it was so hard to keep the non dancing scenes from looking bad

MOON SIGNS

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A lot has been written on Moon signs.

These perspectives come from a Scorpio moon (in the Third House)

The understanding of each astral body deepens as you factor in what each works with or opposes. This is where it is crucial to see what else is creating discord or harmony with your moon. You are attempting to perceive the universe as a whole rather than isolating each individual part. Your sun and rising sign especially help to define what exactly your Moon is to your conscious mind. How you feel is not always what you present to others –something most people would agree on. The drives of the moon are not always easily understood by the intellect.

These are my experiences with each individual moon sign. I don’t have an equal amount of experience with each and so I apologise if some signs have longer write-ups than others.


ARIES MOON

Bold, yet child-like, yet anxious. Dramatic, explosive, quick and then bored. There is a wonderful sincerity and silliness about the Aries moon. They are the first to get up and boogie. I find many of the pains Aries moons carry very visible to me and I respect that vulnerability. I think it is part of what makes them direct. They play by fighting you. Imaginative and raw. I think of the archetypal anime protagonist gleaming a toothy grin and then fist-pumping in the air as we embark on a quest up Candy Mountain. They are social-spiritual pioneers. Sometimes, they don’t stand up to the people they should and take their anger out on those who don’t deserve it (ala ‘kick the cat’ syndrome). Sexually open and willing though the roles are traditional, primal. They can get quite down when their flame flickers out and the warmth fades. Their competitiveness can get the better of them and it can be hard for them to detach from their identity into a larger unified picture. However they are equipped with fantastic gusto and enough of it to make it up those mountains. They may see themselves as that youthful inner child however that image can become the justification for roaring anger – to protect the child.

TAURUS MOON

Oh, man.
I have an intense level of respect and also, to be frank, fear of the Taurus moon. I fear getting too close, and I think they do too (maybe that’s why I feel it) (hold on maybe they’re afraid of me?)

So yes of course they progress slowly, steadily, stubbornly, charmingly… With a silent and deep appreciation for the small pleasures in life. They are beautiful and frustrating. Wise and sometimes closed minded. Forgiving but not forgetful. I think the patterns and routines Taurus moon carves deeply can lead them to believing that people are limited or ‘they are who they are.’ It may seem like a safe thing to do but it inevitably leads to buried feelings that manifest as irritation. This is why they feel that magnetic attraction to their opposite, Scorpio, as buried feelings is what Scorpio specialises in. They need to be released!
If they do have transformative experiences with people, however, there is not much in the world they cannot accomplish. You don’t want the limits of your perception to become the balcony you lean over to judge others. Taurus moons are, regardless, unendingly kind, caring, generous and full of good humour with those they love truly. They do not seek outright praise, preferring the smilingly cheer you on from behind the scenes. They step into a nurturing authoritative role with ease because it is easier for them to do that than be on the receiving end. They do want both sides though. They understand boundaries instinctively.

GEMINI MOON

I wish I knew more Gemini moons!! I do not feel that qualified to comment as I have not gotten terribly close with one. I can only think of a few people I know with Gemini moons who will have to serve as my inspiration.
I am still grasping mutability (or not, you changeable bastards) and I imagine Gemini moons to have fervent mental chatter, a whole cast of different characters their radioheads tune into. 

The wittiness is always a go-go and I also do wonder if the 'identity crisis’ many astrologers report with Gemini could be more to do with conditioned language patterns Gemini is highly attuned to. Seeing as being overly identified with words and labels can trap you, Gemini dances between contradictions and in the in- between, wonders who the heck they are. But crises can purge and the truth is always what’s left behind.
There is a lot of restless energy here. Gemini’s curiosity is something they must accept in its entirety if they wish to wield it to its utmost potential. If only we were inside a simulation game, these guys would be the game masters for sure. Gemini moons may feel like keeping the dialogue internalised but actually they should share it. It is the way they will attain the peace and relaxation they crave. By communicating with meaning and truth –these are the lessons they must embody and bring to us all.

CANCER MOON

Ah yes the intuitive understanding of Cancer moon. Sensitive, headstrong and goofy they can swim in the natural affection they feel all around, breaking the ice and helping us all accept the sweetness of the moon, forever watching us at night. Their sacrifices (farts) are a blessing. Like Gemini moon, I have yet to get really deep with a Cancer moon but I know it would be powerful.
They have a contagious excitability and sincerity that will forever be taken advantage of if they do not learn to love and value the magicians they are. 

They must never slip into a Madonna/Whore complex or let purity be defined for them by others. Lucky that their intuition is always so on point. Expressing their anger in healthy ways that don’t perpetuate victim-centred scenarios is something they are learning. It is easy for Cancer moon to suck in aaaaall the bad vibes as water signs do. Don’t ignore your feelings and don’t be compliant, especially if you know you’ll regret it or backtrack it! Cancer moon’s energy is precious and magical. They do not always see the doors they open for people because they can get distracted by shitty thoughts or past emotional residue. Love you guys

LEO MOON 

Leo moons are insanely loveable, proud, gleeful, naughty, fun, dramatic, loyal… They are like a non-submissive Pokemon who wants to kick as much ass as possible with you. They are less forthcoming with their emotional issues, preferring to be a proud lion. Pride is a lonely cage though and isolation, especially for Leo moons, can lead to very depressed slumps. Ultimately though, all their lows help them appreciate comraraderie all the more. They dislike being ignored.

Leo moons are inventive and creative practically, they will really do it, not just say it. Their impulsiveness can get them into all kinds of trouble and even then they are so friendly and groovy that they can get away with it. Their hearts are powerful and when all is aligned they exude warmth followed by big headed claims and roaring laughter. 

They really are the party Kings and Queens of the zodiac because no one else will get so wrecked and hold it down so well and also still look like they had the best time ever. Their things are their treasures. A mere scarf becomes a robe, a daisy chain a crown. 

VIRGO MOON

There is a quiet (and somewhat bitter) determination to Virgo moons. They are aware of the bullshit in this world and make sure you know it too. Their kindness is not loud or showy but a quieter, understated recognition of all the work we do to help this Ferris wheel of a life be better for all. They are secure when they are in their homes or a place where they are understood for the dexterous work they do, whatever it may be. It has been said before but I will say it again: you Virgo moons are too hard on yourselves. Yes you must be brave, Virgo moon, and share your legitimate concerns when they arise. Once you feel accepted for your thoughtfulness, even if it’s a bit sharp, the pressure will be released. Don’t hold it all in, or you will suffer from nervous tension that can fester. They need to be wary of the preconceptions they bring into conversations that may have people thinking they are more closed minded than they really are. 
Virgo moons are a lot cooler than they give themselves credit for so let them know (though they will laugh it off). They need to be not stuck in their own heads. Analysing is fine but only if you already have material, a project or a relevant issue to use those powers on. Otherwise you are putting the needle right into your soul and it is destructive. Facing your fears and mistakes instead of hiding will open you up and others will finally get to see the very real and down to earth being that you are. I am very grateful for Virgo energy. Their conservativeness may polarise and they may get stressed but they are never ones to ignore good common sense or injustice. Their shyness and dirtiness reflect the contrary mutability they possess. Someone you can underestimate but will surprise you when they pull out  the perfectly sharp edge of the knife.  

LIBRA MOON

Libra moons are playful and intelligent; they quickly slide in golden nuggets of advice during a conversation, like their words are the lubricant to help everybody get along… And they do. A libra moon (or sun) who believes in love and in people can open up the mind of the most hardened  of cynics. It is essential that they make room however to have quality alone time. That way they will feel far more centred and their own person when interacting with others, instead of getting lost in a room of mirrors. They can be so nice and compliant that they can slowly lose their true sense of who they are and what they believe in as they care a lot about the wellbeing of everyone.  Only when they are unbalanced do they get defensively self righteous. Or block everything out. That said a Libra moon won’t go to bed after an argument – they really can’t tolerate the tension and would rather apologise and seek a peaceful resolution.

There is a very natural understanding here that the state of being people are in greatly affects the environment. Ideally though (see what I did there) they are cool, calm, collected, filled with balanced thoughts for us all and ever graceful. And pretty.
Conflicts and issues in relationships can shake them up so much that they may deny and avoid them for a long time. It can result in a lot of heaviness – and this sign wants to be light! Comfort, like with the also-Venus-ruled Taurus moon, can become the enemy if they are not doing work they truly believe in or are not supported by real friends who care for them. Most Libra moons wisen up to the limits of superficiality, as beautiful and interesting as some people/places may seem. They don’t want to waste beauty.
Libra moons are also awesomely progressive and they should share their great ideas with people who can help them manifest it all, or at least push them to. They can’t cope with being on one side of a fight unless there is extremely good reasoning behind their choice, the possibility of being bigoted really screws with their principles, which are essential to them. Bitching about people hurts them a lot because they want to be liked and for everyone to co exist peacefully. It may take a while to get close with them and they can flake out when it comes to routines and schedules but if you are patient they prove to be the most loyal of friends.

SCORPIO MOON

Aaaaaahhhhh!!!!!!! Why do we try to fix things by controlling them MORE??!?!?!?!? Scorpio moons need to learn, on as many different levels and in many different ways, to relax. For real. Surrender, as much as you can, to whatever the situation is, and let yourself relax. Whenever a Scorpio moon transforms though, everything changes. People are gob smacked by how low to how high a Scorpio moon can go. They think we must be utterly mad ;-) It is extremely difficult but extremely necessary for Scorpio moons to transmute and transform their emotions. Only then can we unleash our gifts. Otherwise, yes, we will become the villain in any given scenario (unless cap moon is on a rampage) 

okay so yes sex and death deeply changes the vibe in the room but is that all we want to be known for?? Not at all. Not at all. Scorpio moons must not numb themselves because then they are building and building and building up all the pain and gearing up for another destructive bender. It is far better to cry and scream and simply let yourself feel the pain. All the answers are in that pain. Don’t you forget it.
As always and with all signs, Scorpio moons are their own worst enemy. By not showing our emotions we create and perpetuate a MASSIVE LIE about WHO WE REALLY ARE. This is what I believe to be at the root of the notorious intolerance Scorpios have for lies. It is intolerable precisely because we are already experiencing lies on a soul level, lies that do not allow people to see our depth of feeling and understanding. Vicious cycles of lies that lead Scorpio moons to believe that by closing more people out or building taller walls, will be better for us. Note how close Scorpio is to Libra and the theme of relationships. Sometimes people need to see those flowers that bloom in the dark, when they’ve lost all hope.

