to being at risk of a stem cell donation and Kirk holding her on the ledge of a rooftop.

“Family”

And friends. Since choosing to keep Tom in her life, she’s lost Baz, Kate and Nik. Meera, since they reminded us of that in season five. Faked her death in season three to get away from Red - whom we know is Liz’s parent.

The family she wanted to build with Tom was never built. They made it a point to hand Red this dialogue upon his return in Blaise’s episode -

Red: Your family must be very happy to have you back. I remember warning you not to embark on that silly adventure. But nothing ventured, nothing gained. Welcome home.

Because Tom never actually came home. He took on another job. Red knew it.

2x14 -

Liz: So, what? That’s it? Berlin is out of commission, and you just get another gig?

2x15 -

Red: You acquired Tom Keen when he was a boy. You trained him to be a deep-cover operative. It’s all he’s ever done. It’s all he knows. When one operation ends, he comes back to you for another.

“Chance for a normal life”

lmfao ... I just did a full post on this. Tom could never offer her a normal life because he couldn’t give up his spy life. He couldn’t even be honest with Liz, which is required for any normal marriage to last a lifetime. He cared more to reveal Red’s truth than his own, which has been his thing since the start of the show. And he cared more to play guinea pig than spend time with his supposed daughter. “Tom????”

So what happens now that he’s gone?

Cons -

"Everything in my life"

“Everything about me is a lie.” ”You saw what Katarina wanted you to see. She lied to you, about everything.” "I’m confused about why he took so long to tell me and how I feel about everything, but - “ "Reddington" Not the real Reddington "I'm a felon"

No longer a felon because of Red "No friends"

Cooper, Aram, Samar, Ressler, Dembe "No family"

Dom and Rederina

"Don't know anyone with kids"

lol .... Dom and Rederina "Can barely take care of myself"

Red’s promise in Drexel. Something to which they handed us for Tom in S4 and S5. Wisdom and regret. Tom's regret now to become Liz's. Because she failed to listen, to take Red's warnings. And Red never promised her a changed husband. That’s something he couldn’t promise her.

But her second husband ... he’ll be coming.

Tom: If you answer your phone, we are getting a divorce. Liz: I have to meet Reddington in 30 minutes. Tom: No! No, you don’t! Just tell him you’re on your honeymoon. Tell him that your second husband insists you take one day off. Liz: Um, technically you are my first husband because our first marriage was annulled.

Her pro list is actually her con list and her con list is actually her pro list.

#Anti-Tom Keen #Anti-Keen2 #Keenler #Rederina #current thoughts

0 notes

papermoonloveslucy · 7 years

Text

LUCY GETS HER MAN

S1;E21 ~ February 24, 1969

Directed by Jack Donohue ~ Written by Fred S. Fox and Seaman Jacobs

Synopsis

Harry's old Army buddy is working in Counter-Intelligence and needs a stenographer to help get the goods on a suspected spy (Victor Buono). Naturally, Lucy gets the assignment.

Regular Cast

Lucille Ball (Lucy Carter), Gale Gordon (Harrison Otis Carter), Lucie Arnaz (Kim Carter), Desi Arnaz Jr. (Craig Carter)

Guest Cast

Victor Buono (Arthur Vermillion) was a character actor whose screen career began in 1959. He was nominated for a 1963 Oscar for his portrayal of Edwin Flagg in Whatever Happened To Baby Jane, which he quickly followed up with Hush, Hush Sweet Charlotte, both starring Bette Davis. He is perhaps best remembered for playing arch-villain King Tut on “Batman” (inset). Buono died in 1982 at the age of 43.

Buono uses a thick middle-European accent as Vermillion. According to the dictionary, ‘vermillion’ (or ‘vermilion’), describes a deep, brilliant shade of red. ‘Red’ is slang for a communist, based on the color of the communist flag, which ties into the spy theme of the episode.