 The sooner we can relax and reveal more of who we are the better– not only will people have a better idea of how to respond to us but ultimately those who matter don’t mind and those who mind don’t matter!
The more a Scorpio moon argues the more everyone in the room feels that painful non-acceptance of reality building tension. Such is our force. We are equipped to do incredible things and incredible never means easy.
Sex is not the sole route to intimacy and life does make that lesson torturous and clear. Scorpio moons can get very lonely and will push themselves to extremes when they are not accepting reality. The struggle to express our feelings, fear of vulnerability and other peoples wariness of us all plays into us thinking we are some long-living Gollum creatures. We are not. Believe that you are sexy. You don’t have to prove it to anybody but you. Power is knowing you already know. Yes the know-it-all controlling nature destroys all our relationships. It’s only because we are overdoing it. Pull back and let people impress you back! Take note of people’s discomfort and make changes in the moment to show you do feel it too. You do have a lot to share, don’t hide behind your pride. (And yes we do know when we are being lied to or if you are having sexual thoughts)

SAGITTARIUS MOON

My best friend since childhood has a Sagittarius moon. Intelligent, at times too cool for school, wild and loud and self-conscious- where do I begin? Sagittarius moons are righteous and don’t hold back on delivering the truth to your face. Their friends will think it’s the most hilarious thing ever and you will feel dumbbb. They are damn good at that, however if they are having internal struggles they will stir the pot just to stand up righteously, or wait for you to fuck up.
It’s understandable that many fall for Sagittarius moons – they’ve been there and done that and their sense of humour demonstrates that well. You want to impress them! Their open minds are a turn on, and I have found it to be true that they have a lot stories to tell surrounding cults, religions, specific groups and cultures of people… I can always see myself skydiving with a Sagittarius moon. They don’t do well with clingy people, but accepting that emotional attachment is a naturally occurring phenomena would help them.  

They need to work on staying humble in their hearts not just in words or in clothes or style– that is what led to the bountiful knowledge of the spirit in the first place. They can chase after the original high until they’ve burned down the path entirely. There is a cheeky, mysterious side to them that is sexy and their joy and gratitude is so vibrant it can reverberate right up your spine.

CAPRICORN MOON

I really love Capricorn moons, even though we likely roll our eyes at each other and really have no clue about the other at times. You can’t get away with everything, boss or not, and Saturn makes sure these people know that (eventually). They are industrious, ambitious with high expectations, professional, suave, aware of the 'audience’ and have great reserves of ancient knowledge stored in their laughter and often pained expressions. 

Capricorn moons, surprise surprise, are really hard on themselves, like Virgo but with far more whiplash. They keep it under wraps. They need to be careful they don’t get crushed by the weight of the burdens they carry…and maybe to remember too that those burdens may in fact be wings they have yet to unfold and fly with. Shrewd and covertly manipulative, they can bring out the criminal in people, yet at the same time their logically intuitive judgement is there, watching you make an ass of yourself. They don’t always share their shady observations, but should with confidence, not anger, because they make a lot of really great points the right people don’t get to hear. Their realistic feedback could serve to really improve a myriad of issues. 

Capricorn moons are great at working the system (that includes within a family system) but need to remember not to become slaves to that system and cold to everyone else. That system could be based on lies or agendas that don’t factor in their personal success at all. Luckily as soon as they know that they will dump anything that is holding them back. Their feelings are private and reserved only for them, and if you’re lucky and earned their trust consistently, you too. They know how to work you into a state of compromise.

AQUARIUS MOON

I go through periods of being intensely fascinated by Aquarius moons and then I dismiss them. This may be a mutual thing between us. They really are ahead of everybody though (and slow to admit they care!) and they do know what they’re talking about. Try not to always believe everything they say, as they need to be pushed to be the best messengers they can be. Otherwise it comes a predictable Gaslighting exercise, sorry to say it.

Their emotional detachment can get in the way of people engaging on a real level with them and of course their own ego. The gifts they do bring are life changing but hence the struggle. The pride of being an original, of giving no fucks, of going anywhere and everywhere, of laughing at the aliens in your mirror… This is the Aquarian. However as the moon is much more internal people may not realise how weird and zany those with an Aquarius moon are, and they may hold themselves back socially..and then erupt into a nutty character when they’re drunk. They work hard to maintain objectivity and a logical mind state, though the bellows of emotion from others can send them back into their rooms for a while. They may struggle to deal with one on one interactions for extended periods of time, preferring to thrive in a group where they can disperse their knowledge through vivid storytelling or in juicy snippets.
Aquarius moons far reaching perspective does make them a boss, but the fear of getting 'too close’ can really stop them reaching out. I know it’s crazy to say to them that not all emotions were manufactured by Disney but it’s true. It is the fear ITSELF that warps their visions, not experiencing intimacy. It would really help them express their natural eccentricities a lot more if they could dare to go there, don’t hide out in space! It is true that in some of my darkest times I have been inspired by an Aquarius moon, or they have simply pointed to all the space above us and smiled, because with so much space how you can get caught up in such pettiness?
Anyway they are lovely souls and friends, their intelligence is anchored in carefully thought out principles and they will still listen to you before disagreeing! Hahaha

PISCES MOON

With all water moons it is important that they stand up for themselves before they feel violated by too aggressive people. Such is true for the Pisces moon. They are natural space cadets, dreamy, creative, musical, impressionable and empathetic. They also give no fucks about current fads and trends that enslave people in time. They are not ones for tedious, high pressure work with no creative or tangible productive merit (and fair enough too). There is far beyond all of that and they know it.
What they aren’t always aware of though is how powerful their empathy is, how strongly people feel understood by them to the point where people will unleash their demons on them because they think it’s okay–Pisces moon will understand, right? Wrong, it’s never cool to abuse people like that and we should aim to get more on their level rather than pull them down to ours.
Pisces moon needs a consistently peaceful and chilled out environment where they feel they can creatively nourish themselves without getting dragged into any of the preceeding 11 moon signs’ drama. They are wise in that they know how closed off people can be whilst still having a heart.

Words Speak Louder Than Actions

Bucky Barnes x Female Reader

Warnings/Contains: sexting, dirty talk, mention of the word “nut”, mentions of ass eating, no actual penetration, metal arm kink, flirting with a woman, masturbation

Word Count: 2234

bang this might be bad idk (p.s the gif has nothing to do w it lmao it probably would’ve gone better w shoot from the hip)

Originally posted by khalblogo

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Thanks to @jamlesschogiwawhisperingjyphoe for doing this for me!!! I’m glad you could get it done!


This episode was SO jokes {TVD 8x15 Review}

Hi all! You know the deal. I write my thoughts in real time so anything I saw at the beginning that might be a mistake may be corrected by the end. This review will have anti-Damon, anti-Delena, anti-Steroline, anti-Bamon, anti-Bonenzo sentiments and will most likely have references to other shows and to the misogynoir, anti-blackness and racism in the narrative. If you do not like it, you do not have to read this. Are you ready? OK! Let’s go.

1. So I’m stopping a very promising Kdrama to watch this. The Kdrama is called Mirror of the Witch, I’m on the first episode and already there are more consequences in this drama than all eight seasons of TVD. So far it looks exceptionally dark and mean-spirited, I think it might actually disturb me. Anyway. It’s still entirely ridiculous that Cade’s last words are “Go to hell.” Like why? Also why would Stefan say, “You first”? Wasn’t Cade already in hell? Like didn’t he sort of create it? And now he’s just … dead? What was that dialogue?

2. I like how opening the door to Cade’s world will only destroy everything for “miles”, like that’s such a small scale, shouldn’t it be the end of the world if the devil is walking among us? Or is he not the devil, is Katherine the devil? I’m confused about the Hell hierarchy, you see.

3. Also I should mention I have a cold and I took cough syrup and it SAYS non-drowsy but last night I was knocked the fuck out so if I get a little loopy near the end, it could be that. Or it could be that watching TVD has finally addled my brain. Who knows.

4. They really do hype Katherine way too much.

5. Sorry, pausing because my cat is being extremely affectionate and I would rather play with her for a little than watch what trash this episode is going to be.

6. But now she’s on my keyboard. It’s like she’s trying to spare me.

7. The lighting in this episode seems to be darker than normal, I can barely see anything.

8. I think it’s funny that Caroline keeps waking up expecting to see Stefan and he’s not there.

9. Matt’s hair is SO stupid though. LIKE WHY.

10. I have it paused because the video is loading still but like seriously, he looks thoroughly unattractive like this and out of character I think Zach is pretty cute, so like ugh, why am I subjected to this.

11. Why do we care about Matt’s dad again?

12. Or his mother for that matter.

13. Like remember when she came to town and then made out with Damon and then they discovered Vicki was dead and she made out with Tyler? Or was Tyler first and then Damon? Either way, she’s messy af. The only interesting dynamic was her and Caroline and Elena. She’s pointless.

14. “That was a lifetime ago, things have changed since then” that should just replace the title of TVD. “Didn’t Damon kill your sister?” “That was a long time ago.” “Didn’t Damon kill your brother” “That was a long time ago.” And now apparently abandoning your family because of man pain and cowardice and immaturity is “a lifetime ago” too but oh no, Stefan was a ripper a literal century ago and we need to harp on it forever.

15. Real talk, I already feel kinda woozy but it’s fine it’s like being buzzed and it’s probably the only way I will get through this episode.

16. Why would Dorian agreeing to help them on how to get rid of the “Queen of Hell” be misconstrued as him being “cool” with Stefan though? Isn’t getting rid of someone who is supposed to be the devil Plus be in everyone’s best interest? Like whatever, it was just another chance to take a shot at Stefan. Transparent as fuck.

17. That red looks nice on Kat.

18. I like how Katherine is in this world, everything is supposed to be going to shit and Matt isn’t like “Mom, Dad, I hate you but you need to leave town because you could possibly die” he’s just like yeah fam, I’m rescheduling our awkward dinner date. Like lol. It would be more interesting if he didn’t give a shit if they died but this is just the writers being the writers. In Buffy, when the Mayor is supposed to devour all of Sunnydale, Buffy forces her mother to leave town and tells her if she doesn’t her presence will get her [Buffy] killed.

19. I love Stefan’s face when Damon says “she’s obsessed with Stefan” like BITCH WHO TOLD YOU TO TALK?

20. Why does it have to be a wedding though? It could just as easily be an engagement party or a rehearsal dinner, like sooooooooooo forced.

21. I mean, I don’t blame Bonnie for hating Stefan but Damon was responsible for killing Jeremy and kidnapping Jeremy, Enzo was responsible for suffocating Jeremy and she’s cool with both of them, hell she fell in love with one of them so I’m just like girl, I guess. The writers are ridiculous because it just feels like they don’t know the web they’ve created with these characters and understand that they’ve turned pretty much everyone into a hyprocrite.

22. And as a non-Beremy shipper, I still think Bonnie loved Jeremy more than Enzo and Beremy was a problematic af ship but at least some things were halfway earned, Bonenzo is pure dialogue, fam.

23. Oh and looks.

24. I don’t even know why Damon needs to tell Stefan that what happened to Enzo will haunt him like Stefan isn’t new to guilt. Why are they making it seem like this is Stefan’s first rodeo?

25. My video keeps fucking buffering. I might switch sites because I love myself too much to drag this out longer than I have to. Because I am only eight minutes in, that’s not gonna fly.

26. OK so everything is just buffering. I was supposed to have my data back, what is this.

27. Right now I have it paused on Damon. I really don’t get what anons mean when they tell me his arms are huge. Like I don’t see it.

28. WHO CARES ABOUT MATT’S MOM? What’s her name again? Kelly?

29. Is she dying?

30. She’s dying.

31. Oh she’s dead. Ish.

32. “Oh please don’t be mad at me, Caroline” that actually sounded like Stefan was talking to his mother.

33. Yeah this BE scene is giving me nothing.

34. Liz did a TERRIBLE job protecting MF, who are we kidding? And toasting with your rape victim about how her mother became your best friend and now her daughter will be your family is disgusting.

35. Lol yes use the SE necklace that Damon kept taking to give it to Caroline on her wedding day for Stefan because we’re ignoring how important that necklace was to SE, sure.

36. Seriously, Caroline looks at Alaric with more love than she does Stefan. Like just marry him, y'all are more compatible and have more chemistry than you and Stefan anyway. Like omg.

37. “I hope I get to see this one day with you and Elena” lol the FLATTEST delivery ever. Like do you even mean it? Do you REALLY? Think hard, Stefan.

38. “I want to be a part of your happiness” I mean I guess. I don’t like Bonnie being arbitrary in her blame for Stefan but like can the girl be selfish and feel what she feels when she feels it for once? And indulge? Like??

39. I also find it interesting that Stefan and Caroline don’t have a private moment before the wedding, like I know this isn’t how we wanted to do this blah blah blah. They’re so segregated even when they’re together.

40. Do the writers not know of any alcohol other than bourbon?

41. The slow mo doesn’t change the deadened expression on Paul’s face, guys. Sorry.

42. Also Alaric’s speech is stupid, who becomes “family” with the people who have continuously terrorized your life and are responsible for the people you’ve lost? Like that’s when you see a psychiatrist because you have serious emotional issues.

43. “You saw light in me when all I saw was darkness.” WHEN WAS THIS? NO LEGIT WHEN? I REALLY WANT TO KNOW. Madly in love, you don’t even look madly in love, you look SO chill. OMG.

44. LOL bout you’ve been ready since you saw him at school. You were on his jock for one episode, then you onto Damon and were unfortunate enough to be his victim, then it was Matt, then it was Tyler, then it was Klaus, then it was Tyler then it was Jesse then it was Klaus then it was Stefan. Girl bye.

45. That SC dance looks SO AWKWARD.
LOL SLOW MO DOESN’T MAKE SHIT BETTER UNLESS IT’S ALREADY GOOD

46. Of course Matt’s dad isn’t dead. I mean he got stabbed when it was light out and now it’s dark but he’s still gurgling. Jesus. We met him THIS season, Julie, you can kill the irrelevant fucker off.

47. I don’t know why Caroline is STILL wearing the necklace.

48. HER NAME IS KELLY. I WAS RIGHT.

49. Why isn’t Caroline vamp speeding into the house?

50. Really? That’s your reaction to your kids potentially dying?

51. So like the smoke is having no effect on Bonnie?

52. And them siphoning her doesn’t hurt?

53. Caroline is legit calm when she thought her kids were dead for a minute.

54. LMFAO SO WHO ISN’T IN HELL? Vicki was in hell, Kelly was in hell, so like ERRBODY GOES TO HELL THEN? WHAT CRITERIA IS THERE? Like if I run a stop light do I go to hell because it’s against the law? What if I jaywalk or accidentally step on an ant or something? BECAUSE SERIOUSLY.

55. STEFAN WHY DON’T YOU EVER CHECK ANYONE’S PULSE?

Final thoughts: This episode didn’t enrage me like I thought it would, it’s just thoroughly ridiculous because it attempts to haphazardly rewrite history and Paul was such a lacklustre groom, like faaaam, those vows were horrible. And Caroline and Stefan are just so isolated from each other, like they don’t feel like a couple or a pair, they don’t feel like one, it’s so very cold. Kelly coming back with her daughter to destroy MF is like, I mean I guess, Katherine’s plan isn’t even original, Stefan was going to burn MF to the ground first anyway, like we’re seriously recycling plots in the same season too? This was actually laughably bad.

Prince’s Epic ‘Purple Rain’ Tour: An Oral History


By David Browne, Rolling Stone, June 22, 2017


On July 27th, 1984, Prince and the Revolution were confronted with their first hint of how their lives were about to change when they attended the Hollywood premiere of Prince’s first movie, Purple Rain. “That night at Grauman’s Chinese Theatre was insane,” recalls keyboardist Lisa Coleman. “We thought we’re just making what would be kind of a cult film. I’d stood in line at that theater to see Alien the first day it came out. And now there I was, arriving in a limo. Limousine, red carpet – none of us had ever done anything like that before. We felt more like rebels, and suddenly we’re all fancy, like movie stars.”

That night would only be the start of one of the most momentous years in Prince’s life. The film was an immediate cultural touchstone, grossing $7.7 million in its opening weekend (a commanding figure at the time) and eventually grossing 10 times that amount. Four months later, at the Joe Louis Arena in Detroit, Prince and the Revolution launched the Purple Rain tour. The 98-show trek, which continued through April 1985, was groundbreaking in many ways: It introduced Prince’s most elaborate sets and a new guitarist (Wendy Melvoin), and the crowd hysteria and occasional cameos from the likes of Bruce Springsteen and Madonna confirmed Prince’s place as pop’s most commanding star of the moment.

In the confines of those tightly structured shows, Prince reveled in special effects and over-the-top staging – doing splits or somersaults, playing his famous ejaculating guitar (using Ivory Liquid, of course) or pretending to talk to the Lord during the “Purple Rain” B side “God.” Yet the tour impacted on him in ways he and the Revolution never expected. In time for the upcoming deluxe reissue of the Purple Rain album – with accompanying bonus audio and video material – and the tour’s inclusion on Rolling Stone’s 50 Greatest Concerts of the Last 50 Years list, RS spoke with the Revolution and the band’s unofficial member, lighting director LeRoy Bennett, about those momentous five months and their aftermath.


I. Preparations

Wendy Melvoin (guitarist): I remember being conscious that the Purple Rain tour was the biggest thing he had ever done [during planning stages]. I kept seeing sketches of plans and Prince would buzz in and out of the rooms. We were all being fitted for clothes that were being made. I was standing on one of those pill boxes, and there are about five people doing the measurements on me. It was like Queen Victoria being dressed for a gathering. At one point, one of them tried to do an inseam on my pant leg, and I felt really oddly like, “Fuck this – I’m not entitled to this. Why is this happening?”

Prince walked in and asked me to come outside so he could talk to me. Apparently he had been watching what was going on and he took me outside and goes, “You have to allow this to happen. You have to allow them to do what it is that they do. That’s why they’re here. And don’t feel bad about it.” At that very moment, I realized, “OK. There’s something else happening here, and I just have to let this happen.” I didn’t want to get in the way of how he was trying to represent himself. And that was a big, big a-ha! moment for me. I sat back and saw this thing unfold.


LeRoy Bennett (lighting director): The theatrics started to become more and more evident. Controversy had a little bit and the 1999 tour had a bit more theatrics in it. But the Purple Rain tour was a major step in technology for us. Once you’ve seen a laser beam for five minutes, you’re done with it. So what we were doing was pushing the lasers and different things through fiber optics. We had dry-ice fog, but we used liquid nitrogen a lot. For “When Doves Cry,” we’d have jets that shot horizontally across the stage. It almost looked like ghosts that flew across, met in the middle of the stage and dissipated. Other [lights] came up from the back like these huge fountains. We wanted the show to be more of an immersive experience. We wanted to portray the emotions of the songs and create interesting environments.

Melvoin: As far as signing a non-disclosure, like “You’re not allowed to do drugs,” I had heard his crew had to do something like that, but we as a band didn’t have to. But he didn’t like it when you drank in public and someone took a picture of it. He would get really buzzed if you had a picture taken with a beer because it’s like, “I don’t want children to think they can be badass only with a beer in their hand!” I understood it. I got it. There was a little bit of a weirdness, but I understood it was a business he was trying to run, and I respected it.

Matt Fink (keyboardist): Very few bands – pop bands, which I suppose you could say we were at that time – were doing coordinated dance moves while they were on their instruments. Keyboard players like myself, you didn’t really see them doing choreographed moves with the bands. But Prince wanted the whole band moving.

Mark Brown (a.k.a. BrownMark, bassist): I grew up in a time period where I would go see Cameo and the whole band was always moving. I was always asked to help with the choreography [for Prince], and so, when we would build the shows, I was kind of responsible for all of the movement. I had to figure out a way, with this different type of music, to create movement that was simple and where you could still play your instrument effectively. It was a challenge because not everybody was used to dancing and playing.

Lisa Coleman (keyboardist): We would just have to bend our bodies or shake our heads. Sometimes it got kind of rough too because I was wearing high heels and playing keyboards. It ruined my back for the rest of my life.