Mary Wickes (Isabel) was one of Lucille Ball’s closest friends and at one time, a neighbor. She made a memorable appearances on “I Love Lucy” as ballet mistress Madame Lamond in “The Ballet” (ILL S1;E19). In her initial “Lucy Show” appearances her characters name was Frances, but she then made four more as a variety of characters for a total of 8 episodes. This is the first of her 9 appearances on “Here’s Lucy.” She also played Isabel in “Lucy Goes on Strike” (S1;E16). Their final collaboration on screen was “Lucy Calls the President” in 1977.

Wickes only has 40 seconds of screen time at the very start of the episode. Before Mary Jane Croft joined the show, the character of Isabel was intended to be a secretary friend of Lucy Carter’s who works in her building. Wickes only played the character twice before moving into different characters for the rest of the series.

Robert Carson (Buzzy Brock) was a busy Canadian-born character actor who appeared on six episodes of “The Lucy Show.” This is the second of his five appearances on “Here’s Lucy.”

Buzzy was an Army Colonel at the Pentagon during World War II. He got a Purple Heart when his desk collapsed! He is currently working with 'Counter-Intelligence'.

Chicago Tribune, February 24, 1969

This is the third spy story on “Here’s Lucy” in just five months, preceded by “Lucy's Impossible Mission” (S1;6) and “Lucy and the Great Airport Chase” (S1;E18). Spy series' such as “Get Smart” and “Mission: Impossible” were tremendously popular at the time. Craig mentions a show called “Spy Mission” and Kim talks about “Counter Agent,” both made-up TV spy programs.

Lucille Ball and Victor Buono were both featured in “Like Hep!”, a Dinah Shore special that aired a few months after this episode. In it, Ball did a variety of sketches, including one set in a speakeasy with Buono as a mob boss.

Upon arriving at work, Lucy off-handedly says “another day behind the iron curtain.” The Iron Curtain was the name for the imaginary boundary dividing Europe into two separate areas from the end of World War II in 1945 until the end of the Cold War in 1991. The use of the term contributes to the spy nature of the story, but seems a bit precipitous considering the plot has yet to be revealed!

Isabel calls Harry Jack the Ripper, comparing him to the famous London serial killer. There was also a character named Jack D. Ripper in the 1964 iron curtain comedy Dr. Strangelove. Could this be another vague and precipitous reference to the episode’s theme?

After Isabel and Harry continually bump into one another going out the door (doing a sort of ‘after you’ dance) Harry calls her St. Vitus. Saint Vitus (290-303 AD) was a child saint from Sicily. In the late Middle Ages, people celebrated the feast of Vitus by dancing before his statue. The name "Saint Vitus Dance" was given to neurological disorders like epilepsy. It also led to Vitus being considered the patron saint of dancers.

We learn that Harry was an Army major during World War II and worked at the Pentagon.

Buzzy calls Harry 'Foamy' because he wore out twelve foam rubber cushions on his swivel chair. Clearly Buzzy and 'Foamy' (aka Harry) were desk jockeys during the war. The script doesn't specify, however, why Buzzy is named Buzzy.

When Kim comes home from school, she asks her mother if Jerry called. Presumably, Jerry is her boyfriend. Jerry was also the name of Lucy Carmichael's son on “The Lucy Show.” She uses her childrens’ questions as a memory test for her upcoming spy assignment.

Kim says her birthday is the 17th of next month. In real life, Lucie Arnaz's birthday is the 17th of July.

The song Kim and Craig play for Uncle Harry, to show him what life with teenagers in the house might be like, is a jazzy version of “I Know A Place” by Tony Hatch. The song was recorded in 1965 by Petula Clark. It is here performed without lyrics with Kim dancing and Craig playing the drums. Lucy danced to the song in “Mod, Mod Lucy” (S1;E1). Clark will do a guest appearance on the series in season 5, although she will not sing “I Know A Place.”

When Lucille Ball enters Vermillion's hotel suite at the (fictional) Crescent Palms Hotel wearing a black wig, she gets a round of applause from the studio audience.