Fink: We were at Rudolphs Bar-B-Que [in Minneapolis] one late night and I remember Prince saying to me, “Do you think it would be cool if Bobby was standing up playing drums?” And I said, “How does a drummer stand up?” He wanted so badly for Bobby to stand up and play drums. But it worked because we had the drum machine running and Bobby was playing percussion and cymbals against the drum machine.

Bobby Z. (a.k.a. Robert Rivkin, drummer): No drummers had been required to do choreography. That was just the Prince world. We’d practice in front of a mirror. Looking at yourself was hard. He made us all look graceful, like in a ballet, because you don’t want to be a dork.

Melvoin: We had two weeks of productions rehearsals, I think in St. Paul, right before the tour started. I remember the first day we went in for full-on production, and that was astonishing to see it. That’s when I realized it, “Holy shit, this is massive. We’re in a stadium right now in production rehearsals.” I know it doesn’t sound like much right now, but back then it was like, “Oh, my God.”

Bennett: We spent more time in rehearsal than we had ever done before. It was almost like we did a tour of Minneapolis because we kept changing venues once a week, or once a week and half.

Bobby Z.: It was all about how he entered the stage. At various shows it was, “OK, now you have the gymnasium and the catwalk.” The biggest thing they had were the elevators under the stage for “Let’s Go Crazy.” There was a mannequin for when he would appear and disappear. There were all these cool magic tricks to get Prince on and off stage.

Brown: For the “When Doves Cry” scene, you had this stage prop of the claw-foot tub up on a hydraulic lift behind Bobby that was way up high. The first time they tried using the tub, which was very lightweight and made out of fiberglass, Prince got into it and they had not nailed it down into the platform. That thing went right over backwards once he got in it. He took quite a tumble. He just lay there while they checked him out, and fortunately he just had some good bruising. Things got called that day while they figured out what needed to be changed on that one. That was a scary moment.

Bennett: My heart stopped. He didn’t really fall that far, like four feet. But it shook him up a little bit. He walked off the stage, got in his car – which he always parked next to the stage in the arena – and took off. That was the end of rehearsals for the day. The carpenters changed the lyrics to “this is the sound when tubs fly.”

Melvoin: If Prince was doing any kind of bad behavior – if he was mean or just straight-up wrong about something he said he was straight-up right about – he always said something bad would happen to him. The way I remember that moment is that he had gotten into a fight with his manager. Prince was in a super-cranky mood and he was practicing his move with the bathtub and the bathtub fell. He was so freaked by it that he was super nice and kind [laughs]. Very humble.


Fink: The soundchecks were always three hours long. I would have a boom box on stage – everybody usually did – and we’d record those soundchecks because afterwards you’d want to listen to it in the dressing room to refresh your memory as to what we just learned, because it had to be played that night. That’s the way I could get through it and remember it.

Melvoin: Our soundchecks would start at like 2 in the afternoon and we’d play until 5. Each person would have to keep running out to get hair and makeup done. We wouldn’t leave to go back to the hotel after soundcheck. We had to stay there. The show would go on at 8.

Brown: Before the show, we’d all huddle up and pray. He’d point to you or tell you to lead if you had a bad day or a good day. He would speak when he had something to say. It was a meaningful ritual. You felt like you needed protection. The crowds were so loud and it was so crazy that we needed each other because that was the only thing you had – each other for support.

Fink: It was non-denominational. If someone was sick at home you’d talk about that. You just said whatever you had to say. It was a critical moment, especially when he spoke. He really said a lot of profound wisdom during those circles. He would reveal a little bit more of himself in those moments.

Melvoin: I used to think of it more as like tandem sky divers. We’d form that circle and say, “Just get us through this and make it run smoothly for him.” It became superstitious and it bothered me to some degree. But I appreciated the tradition, and I think everybody relied on it.

Coleman: Sometimes he would say weird things like, “This might be the last time we play,” or “I might break up the band,” or give us strange motivations like that just to go out onstage and kill it.

II. The Tour Begins

Coleman: When we got to Detroit [for the first show], suddenly we had bodyguards. “What? Bodyguards?!” Wendy and I had one and so did the guys. I remember getting to the hotel and guys carrying our bags, and the whole feeling was like, “Uh-oh. This is different.”

Fink: I think there were 105 people out there with us. Twelve buses. It was a massive undertaking. I knew, “Wow, we’re in the real big time now.”

Melvoin: In 1984, '85, that was the beginning of massive stadium shows. Def Leppard would always be two venues ahead of us, and Bruce Springsteen was doing Born in the U.S.A at the same time. We were all following each other in these huge caravans.

Coleman: [The first show in Detroit] was one of the loudest things I’ve ever heard. It’s like when sports teams come out onto the field. We were hitting the stage and it’s as if we were coming out from the locker room, you know? People were screaming and hanging over the rails and reaching for us. They knew our names, more than ever because of the film. We all kind glanced at each other like, “Holy shit!”

Bennett: The hair stood up on my arms. It still does thinking about it. It was just insane because none of us had experienced anything like that before. Suddenly we were elevated to a much higher level than we ever anticipated and it was a bit overwhelming. You had to really fight hard to concentrate on what you were supposed to do during the show, because you couldn’t believe what was going on.

Melvoin: When they turned the lights off and you’d stand by the side of the stage and hear, “Ladies and gentlemen …,” it was deafening. To this day, I have never heard anything like that. It was so loud that my ears became distorted at one point.

Brown: It was hard to hear yourself onstage. The audience would settle down after the first couple songs, but still … I had a huge bass rig. And even with all of that equipment, I would only hear it if I walked back by the bass amp. You’d feel the beat, but there were moments where you could get lost.

Fink: The loudest white noise possible.

Bennett: There were times where I couldn’t hear myself talking to the spotlight operators and they were having a hard time hearing me. It was crazy.

Bobby Z: Then Prince would rile them back up. He’d shake his ass or do a costume change or something, and people would go nuts again.

Coleman: The fun part was watching him, because a lot of things didn’t happen unless he gave us visual cues. It was like a game watching him run around the stage, and he would do a slight move of his hand, which would cue a riff or something. You’d have to watch pretty darn closely. Every once in a while, to cue the end of a song, he’d throw a hankie into the air, and when the hankie hit the ground, that’s when we would stop. So you had to be able to see the ground, and if you’re backed up on a riser behind keyboards and cymbals, sometimes it was hard to see, like, “Oh no! The hankie disappeared!”

Bennett: He would do hand signals for certain musical turnarounds, so you would have to watch for all that. He liked to mess around. Every once in a while, he would just do the signal in front of his chest, so the band could see it and I couldn’t. He would just do it to be funny.

Coleman: He’d say “Body Heat.” Bobby would hit the snare drum once and then we’d have to go to “Body Heat.” Then he’d stop that by saying, “'Rumble’ in E.” So we had all these different things, little modular funky things that we could put together that he could call out like we were his jukebox or drum machine that he could play. It was like a live computer.

Bobby Z: The crowd could feel it was tight and spontaneous, but it also had some train wrecks. Ninety-nine percent of the time it was a miracle.

Melvoin: I had boots on, tons of jewelry, and my instrument and I had to sing and do choreography. It was literally the Olympics. We were like synchronized swimmers. If someone screwed up that thing, there’s not even a bronze medal. You’re just off the team. This was high stakes.

Bobby Z.: At our Syracuse show, he called out “sway from side to side,” and the entire Revolution moved like a piston in an engine back and forth.

Coleman: We were wearing all these big … what do you call it? These regal New Romantics clothes? It was hot. I’d go up onstage wearing a cape on top of a dress, and I would just take off stuff during the show. Shed as much as I could. It was hot onstage with all those ruffles.

Melvoin: One of the things that Prince would tell us before going on tour, especially at the beginning of Purple Rain, was, “If you feel yourself rushing and playing too fast, cut your body’s heart rhythm in half and move your body in half-time, and you will play behind the beat.” We were religious about it.

Coleman: Prince wanted always be as good as the film. He didn’t want anyone ever to go, “Oh, that’s the band from the movie? Eww, they’re not as good.” That was one of his worst fears.

Brown: We used to get fined if we made mistakes, and I got to a point where I would stop playing bass notes in certain types of segues and start this rumbling on the bass. Prince loved that crap. And it saved me from a lot of fines.

Coleman: If you missed a cue or played an extra horn punch or something, that was $500. He would withhold your money. It never happened to me. I’m lucky. Actually, I’m good at faking it. He never knew when I made a mistake.

Melvoin: He threatened to take your paycheck away, and a couple times he tried, but we all laughed at him and said, “No, that’s not going to happen.” It was this warning, this threat, and he was really happy to go ahead and make the threat because it would make you get your shit together if you had made a mistake.

III. The Intensity

Coleman: When we were at the Superdome in New Orleans, it was, what, 90,000 people? We knew it was big because it sounded big, and then Prince said, “LeRoy, turn on the house lights!” And we turn on the house lights and it was scary. Prince was like, “Noooo! Turn them off, turn them off!” It was too much. It was an ocean of people.

Melvoin: I loved when we turned the lights on during “Take Me with You” and we could actually see the audience. We would turn on the stadium lights full blast – fluorescent, horrible lighting – and we could see everybody in the audience and we all became one and sang “Take Me With You.” You see every seat filled. You look to your left and you see everybody. You look to your right. It was incredible, and they all sang it. It was really beautiful.

Bennett: It must have been scary to them because they had no idea there were that many people. I’m sure the first time they saw that, they shit themselves [laughs].

Brown: We were literally the hardest-working band in show business. I would feel sorry when he would invite people to play with us onstage, because they didn’t understand that type of dedication. When people would sit in with us, they didn’t even know what to do. I don’t care how seasoned a musician they were.

Bobby Z: Everybody came in the band’s room, like Springsteen and Madonna [during a multi-show run at the Forum in Los Angeles in February 1985]. We had an open-door policy and got to meet a lot of fun people. Onstage, they always thought it was exciting. But onstage with Prince it was always a game.

Coleman: It became a take-no-prisoners situation, like, “Yeah, let’s just go out there and conquer the world.” And all the people that were supposed to be the competition were just like saying, “Wow!” to Prince. And again, he wanted to soak that up. He wanted to experience it firsthand, so that was a good way to do it.


Melvoin: Unfortunately he would kind of screw with people, especially big famous artists who would come up. If he sensed they were a little bit lost, he’d try and expose that: grab a guitar and do a blistering solo in their face. There was a certain amount of, like, straight-up competitive humiliation. But he thrived on that, like, “I know I’m great.”

Coleman: With Bruce, I remember Prince being a bit of an imp and trying to throw him off. He was giving us his secret hand signals while Bruce was trying to play a guitar solo. There was a little cat and mouse going on. I never knew if Bruce knew Prince was doing that because there was a bit of giggling, but we knew and were like, “No, don’t do that, it’s so mean!”

Fink: Prince was reveling in it. It was his goal to tower over everybody in a lot of ways. He loved it. With Madonna, they were flirting and playing.

Coleman: I have to admit I’m such a dork. I didn’t know who Madonna was. This girl came onto the stage and I was like, “Who’s that?” I thought he just pulled some girl up on the stage. I didn’t know what was going on until I was in the bathroom after the show.

Melvoin: Madonna came backstage and was in our dressing room, mine and Lisa’s, and wanted to use the bathroom. It was this true girl moment. We were each in our stalls peeing at the same time and she goes, “You guys are such badasses!” That was my first introduction to Madonna.

Coleman: We always had jams [during the encores]. “Baby I’m a Star” was notorious. “Purple Rain” could be 30 minutes long. We could stretch things out.

Bennett: We used to do a running bet with the crew on how long “Purple Rain” was going to be. Every night. I’m not a betting man, so I never got involved, but in the production office, there was a board where people would place their bets on the time. It was usually extended between 20 to 25 minutes. You could win a couple hundred bucks.

Coleman: During that time, Prince was very positive and didn’t want to miss what it meant to the world. He would read every magazine, whatever press. He wanted to see it all, good or bad. And then he wanted to affect it in a positive way, and he started doing more philanthropic things. We started playing at schools or doing food drives.

Melvoin: On that tour we’d be onstage for hours and then of course we’d end up doing another show afterwards or we’d do a show during the day somewhere else. It was full on every night until the last show. I remember we went to Gallaudet, the school for the deaf [in Washington, D.C.] and did the entire show in their auditorium, and it was incredible. There were huge monitors on the floor in the audience so the kids could feel the bottom end. I remember at least 25 signers in the audience who were watching us and signing all the words to every song. The kids loved it. And then they broke it down and we went to the stadium and played another show that night.

Fink: By the end of it, we were changing some arrangements. Prince still put us through mental gymnastics every day. He’d make a new transition between certain songs and you had to remember it. It was like a game to him. But Prince cut the tour short. Around the World in a Day was on his mind and backstage we were already looking at album covers for that.

Brown: During soundchecks, we recorded “4 the Tears in Your Eyes.” “The Ladder.” All kinds of stuff.

IV. The Aftermath

Coleman: By the end of the tour, he was done with [Purple Rain]. He just burned fast and hard. If you look at the concert footage, he was killing his body. It was really, really hard work and to do it for six months was plenty for him. He was starting to get excited about other things. He was ready to move on.

Bennett: Prior to that tour, we were all very close, but then it started to separate out so that he was very isolated from us towards the end of the tour. I think he anticipated the fame to a certain level, but not what that was. It sounds good in theory until it actually happens. I can’t say it frightened him, but it definitely threw him off. He was just withdrawing. I used to spend a ton of time with him back in Minneapolis over at his house and doing things with him like going to movies. That all started to go away and disappear at a certain degree during that tour. It eventually got to the point where it was us and him. And it started to suck.

Coleman: At first it was just one bus for the whole band. Then the boys had a bus, and Wendy and I had a bus. And Prince had his own bus.

Melvoin: From Purple Rain through Sign 'O’ the Times were his strongest mental and physical times. He wasn’t beaten down by any of it. It gave him incredible strength. There was a certain sort of naïveté about him during that time where he wasn’t second-guessing himself. He handled it really beautifully and wasn’t a frivolous little boy at all. He knew what his responsibility was, and he felt great about it. I don’t know how strong that feeling was for him in his later years. He handled it great at the time, but I’m sure that ultimately what it did to him is whittle away at a certain kind of deep self-esteem about himself. How could anybody reconcile that kind of power and success without it screwing with you deeply?

Coleman [on Prince not participating in “We Are the World” near the end of the tour]: It was the night of the Grammys – we’d done so well and everything was so positive. He just messed up big. I didn’t get why he wouldn’t be involved in that. I can’t really speak to that, honestly, because I didn’t really understand his thinking on it then. I think he just saw a whole bunch of pop stars getting together to “do good,” and I think he thought that was kind of bullshit, in a way.

But if you weren’t going to go there, then just don’t be seen. He was out [that night] and his bodyguard punched somebody or something. When the bad press came out it was like, “Don’t talk about it. … Nobody mention that.” So ridiculous! I thought it was most unfortunate. It was totally the opposite of what he preached.

Bennett: That whole period was so magical. You could just feel the energy of his stardom just skyrocketing. He could’ve continued to write major hits like all the songs on Purple Rain. I think it just became too easy. It wasn’t pushing him and challenging himself, because he constantly challenged himself. He did that with all of us, too. He pushed me to be more than I thought I could be. He would see who you are, what he saw you could do, and most of the time beyond what you believed you could do. And he would just push you there.

Brown: The confidence level that Prince created in all of us – you did anything. You did whatever to win the game.

Melvoin: It was thrilling. It was this roller-coaster feeling: “Woo, God, it’s scary, but I love it!” It felt like the world had opened up and we were going ahead and being allowed to make our dreams come true on that tour.

Enterprise Crowd - Part 4

Summary: These are the adventures of Reader, a Lieutenant Commander assigned the Enterprises IT engineering team. Her biggest flaw? Her temper.

Wordcount: 1700ish?

A/N: This week in “Enterprise Crowd”: Regrets and hangovers are had. People get hit in the face. I could also not find a gif that fit, so I skipped it.

Warnings: hangover, general cursing, f bombs

PART 1 PART 2 PART 3


There were a few minutes of blissful ignorance until revelation hit you. It was nice, warm and snuggly and your body hadn’t yet started to try and collect last nights debts from you, instead cushioning you in a warm fuzzy feeling of post-intoxication. A stubble brushed over your shoulder, a pair of lips kissing you gently. A rough hand traced the line of your shoulder idly, caressed your back and landed on your ass, gripping it gently. He earned himself a purr from your lips for this - his hand knew exactly what it was doing there. Firm and slightly massaging and just overall nice. The owner of said hand sighed softly, his lips now brushing against your ear.

„Tha’s nice“, mumbled an all too familiar scottish voice right there and with that memory came flooding back.
„Woah.“, you exclaimed and froze at once.
„Fuck.“, you yelled then and leapt forward, out of the bed, only to get your foot entangled and land face forward on the floor were you then moaned in pain.
„Shit, what…“
The scotsman sat up, rubbing first his eyes and then his temples.
„Lass…“ he muttered, still half asleep, forcing his eyes open in an expression of equal parts hangover, disbelief and smugness.

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Tales of Festival, Sunday June 4th 2017

Oh, something I forgot about yesterday’s show. Since next year will be the REAL 10th year anniversary for Vesperia, the cast were joking about having a fancy dinner party. Where everyone (including all of us) comes to Yokohama Arena in fancy clothes and eats dinner and goes home. (The image of this absolutely cracks me up. Moving on.)

Okay, I am just going to say it, today was sooooo much better that yesterday ahaha. I enjoyed it a lot. But now I will have hell remembering everything and will probably be editing this post for the next few hours….

I will start right into the skit. 

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Let’s Talk About It- Race, Colorism and Antiblackness on DWTS Part 2

I apologize for this being up later than I had initially planned to have it up. I had a lot going on. But I’m back. And I’m here and ready to drag. Anyway, I spoke about season 24 and Simone, specifically, in the last installment of this series. For this post, I will be focusing more on the pros and mostly Keo. There are a few things that I see regarding Britt and Brandon, but they haven’t been around long or featured enough for me to get a read on how they’re seen and treated on this show (which is sort of a problem in and of itself). 

Keo

So as we all know, DWTS has been on the air since 2005. From 2005 until 2014, there had never been a Black person as a teaching pro on the show. Even though there are tons of Black ballroom and Latin dancers all over the globe, the show never decided to give one a shot until season 19, nine years into the show’s existence. Season 19 was when we were all introduced to South African dancer, Keoikantse Motsepe. I was excited because Black people were finally getting some representation on this show. Finally after 9 years of never having a professional dancer on that looked like me. But I also knew that his inclusion was going to bring out a lot of ignorance. And it did. There wasn’t as much that happened immediately, since he and Lolo were the first couple out that season (thanks largely to her cringey interactions with the judges and Erin after a terrible dance). But there were still things that week and things that happened over time that I started see.

After Lolo’s first dance the first thing that Carrie Ann did, was screw up Keo’s name. I don’t think any other pro has had their name screwed up when they were being welcomed. And it wasn’t even his full name that she was saying. She was just saying “Keo”. That’s not any harder to pronounce than Maks, Tony, Val, Derek, Mark, etc. They were eliminated the next day, so the issues that could have followed this couple (because not only was he the first Black pro, but they were also the first Black couple on the show) died immediately. Then trio week came up. Val decided to choose Keo to help out with Janel’s salsa. If you’ve been following me for a while, you know how angry I was when this happened. Now that I’m older, more mature and I understand these things better, I can better articulate why I was so mad. So I’ll set up the scene first. It was a tribal theme which was my first red flag. But no big deal, right? We’ve seen that type of number before. And while they are problematic, it’s never been too bad. That was until Janel dubbed herself the ‘Queen of Color’ with this sort of “You see what I did there? You see? Because Keo is Black and I’m Asian. But mostly because Keo is Black. Haha. Bet you didn’t get that,” look on her face. You can’t tell me it was about the colors in the dance because there was only red and blue chalk at the very beginning and the lighting had a subtle purple to it. So that doesn’t work on me. And she would have never said that comment, had Keo not been in the number. So then we get to the dance. The costuming was pretty problematic. There were other issues with the choreography itself, more specifically the stuff at the beginning without Janel. Once the dance ended, the ignorance and stupidity kept on coming with Bruno making comments about having jungle fever. If you didn’t know, jungle fever is essentially a non-Black person, being attracted to a Black person. It relies on the idea that Black people are from the jungle. In this sense, Black people are considered savages, uncivilized and less than human. There’s more to unpack with this dance and his comments, especially if you want to get into the Josephine Baker comment that he threw out there. But again, that would turn this into a dissertation and I’m not doing this for a degree and I’m not getting paid for it.