If the horse statue in Vermillion’s hotel room looks familiar, it is likely the same horse used later that year on the set of “The Brady Bunch” (1969-74). Both shows were filmed at Paramount Studios. Similar horses also turned up on “Bewitched” (1964-72) and in the film Bell, Book and Candle (1958) starring Ernie Kovacs. This iteration of the horse statue has its saddle and reigns painted black, but they are otherwise identical. Equine statuary was quite common in mid-century decorating.

Vermillion, under the guise of a greeting card writer, dictates correspondence to

Gregory Schmidt, General Delivery, St. Louis, Misery

and another to

Igor Shaffsky, Hotel Scimitar, Istanbul

He eats his notes. Is he really a spy or just really hungry?

When Vermillion looks around the room to see that they he and Lucy are alone, the soundtrack plays “Mission: Impossible” style music. The TV score by Lalo Schifrin was extensively used in “Lucy's Impossible Mission” (S1;E6).

Victor Buono is best known for his role in the Bette Davis / Joan Crawford 1962 horror film What Ever Happened to Baby Jane, a movie that was mentioned on “No More Double Dates” (TLS S1;E21). Lucy Carmichael rejected the film for date night as “too scary”. Coincidentally, both shows were the 21st aired episodes aired in their first seasons!

This is not the first time Lucy has mined humor from being sat on by a larger actor. She was underneath a tubby tourist (Audrey Bentz) in “The Tour” (ILL S4;E30) and a girthy granny (Reta Shaw) in “Lucy Misplaces $2,000″ (TLS S1;E4).

Lucy Ricardo also “wore a wire” when trying to record a confession by who she thought was a Texas oil swindler in “Oil Wells” (ILL S3;E18). Both times her urge to be wired for sound was misguided.

Thinking they were enemy agents, Lucy Ricardo also spied on the “New Neighbors” (ILL S1;E21). Like Vermillion, the O'Briens were not who Lucy first assumed they were but they sure talked a good game!

This is not the first, nor the last, time Gale Gordon will get into unconvincing drag without shaving off his mustache!

FAST FORWARD!

On August 16, 1971, Victor Buono and Lucille Ball were both guests on “The Tonight Show with Johnny Carson”. Kaye Ballard was the musical guest.

Vermillion is not the last character to be a writer of greeting card verses...

It would also be the occupation of Ben Fletcher (Don Knotts) when “Lucy Goes on Her Last Blind Date” (S5;E16).

Sitcom Logic Alert! Craig just happens to own a pocket-sized miniature tape recorder. Doesn’t every teenager in 1969?

Color Blind! Vermillion tells Harry (as the Bellboy) that he “never wears blue” yet he is clearly wearing a powder blue tie. Is he just trying to get rid of Harry through intimidation?

Product Dis-Placement! The brand name of Craig’s drum set is partly taped over. The top loop of the ‘R’ reveals that it is made by Rogers. Founded in 1849 in Farmingdale, NJ, by Joseph Rogers, the company went out of business in 2006.

Where the Floor Ends! In the lower right corner of the above screen shot, viewers get a glimpse of where the Carter’s wall-to-wall carpet ends and meets the cement stage floor!

“Lucy Gets Her Man” rates 3 Paper Hearts out of 5

A nearly five minute scene without Lucille Ball, when Kim and Craig convince their Uncle Harry to keep an eye on their mother, is a bit awkward and too long. Mary Wickes is given virtually nothing to do in this episode. Her lines could just as well have been spoken by an uncredited day player. Lucille Ball's scene with Victor Buono, however, is quite good and Gale Gordon in maid drag (with his trademark mustache) is well worth the wait. The surprise ending actually makes sense and is very funny, if a bit abrupt.

“Ja. Yust like mama!”

5 notes · View notes

papermoonloveslucy · 7 years

Text

Lucy Meets a Millionaire

S2;E24 ~ March 16, 1964

Synopsis

When Lucy gets a flat tire, a handsome rich Italian man comes to her rescue. On a date night out, Lucy accidentally spills pasta on him and she must break in to a local cleaners to retrieve his other suit so they won't miss the St. Patrick's Day dance. Breaking in through the skylight, Lucy falls into vat of green dye.