Let’s move on to season 22. Keo was paired with Jodie Sweetin. This was the first season that he had a true contender on paper. I had my reservations because up to this point, Keo hadn’t really proved that he was a great pro. He wasn’t terrible and always took great care of his partners. But teaching and choreographing for him hadn’t been very good. Others felt the same too and took it as far as to say that he didn’t deserve her. That was understandable at first until they came out and Keo started to really grow and deliver with Jodie. It was very apparent that he was doing a really good job. But everyone was holding him to a much higher standard than pros like Val, who was coasting that season with Ginger, or Sasha, who was playing things very safe with Kim Fields. There were even articles being written, that were asking if Keo was failing Jodie. I have never seen any other pro get negative press like that for “failing his celeb.” He wasn’t failing her. In fact, there is only one other pro that I think would have been able to do a better job than Keo that season. And that is Derek. Jodie may have been a good dancer, but she had a lot of issues with keeping her nerves under control. You could tell that Jodie was also very fragile and had just fixed a lot of the things that she had been going through, throughout her life. As Courtney said over on Pure, she was Mischa Barton, had Mischa done the show 5 years after she was fully recovered. You’ve had Maks handle his partners very rough and had many of the other men pretty much verbally abuse some of their partners. Some of these women have been reduced to tears. Bloggers rarely, if ever wrote about it. In fact, I only remember them reporting on the Maks and Hope problem during season 13. But Jodie doesn’t do as well as people expected her to, so now Keo is blamed and is not doing his job. That reeks of antiblackness. The man did right by Jodie as far as I’m concerned.

We’re still going to be looking at season 22, but for this paragraph, we’ll be looking at switch up night.  Now as most of you all know, I loathe switch up week. The energy surrounding it is always just bad. The pros and the celebs dread it, the judges are meaner than usual and the fans are absolutely terrible. Blogging during those weeks was the absolute worst. So I can only imagine the way that the pros and celebs felt. Anyway, Keo and Kim were put together. Their personalities meshed well, but there was a HUGE height difference between them. With only like 5 days to get to know your new partner, establish some sort of connection and get a routine together that fits them, there’s only so much that you can do. So Keo elected to spend most of the dance doing open work. That was a smart idea considering the circumstances and the fact that Keo is over a foot taller than Kim. However, the judges came down super hard on him and really made a huge deal out of it and acted like it was terrible. It was so bad and hard to watch them get verbally abused like that. The dance wasn’t bad at all and actually was pretty good. But from the way Maks went in on them, you’d think that they just sat down in the middle of the floor and played patty cake the whole time. I think his treatment was probably worse than the way the judges tend to rip Witney apart on switchup week. And they’re awful with her. What’s the difference between Keo and the other pros? Season 22 was a ton of antiblackness and racism aimed directly at Keo, and it was disgusting to watch play out. It didn’t help that after a 6th place finish, the show decided to bench him and brought back Gleb and Maks for season 23. And neither one of them even had a smidgen of the success with their partners that season that Keo had with Jodie. That right that just shows you that Black people have to do twice as much just to even get half of what white people get. He did and went through all of that in season 22, just to be benched for season 23.

Brandon, Britt and Keo

Now that I’ve spoken about Keo, I’ll also just say a little about Brandon and Britt. These two have been featured very little in comparison to the other members of the troupe. I think Britt has fared slightly better than Brandon in this regard. The show seems to have invested a little more into her. I think they might be gearing up to promote her within the next couple of seasons just based on the fact that they put her in one of the trio numbers this season. Hopefully they do right by her. I doubt they will though. And to be honest, I think the only reason we saw Brandon featured as much as we did, is because he and Rashad hit it off. In fact, I’m glad that Rashad was on this season. I don’t think Keo and Brandon would have been featured as much if it weren’t for the fact that he befriended them. And Emma being smart, decided to use them in a few of their dances like Brandon in the quickstep and freestyle and Brandon and Keo (and the other guy) in the tango.

And that completes the second installment of Let’s Talk About It- Race, Antiblackness and Colorism in DWTS. The next part will hopefully be up by this weekend. I think I’m going to cover a lot of the issues that Black men face on the show. I’ll talk about Black women in the 4th installment. In the meantime, let me know your thoughts about this one and I will talk to you all soon.

COOL ONSTAGE SHIT IN HAMILTON

(Spoilers if you want to see the show)

So I saw hamilton yesterday and it was the most amazing experience ever and so worth the amount of effort I put into getting my Canadian ass over to NYC.

Now every stage show is different but this is just some of the neat shit I saw on stage and thought I should share.


-Aaron burr spends the entire beginning of “my shot” trying to ignore the crew and read a book but he keeps looking up, continually distracted by hamilton

-somebody threw a stool across the stage in “my shot”, like a couple metres, and someone caught it perfectly like a big ass stool was just chucked from one ensemble member to another with ease it was amazing.

-Laurens acted drunk his entire stage time and just got progressively more wasted as the show continued.

-during “the story of tonight” Laurens goes over to ham and the do that arm hug thing and stare longingly into eachother’s eyes. Mulligan and Lafayette pull Laurens away into a friendship hug and roll their eyes when he inevitably goes back to sorta hugging Hamilton and gaining longingly into eachother’s eyes.

-in “farmer refuted” he tries to fight Seabury immediately but is pulled back by burr and so seabury actually manages to get through his first few lines.

-seabury is standing on a box and when hamilton starts harassing him he picks up the box and moves it in from of hamilton so he can block the other man. Eventually hamilton gets on the stool with him to further yell into his ear.

-when ham gets Philip Schuyler’s approval in “helpless” he secretly does an awkward dance that reminds me of usnavi when Vanessa agrees to go out with him, it was that sort of dance (oh snap who’s that don’t touch me I’m too hot yes!)

-in “satisfied” when it rewinds to the ball scene Angelica is dancing with Washington while singing about her love for hamilton.

-daveed does in fact jump off the table when he starts rapping fast during “guns and ships”

-In “what comes next”, Groff walks in under a red stage light. When he says “I’m so blue” he taps his cane and glares at the lights angrily. They change to red.

-in “dear theodosia” burr and hamilton are both siting on chairs symmetrical to eachother and gazing forward lovingly at a child they cannot see. Hamilton has a huge smile on his face that remains until the end of the song where Eliza comes in and tells him they’ve received a letter. Hamilton keeps smiling at the Philip we cannot see when he dismisses her (it’s from John Laurens I’ll read it later). The smile drops when she starts reading and above, behind them mulligan and Lafayette are reading the same letter.

-during hamiltons second rand in “non-stop” he is standing on a table while the ensemble members watch him in awe. But is sitting with them but keeps rolling his eyes at the audience and gesturing to ham like “see what I have to put up with?”

-in “cabinet battle 1” Jefferson drops the mic and it is immediately caught by Madison

-also when ham starts insulting Madison, poor James is having a coughing fit and has to sit down. Jefferson comforts him while glaring at hamilton. Early in the song he was grinning but the second Hamilton brutally insults Madison’s health he looks about ready to kill a bitch.

-during “take a break” at the end of the French counting, like Philips final count at the beginning, he jokingly growl/screams the final CINQ

-(mnsfw)at the end of say no to this Maria sits on hams lap and starts grinding and this was 100% buttsex I’m not lying lin is making an orgasm face. He gets up and hands James Reynolds the money saying “nobody needs to know”. Then James snaps his fingers at Maria to get her to come. She looks back sadly at Hamilton before reluctantly following him.

-in cabinet battle 2 Jefferson proudly shoves the microphone in James Madison’s face to prompt him to say “France”

-at the end of “I know him” the king goes and sits in the corner of the stage and starts jamming out to the Adams administrations before getting shooed of stage

-in “the Adams administration” hamilton throws a large pile of papers loudly only the floor from the upper back balcony before swearing and storming off

-at the end of “hurricane”, it’s Maria Reynolds who hands hamilton his pen to begin writing the Reynolds pamphlet

-in “the Reynolds pamphlet” Philip is looking up shocked as his father while he gives the speech. He stumbles backwards into Jefferson who eagerly hands him a pamphlet. He reads it and runs off stage. Washington also come in glaring at ham and seems to yell at him before storming of. Groff walks on and throws some for good measure.

-“my looks not where the resemblance stops” Ramos gestures to his dick in case u weren’t sure

-at the end of “stay alive (reprise)” when the counting stops Eliza screams this agonizing scream and breaks into sobs. It tears your heart out of your chest.

-burr is eagerly listening to what the people have to say to him during “the election of 1800” and When the final ensemble member says “like you could grab a beer with him” he fist pumps the hair and jumps backwards really excited (this might just be Sidney’s version of burr but it was dope)

-in “the world was wide enough” burr shoots at the end of ten and an ensemble member grabs the bullet in midair, everything freezes and she dances while she carries the bullet closer to ham during his soliloquy

-Eliza let’s out an indescribable sigh at the end of “who lives who dies who tells your story”. I’m not sure if it was relief, it’s hard to say. Hamilton comes out while she’s taking about all the shit she’s done and just watched her in awe.

Other stuff:
-if you want shit signed at the door have your stuff ready and Sprint out the door the second you’re done clapping for the final song, like seriously run
-there doesn’t seem to be a bad seat in the theatre, not from the mezzanine anyway.
-Sydney James Harcourt always signs his name between hamiltons legs if you hand him a playbill or any thing with the main logo on it.

shpevrythng  asked:

ok for a Queliot head canon about them going to prom together (high school au)

YES GOOD SHIT MHMMM. 