Regular Cast

Lucille Ball (Lucy Carmichael), Vivian Vance (Vivian Bagley), Gale Gordon (Theodore J. Mooney)

Candy Moore (Chris Carmichael), Jimmy Garrett (Jerry Carmichael) and Ralph Hart (Sherman Bagley) do not appear in this episode.

Guest Cast

Cesare Danova (Umberto Fabriani) was born in Italy in 1926. He appeared opposite Elizabeth Taylor in Cleopatra, but much of his role was cut to highlight the romance between Taylor and Richard Burton. Danova was on the short list to play the lead in Ben-Hur (1959) but Charleton Heston was cast instead. In 1978, he played the Mayor in National Lampoon's Animal House. This is his only appearance with Lucille Ball.

Umberto is a millionaire (several times over, according to Mr. Mooney) who is with the firm of Fabriani and Fabriani, partnered with his elderly father.

Jay Novello (Tony DiBello) was born Michael Romano in Chicago in 1904 to Italian parents and was fluent in the language before learning English. He played Mr. Merriweather in “The Seance” (ILL S1;E7) and returned to the series to play the nervous Mr. Beecher in “The Sublease” (ILL S3;E31) and Mario Orsatti, the “Visitor from Italy” (ILL S6;E5). Novello previously played ex-con candy store owner Mr. Bundy in “Lucy and the Safecracker” (S2;E6). Coincidentally, Novello’s second wife went by the nickname ‘Lucy’. In 1965 he played the recurring character Mayor Mario Lugatto on “McHale’s Navy.”

Tony DiBello is the proprietor of Tony DiBello's Italian Restaurant.

Steve Carruthers (Maitre d', uncredited) was one of the passengers on the S.S. Constitution in “Second Honeymoon” (ILL S5;E14). He was seen in the Lucille Ball / Bob Hope film The Facts of Life. This is the first of his two appearances on “The Lucy Show.”

James Gonzales (Restaurant Patron, uncredited) was a popular Hollywood extra who first acted with Lucille Ball in the 1953 film The Long, Long Trailer. He was previously seen on the series as Stan Williams in “Lucy Digs Up a Date” (S1;E2). He was seen in more than 20 episodes of “The Lucy Show” and 3 episodes of “Here’s Lucy.”

Bert Stevens (Restaurant Patron, uncredited) made many appearances as background players on the series. He was the brother of actress Barbara Stanwyck, whose given name was Ruby Stevens. He was seen in the Tropicana audience for the Flapper Follies when “Ricky Loses His Voice” (ILL S2;E9) but probably appeared on other episodes as well. He often appeared with his wife, Caryl Lincoln, one of Lucille Ball's friends from her Goldwyn Girl days.

Jean Vachon (Restaurant Patron, uncredited) makes the second of her six appearances on “The Lucy Show,” all but one uncredited.

A other dozen other uncredited background actors play the diners at Tony DiBello's.

This episode was filmed on February 6, 1964.

As season two goes on, the plots feature less of Vivian Vance, who was tiring of her commute from Hollywood to her Connecticut home.

Coincidentally, the day before this episode first aired (March 15, 1964) Richard Burton and Elizabeth Taylor married. They had just starred as lovers in the film Cleopatra (above), which also featured Cesare Danova (Umberto). Lucy Carmichael played Cleopatra on the season two opener of “The Lucy Show.” Burton and Taylor would appear with Lucille Ball in a 1970 episode of “Here's Lucy.”

In another coincidence, the episode of “Make Room for Daddy” that followed “The Lucy Show” on CBS on March 16, 1964, also had an Italian theme. The guest star was Italian born singer singer Piccola Pupa, a young performer Danny Thomas claims to have 'discovered.'