  • “You’re going to Prom with me.” 
  • Quentin dropped the beaker in his hand and nearly fell over in his stool.
  • “I’m…what?” 
  • “You. Me. Dapper clothes. Prom. Together.” Eliot repeated, seemingly unfazed by the broken glass that landed by his Fluevogs. 
  • Quentin still gawked at him even as a lovely shade of red crept up his neck and onto his cheeks. 
  • It didn’t help that the entire classroom was now staring at them. 
  • Besides, even if they were friends, cool, suave, sexy people didn’t just tell brainiac super nerds that they were just going to Prom together, did they?
  • On second thought, they probably did. 
  • The longer Eliot stood waiting for any response from him the more troubled his expression became, like he realized that he made a mistake and he wanted to take it back.
  • Or maybe, just maybe, he was afraid of being rejected. 
  • Quentin prayed it was the latter as he opened his mouth. 
  • “Uh…sure. Yeah. Prom.” 
  • Eliot’s grin almost split his face in two. The entire class made cat calls and jeers, and Margo was no exception as she yelled “Go get you some dick, Babe!” At Eliot. To no one’s surprise, she would be having a meeting with Principle Fogg about her use of foul language in class. Again. 
  • Eliot took his seat again, but not before leaning to whisper in Quentin’s ear. 
  • “Who knows, maybe we’ll get that far.” 
  • A hard shiver ran down Quentin’s spine. Part of him hoped this was some weird dream and he would wake up any second. 
  • But part of him hoped to God that if nothing else in the world was real, that this moment was. 

-

  • Quentin stared in the mirror for what had to be the fiftieth time in ten minutes. He consistently smoothed a wrinkle that only he could see because Julia swore that there wasn’t anything there. 
  • He opted for slicking his hair back, despite his James and Julia protesting that he ‘should just cut it for fucks sake.’ 
  • He had to admit though that the mint green dress shirt looked rather nice on him. According to his mother, it ‘brought out his eyes.’ Whatever the hell that meant. 
  • Quentin was thankful that James and Julia agreed to come with him to pick Eliot up because he didn’t think he could do this alone. 
  • Eliot was everything Quentin wasn’t, and yeah, maybe he had tossed around the idea of being more than friends, but he didn’t think Eliot would take him seriously. No one else had in the past. 
  • Nerves struck as he waited on Eliot’s doorstep. His palms began to sweat and he wiped his hand on his pants, surely making the non-existant wrinkles worse. 
  • Margo opened the door and beamed at him. 
  • “You look good, Quentin!” 
  • Quentin managed a small smile.
  • “Thanks, Margo. You um..you look nice.” And she did. Margo wore purple well, and the white gold jewelry that sparkled off her tanned skin really made the whole outfit. 
  • “I’ll take that as a compliment.” She stepped aside and allowed them in before calling up the stairs. 
  • “Eliot! Your chariot has arrived!” 
  • Quentin was suddenly reminded of a stereotypical scene in those stupid romantic comedies where the guy waited for his date at the foot of the stairs at gawked at her as she descended. 
  • And he was very much okay with this as Eliot came down said stairs because he couldn’t have imagined this moment any other way if he tried. 
  • Eliot was the very definition of elegantly gorgeous in a navy blue suit and a matching mint green dress shirt. 
  • Quentin distantly wondered if Eliot had a Fairy Godmother that he was keeping hidden away because no one should look that good in anything. 
  • He was pretty sure he was grinning broadly as Eliot stood in front of him. Silence hung between them for a moment before they both began giggling
  • Oh dear God, he was giggling. 
  • And Eliot was giggling. 
  • And Quentin thought it might just be the cutest thing in the world.
  • It was certainly and immediately his new favorite sound. 
  • Everything felt…better with Eliot. His nerves, though still there, weren’t so bad, not when he thought that maybe Eliot was also just as nervous. 
  • Maybe they would kiss when then shared a slow dance. Quentin hoped so. 
  • Who knows? Maybe Margo was right and Eliot was going to ‘get him some dick.’ 
  • In that moment, as Quentin offered him his hand and Eliot took it graciously, he felt like he could do anything.
Secrets - Matt Murdock/Reader

Pairing: Matt Murdock/Reader
Word Count: 15,017
Prompt: “Can you do daredevil one where the reader is a S.H.I.E.L.D agent and Matt’s girlfriend but they don’t know about each other’s work/nighttime activities and one of them found out and confront the other?”
Summary: You’ve never liked keeping secrets from Matt, but given your line of work, he’s safer that way. You’ve kept your big, glaring secret from him the whole relationship, despite the difficulties. But pretty soon you find out he’s been keeping some of his own, too.
Warnings: Lots of scenes with food, a brief scene with alcohol, a significant deal of violence/injury, a scene with some light smut, the occasional use of profanity.
Notes: Reader with she/her pronouns. Non-established relationship. Reader is a S.H.I.E.L.D. agent.

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williamspooky  asked:

Hello! Fictober prompt: a fic featuring a quote from My Immortal (the fic, not the song)

Oh god. I hate you a little!! I had never read this before and now I can’t unread it… however among the endless angst of FicFest - some semi-cracky levity might not be unwelcome. So here we have it…. set post FTF, Yes I know this makes no sense with HP chronology but I really don’t care :P If you really hate yourself, read My Immortal here… Feedback very welcome on this - comedy is not somewhere I’ve really gone before in this fandom so…. enjoy?!

Into the Woods 

A MSR ficlet inspired by a quote (bolded) from “My Immortal” | Rating : R


Scully’s not sure what the hell Mulder was thinking when he dropped the thick manila folder on her desk. In fact, she’s not sure what he’s been thinking at all these past few days. They arrived back from Antarctica battered but united, walked through the park hand in hand and she’s been waiting for an encore to that interrupted hallway kiss ever since. Thankfully she was smart enough not to hold her breath for it or she’d have expired some time ago.

Instead of romantic overtures or just some straight-up release of five years worth of sexual tension she’s had two weeks of bored, irritating Mulder. In the rumpus of the bullpen he’s become adept at dropping her questioning gazes into silence, avoiding being alone with her and resorted to sending increasingly bizarre urban legends to her for “appraisal”, filling her time with one wild goose chase after another as they await reassignment to the newly re-opened X-Files. 

This particular folder had landed at the end of an especially frustrating Friday, the weighty thunk of it’s arrival adding insult to the injury that was Mulder’s accompanying sideways glance. She’d wearily asked what it was this time, expecting the usual challenging shrug and instead been greeted with a new Mulder look. Somewhere between guilt and mischief, it kick starts an immediate pulse between her legs which is just as quickly crushed by his rapid exit from the room. Scully drops her forehead to the desk and attempts to knock some of that strict rationale back into herself by the proven scientific method of gently slamming her head against the backs of her hands.

‘Jeez Scully!’. Mulder returns, just in time to witness her dramatic turn, amusement playing with the full curve of his lower lip and she gives him her best sarcastic eyebrow as she tries to pull herself together.

‘What is it now Mulder? More killer trees? A last minute autopsy or three? Or a new report on invisible goddamn beehives?’ She loads each question with sarcasm, poinst them at him and shoots, gratified that he at least looks surprised by the bitterness of her tone.

‘I was just going to ask if you could give me a ride home.’ He mutters, ‘But I can ask…’.

‘It’s fine.’ She cuts him off. I’m leaving at six. Not a minute before so don’t show up here at 5:30 and complain that it’s Friday and that nobody cares because I do.’ With that she turns her attention back to the file and refuses to look at him as he shuffles out, muttering something about her being such a damn prep.


30 minutes later….

What. The. Fuck.

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JigSue's game for Klaine - Emotional denial, but forever and always

6X05 analysis by Whitney

For the sake of my own sanity guys, I will not be discussing all the meta that happened in this episode.  It’s part of Glee’s formula, for it’s a show centered on pop culture.  I was not offended by the meta, because that is how fandom is.  I know some were, so I’ll leave that to discuss amongst yourselves. The meta only moved the story along on the guise of Sue’s desire to reunite Kurt and Blaine.  Jane has been simply brilliant these last few episodes, so kudos to her. (Plus, I wrote 5 pages of notes without the meta, so no more haha.)

Now onto the actual story.

Sue sets up her plan for Kurt and Blaine at the very beginning of the episode, stating that one co-director will go missing.  The audience clues in that it’s Kurt from the many reaction shots of him to her monologue of rules.  The date with Walter yet again shows how unsuitable they are together. I won’t go into it further, but just because Kurt said it was a second date, does not necessarily mean he’s into it.  He is trying to move on.

Now at Sue’s little “Klaine” shrine the audience is shown a tape of moments between Kurt and Blaine - First Prom, The First Time and Come What May.  I will gloss over the meta again and just say that the fact that these 3 moments were shown are important because they all have a key role in this episode.  I’ll explain why as each moment they reference shows up in this particular episode.  (It’s actually very smart and subtle.)

The boys run into each other outside of the faculty bathroom. (When someone figures out Blaine’s fascination with bathrooms, will you let me know?)  The two are calm and enjoy easy banter about non emotional topics.  This clues the audience in on the fact that the boys are beginning to tear down their walls around each other and reform a friendship. They are, however, avoiding “the talk” they both desperately need to have with the other.  

Hence the elevator scenario.  I have already explained that by enclosing two characters at odds with each other (enemies or separated lovers), it will force them to confront what is bothering them.  In this instance, Kurt and Blaine will reform the bond of friendship consciously, as one can see in their united front with Sue at the close of the episode.  Unconsciously however, the boys will begin to ease back into their relationship (hence Blaine’s touching and Kurt’s acceptance of the touching.)

Now, it will be shown multiple times in the episode, but when the boys feel threatened they move closer to each other.  This shows significance in how they both want to protect each other and how safe they feel with one another.  Correlate that to Kurt telling his father that Blaine makes him feel safe and connected and all the times Blaine has wanted to keep him safe. (I’ve talked about this in previous posts, so no need to go through it again.)

As Rachel questions where Kurt is, Sue simultaneously feigns shock at Blaine’s disappearance.  Even though the audience already knows they are together, the characters don’t, which will set up Rachel’s reaction to the boy’s reappearance.  (She definitely wants to know if something went on.)

The second elevator scene starts with Blaine banging on the doors, which causes them to argue like a married couple.  But the banging could also be seen as a physical representation of Blaine trying to escape his feelings.  Like I said, the elevator trope is commonly used to help characters come to an emotional realization between the other character in the inclosed space.  Blaine runs to protect Kurt from JigSue and the boys steadily move closer to each other as the scene progresses, because they feel threatened (like I stated above.)