Ironically, when this episode was filmed, Lucille Ball herself was a millionaire. Lucy and Desi were the first millionaire TV stars in history.

Dede's Dress Shop is mentioned for the second episode in a row. Dede Ball was Lucille Ball's mother.

The name ‘Tony Di Bello’ was created by the writers as a nod to the name of their secretary Elaine's father, Mr. Tony Di Bello.

Mr. Mooney invites Umberto and Lucy to join him and his wife Irma at the St. Patrick's Day dance. This episode was first broadcast on St. Patrick's Day eve 1964. In real-life, Cesare Danova was a fan of all things Irish. He ever carried a small leprechaun around with him wherever he went.

When Lucy spills pasta in Umberto's lap, he says his other tux is at Oscar's Cleaners. Lucy Carmichael says that she has known Oscar for years. He is unmarried and a trophy-winning bowler for his team, Oscar's Tigers. Reading from a distance, Lucy mistakenly thinks his name is Oscar Stigers.

Oscar's Cleaners is next door to a Florist shop owned by Meryl. Lucy does not know Meryl's surname either. Mr. Mooney says the one person who knows everyone's last name in town is George the mailman.

Lucy asks Mr. Mooney for a dime for the pay phone. In New York, it cost ten cents to use a payphone until 1982, when it was raised to twenty five cents. In the early 1950s (during “I Love Lucy”) the cost was only five cents. Today, pay phones are nearly obsolete due to the proliferation of mobile (cell) phones.

Lucy ends up getting covered in green dye. Unfortunately, although filmed in color, CBS originally broadcast this episode in black and white!

Callbacks!

In “Bullfight Dance” (ILL S4;E23) Fred and Ethel croon “When Irish Eyes Are Smiling” by Ernest R. Ball (no relation). This is the closest the series gets to a St. Patrick’s Day mention. Fred Mertz was said to be of Irish extraction.

The finale of “Lucy's Italian Movie” (ILL S5;E23) had Lucy dyed purple when she had a fight in a wine vat of grapes.

That episode, too, was originally broadcast in black and white, but was colorized in 2013.

When the gang went to Europe on “I Love Lucy” it was Ethel (Vivian Vance) who was in charge of learning Italian, while Lucy learned French.

The note Lucy Carmichael writes on the back of her check reads: “Dear cashier, be a love and clear this before you-know-who gets back.” The message is very similar to the note Lucy Ricardo wrote on the back of a check in “Job Switching” (ILL S2;E1), “Dear teller, be a lamb and don't put this through until next month.”

A heavily disguised Lucy and Ethel meet their husbands at Tony’s Italian Restaurant in “The Black Wig” (ILL S3;E26).

In “No More Double Dates” (S1;E21) Lucy’s boyfriend Harry (Dick Martin) suggests going to Tony DiBello’s for Italian food.

There was trouble at the cleaners (in this case Chinese Laundries) on “Here’s Lucy” in both “Lucy the Laundress” (HL S2;E17) and “Lucy and the Chinese Curse” (HL S4;E18).

It’s Not Easy Bein’ Green!

Lucille Ball may also have been green when playing a woman from Mars in “Lucy is Envious” (ILL S3;E23) in 1954, but since the episode was filmed in black and white, we will never know for sure!

LUCY RICARDO: “My face! My hair! Oh, no! I’m looking at the world through green colored eyeballs!”

Green light bulbs turn Lucy (and everyone else) green when “Lucy Fakes Illness” (ILL S1;E16). Again, because the episode was filmed in black and white, viewers never see the effects of the ‘gobloots’ (aka green bulb)!

LUCY CARMICHAEL: “Who’d they make these pajamas for - the Jolly Green Giant?”

Stuck in isolation in “Lucy and the Astronauts” (TLS S4;E5) Lucy has to wear over-sized men’s green pajamas. The Jolly Green Giant is the advertising character used to promote Green Giant Frozen Vegetables.

VIV: “Take off that hat! It looks like a fresh crop of crab grass!”

When “Lucy Goes To Vegas” (TLS S3;E17), she wears the emerald green spangled gown and matching green feathered hat won for being Bigelow’s Department Store’s one millionth customer.

Fast Forward!

A year later, Lucy will wear this same salmon colored gown (with a different red wrap) in “My Fair Lucy” (ILL S3;E20) when she goes to a fancy soiree with the Countess (Ann Sothern).

The backdrop used for the Danfield street depicts the Iris Theatre. This same backdrop will be used again outside of Madame Fifi’s Fur Shop when “Lucy Gets Amnesia” (S3;E4). This may be an homage to Los Angeles’ legendary Iris Theatre, which reportedly had the first electric sign in Hollywood. It may also be an homage to the character Iris Atterbury, Liz Cooper’s sidekick (played by Bea Benadaret) on Lucille Ball’s radio show “My Favorite Husband.”

Lucy Carter dated a prospective millionaire played by Don Knotts in “Lucy’s Last Blind Date” (HL S5;E16).

When Lucy Carter meets a homeless man in the park, she believes him to be a ‘Howard Hughes-like’ millionaire she read about in the newspaper and “Lucy, The Philanthropist” goes into action!

Blooper Alerts!

Stolen Valor? Mr. Mooney speaks Italian quite well. He says he "picked up a few words in the Army." In “Lucy and the Submarine” (S5;E2, above), however, Mr. Mooney says he was actually a Navy housing officer stationed just outside of Wichita during World War II. Is he a pathological liar of the victim of forgetful writers?

Noises Off! When Umberto arrives unexpectedly (with Lucy in pajamas and curlers) a high pitched voice in the audience clearly says “Oh, no!” Lucy's husband Gary Morton can also be heard laughing on the soundtrack. Later, when Umberto mentions having taken a taxi, a voice from the audience clearly echos “Taxi!”

Boom Shadows! When Lucy drops to the floor behind the sofa upon Umberto’’s sudden appearance at her front door, the shadow of a boom microphone passes over Lucy.

Fickle Furniture! For this episode, the large oval dining room table has been replaced by a smaller round table for Lucy's ‘ghostly’ get-away gag. Although it is nearly identical, the living room sofa was either adapted or duplicated to allow Lucille Ball enough space to freely roll underneath it.

Let Your Fingers Do the Walking! When Lucy is trying to remember Oscar's last name to look him up in the telephone directory, Mr. Mooney is looking through the Yellow Pages, which are organized by business names, not surnames. They would not need to know Oscar's last name to find his work phone number, just his home number.

Broken Fingers! When Mr. Mooney roughly drops the phone book the second time it comes loose from the hard blue cover that connects it to the phone and the book breaks in two! When Gale Gordon needs to look up “George the Mailman” he has to bend down (out of frame) to pick it up off the floor and scoop up the tattered book to complete the scene.

Sitcom Logic Alert! Lucy immediately knows that Oscar's bowling trophy must have been made by the National Bowling Company in Chicago. Lucy is a font of useless knowledge!

Dry Dye! As Umberto races into the back room of the cleaners to rescue Lucy, he bumps into the vat of green dye and it moves quite easily. If it was actually full of liquid, the weight would prevent it from moving at all. Also, when Lucy is fished out she isn't dripping wet, despite the sloshing sound effects to the contrary.

Color Correction! When Lucy is lifted out of the vat, viewers can see that her tights and the soles of her shoes are not green!

Gimme a Sign! Why is there a sign with prices for cleaning services posted in the back room of the laundry, where no customers will ever see it?

“Lucy Meets a Millionaire” rates 4 Paper Hearts out of 5

#The Lucy Show #Lucy Meets a Millionaire #Cesare Danova #Lucille Ball #Vivian Vance #Gale Gordon #1964 #TV #CBS #Jay Novello #Bert Stevens #Steve Carruthers #Jean Vachon #James Gonzales #St. Patrick's Day #Green Dye #Italian #Dry Cleaner

2 notes · View notes