JigSue tells them that they must kiss, so they pretend that kissing is no big deal and air kiss.  Kurt and Blaine don’t go through with it though.  This is classic denial, but yet shows how afraid they are to kiss, because they have both been denying their feelings (Blaine the longest.)  This is more noticeable during Blaine’s rushed reaction to having to really kiss Kurt.  But take note of Blaine looking at Kurt as he says “just let us out.”  He is still gauging for Kurt’s reaction and Kurt is against kissing him for his own reasons.

JigSue delivers a picnic for two.  The two previously reunited over a picnic in 5.01.  During this picnic, they yet again talk in the way one does with a long time lover. (“Definitely not gonna kiss because I had a bunch of these”.)  Blaine doesn’t seem so disinterested in the kiss now, except for that he may have bad breath. This clues the audience in on the fact that Kurt probably has told him numerous times that he won’t kiss Blaine when his breath smells of garlic.  They banter about how to get out.  The two take turns letting the other sleep.  This shows that they want to protect each other from any more harm from JigSue.  But by having both look at each other as they sleep, one can infer that they are comfortable in the silence of being near each other and longing to say things that they are unable to say to the other person when they are awake. (Again, denial of their feelings and afraid to voice them out loud.)

The entire heads op game sequence in the elevator was improvised. This works by the director giving the actors an outline of a scenario and letting them fill in the gaps.  They do bring up special moments for the fans of the couple so that is nice.  This is why the actors have a great working relationship. Improv is hard and they are both so quick with their responses. 

The scene does bring up Dave Karofsky and it has many implications.  Remember how I said the fact that showing the Prom Queen episode during the beginning of the episode was important, well here is why.  Dave’s refusal to dance with Kurt allowed Blaine the chance to overcome his own fear of being beaten again and dance with Kurt because they have found strength in each other.  This time though, the mention of Dave has encroached on Kurt and Blaine’s reconciliation of friendship and shown where each boy’s heart really lies, even if the words they say don’t reflect it. Remember how I said that Kurt is a character where importance is placed on what he doesn’t say.

Kurt’s smile immediately drops from his face at the mention of Dave and he says that, “It’s so hot and I’m gonna be sick.”  He’s upset that Blaine is with another guy and he’s hurt.  We are also shown a reaction shot of Blaine, who says nothing, but looks as if he regrets the very words that came out of his mouth.  It is very similar to the the time the audience was shown Blaine’s remorse/guilt over Eli C.  By doing it this way, the audience is able to gauge both boy’s emotions and feel sorry for both of them.

This also can be inferred as the boys still having miscommunication on the romantic part or their relationship.  They are reconnecting as friends, but yet again skating over the issue of their romantic feelings.  This does not sit well with JigSue, who immediately reappears.  She changes the game, the two must kiss to get out of the elevator. 

Blaine is the one to suggest that they kiss to get out of the elevator.  He babbles that he is only doing it because he is hot and wants to go home.  Kurt takes this all in in silence.  It is in these moments that Kurt gives away his desire to kiss Blaine by the finger gliding up and down his arm.  This connects to The First Time episode footage shown at the beginning of the episode.  During that episode, Blaine had suggested to Kurt that maybe it was time that they explored their relationship further, this time he suggests that they kiss.  Blaine looks to Kurt to gauge his reaction to the idea.  The scene ends with Kurt saying nothing.  However, he says a lot by the movement of his fingers.  Kurt wants to kiss Blaine, but is afraid to say so.

Both are afraid to kiss each other, so it’s easiest to place the blame on something or someone else.  The boys are using JigSue as an excuse.  They both state it means nothing, but from the previous scene, the audience can infer that it means quite a lot.  Blaine was constantly seeking Kurt’s reaction to the kiss and Kurt was quietly grazing his finger over his skin.  To Kurt Hummel, the brush of the fingertips is as sexy as it gets.  It’s an intimate gesture.

Now let’s look at the songs and how they influence the Kurt and Blaine scenes.  Remember, I said that songs generally reflect the person singing it.  But the lyrics can also be used to infer meaning to characters that the lyrics over lap in shots. It is most prevalent in this episode.

It Must have Been Love

Lay a whisper on my pillow

Leave the winter on the ground
I wake up lonely, there’s air of silence
In the bedroom and all around

Touch me now, I close my eyes
And dream away

These lyrics play a bit before and during the segment of Blaine and Kurt in the elevator where they both discuss how they both should make a promise that this kiss won’t mean anything and they are just doing what they have to do.  These lyrics are meant to clue the audience into the fact that what the boys are saying couldn’t be further from the truth.  Here the lyrics are painting a picture of a lover who is recalling the love they lost (whisper on my pillow.)  They want to leave the winter (loneliness) and they are surround by memories of a relationship (air of silence in the bedroom.)  I have stated before that seasons (winter) is an important metaphor for Kurt and Blaine.  Seasons represent forever and that is what they are.  This also cues back to the CWM footage shown at the beginning of the episode (Please refer back to CWM analysis for significance on seasons and the fact that Kurt is the one that reaches for Blaine in the dream sequence.)

Right now, both of these boys are clouded in winter (lonliness), but their love for each other is still there (seasons)  See how seasons can be used to express both the state of being they feel without each other and how their love for each other will be forever.  The “in the bedroom” lyric can correlate to 6.02 and 6.03.  We were shown Blaine crying in his bedroom over losing Kurt and we had Kurt singing the line about “laying in his bed all morning” during the It’s Too Late duet.

The touch me now and close my eyes portion of the song is a metaphor for the kiss and represents them longing for their future (dream away.)

It must have been love but it’s over now

It must have been good but I lost it somehow

It must have been love but it’s over now

The above section of lyrics plays over the scene where Kurt and Blaine talk about how they are only kissing because Sue is forcing them.  It can be inferred that both of them are denying the love is still there, because they are unable to handle the emotional fall out at the moment (hence what the elevator trope is.)  This is even more clear in the direct dialogue between the boys (forcing us lines.)  The use of the elevator is to tip the emotional scale - the boys will be talking in a later episode.  The stakes have to be raised and they are.

Now, since seasons represent the boys’ everlasting love for each other look at “water” and “wind” as an element of a season.  Love is where “the water flows” and where “the wind blows.”

It’s where the water flows

It’s where the wind blows 

Where the wind blows

Where the wind blows (Kitty and Spencer: Blows)

The boys kiss exactly on the lines “where the wind blows.”  One can infer that to mean that Kurt and Blaine are the love of each other’s lives.  

Now let’s look at it in terms of their first kiss in Original Song.  Blaine is the one to initiate that kiss. This time it is Kurt.  Kurt is reaching for Blaine just as much as Blaine is reaching for him (look back at the significance of Kurt reaching for Blaine first in CWM analysis.)

There is a reprise of the “it must have been love” portion of the lyrics as the boys begin to pull away.  This is intentional to show the viewer that the boys are now realizing on their own that their love is still there.  But it is a higher stakes version of the first kiss.  The shots used are similar and the boy’s reactions are similar.

Whereas in the first Kiss, Blaine was realizing his heart beat for one Kurt Hummel, this kiss restarted his heart.  Blaine has been emotionally distant all season (the stark contrast in his body language with Dave.) He has also been very sassy (which Kurt finds amusing.)  But this time, not only is Blaine leaving his heart on the line, he is looking at Kurt for his reaction.  It is Kurt who broke them up and it is going to have to be Kurt to talk to Blaine first.

Kurt on the other hand.  His reaction to the kiss is the exact same as the first kiss, only it has different meaning.  In the first kiss, Kurt was rendered speechless by the fact that Blaine could love him at all.  This kiss, Kurt is realizing that Blaine has been the only one, and will be the only one, to move his heart (Walter Who?).

The elevator has served its purpose. It has brought both boy’s feelings to the surface.  The feelings they have denied terribly.  They stare at each other, speechless, both unsure of what to say.  It is Kurt who breaks eye contact first as the doors open. Remember, it has to be Kurt this time to talk to Blaine.  They run from the elevator.  A physical representation of them running from “the talk” they need to have with each other.

The creators show a shot of “None Of You Are Hot.” It’s meant to directly talk to the audience, but shed’s light once again on the boy’s denial of feelings.

The boys reunite with Rachel, who asks where they both were.  Kurt tells her it’s a long story.  Let’s talk about this for a minute.  Remember how Kurt referred to Adam as “no story” to Blaine.  Well look at the significance in that.  Blaine and Kurt have a history and it’s one that is important to both of them.  Blaine lingers longer than necessary, touching Kurt as he walks away. 

By not telling Rachel what happened, the boys are keeping this development to themselves (at least for now.)  Blaine doesn’t even tell his students where he was.

During All Out of Love, shots of Kurt and Blaine happen during the line “I can’t be too late to tell you I was wrong.” Here, it can be implied that Kurt wants to fix things with Blaine.  This is why he came back to Lima in the first place, as stated during his talk with Rachel in 6.01. There is a difference this time - Blaine.  There is a shot of Blaine with his first genuine smile of the season (at Kurt.)  This can be inferred to mean that the walls he put up around his heart are falling down.  He’s open to communicating with Kurt.  However, it has to be Kurt to start the conversation.

The longing stares at each other also can represent that the boys, as of now, have a secret.  They have kissed and they love each other, but are keeping it to themselves.  I believe, before anyone knows they are together, they will talk about it themselves.  They will then seek council from friends and family in 6.08, but only after they fully commit to trying again.

The final scene between Kurt, Blaine and Sue shows the boys reunited in friendship, as they confront her together.  The two tell her that her plan didn’t work, but that it has allowed them to get past the bitterness and become friends again.  They fight like a married couple and are comfortable with touching each other again, showing the audience that they are still denying their romantic feelings.  However, they are aware of them, just keeping them from the other.

Instead of it being Kurt and his many “were just friends,” it’s Blaine’s turn to pull the “friend card.”  But take note of Kurt’s silent head nod.  It mirrors all of Blaine’s reactions to Kurt’s denial of a relationship in season 4.

Now, thanks to the Sue and Becky scene at the end of the episode, the audience knows that is October 17, 2014.  Her plan is going according to schedule.  Week five, Kurt and Blaine are friends again.  Nice little throw back from the creators to have it written in courage letters.

Week 8 will be SIGNIFICANT!  But, we will talk about that later.  We have to get through 6.06 and 6.07. There will always be forward movement though.

Enjoy and let’s discuss.

@Whitniz23