I love how Blaine saunters in and then just casually places himself openly in front of Kurt’s locker before he looks down and casually glances at his attire. He’s so proud of his clothing and feels like it’s the biggest clue and the biggest hint ever on what he’s there for, and yet Kurt walks away and keeps talking on. I love that Blaine doesn’t get frustrated or upset at the fact that Kurt didn’t see his wardrobe change, but instead sort of giggles to himself and realizes he is going to have to make it more obvious. I just think that it shows more of the love and patience Blaine has than ever. Lots of people wouldn’t be the happiest about the lack of immediate response, but Blaine’s finds it amusing. And then he can’t hold himself back before asking Kurt about his wardrobe change. I just think it’s one of the cutest things ever, especially because Kurt is so big on fashion, Blaine knew that his clothing choice would catch and convey the message he wanted portrayed. 

The Candles performance is another scene where careful observation is a necessity.

Pay attention to Kurt and Blaine’s expressions, their postures, their interactions. When Kurt starts singing, he’s focused on not messing the performance up. Blaine watches, still in the ensemble, with this subtle smile. His expression as he looks at Kurt in that moment takes my breath away every time, because Kurt isn’t looking, and Kurt will never know that he had that smile on his face.

That smile is not a fake one (who would he be fooling?), not one to lead Kurt on, no. It’s real. Kurt stays “in character,” but Blaine can’t keep a smile off his face. But then he realizes what he’s doing, that he’s caught up in Kurt and about to miss his cue, and his brows furrow a little as he tries desperately to concentrate on his coming lines. As he walks towards Kurt, singing his first lines, the smile is there, and it's bigger. The closer he gets to Kurt, the happier he gets. It’s gravity. Kurt, ever the performer, is still “in character,” as Blaine walks towards him, and when he sees Blaine’s smile, he’s a little confused.

You can see his signature “Blaine is doing something and I don’t understand it,” smile, which is a bit manufactured and his eyebrow are raised, tense. Blaine makes his way to Kurt’s other side, and the utter passion with which he sings his lines to Kurt is breathtaking. Kurt gives in; character be damned. He does his little backwards walk, the one we haven’t seen since Baby It’s Cold Outside, and he’s trying to be all coy.

That fails, too.

By the end of the walk, he’s smiling. Meanwhile, Blaine is looking at him with this look. His eyebrows are kind of relaxed, and there’s this ridiculously subtle smile. His eyes are intense. He wants Kurt, in every way, and he’s entranced by him even on stage, in front of thousands, the spotlight on them. T

he last time we saw that look on him was when he was hunting down Jeremiah around a Gap, singing about vibrators and less-than-dapper plans. Many would bring that up as a point arguing against Blaine, saying that Kurt is just another Jeremiah to him. But he's not.

Because, though Blaine obviously sees Kurt as a sexual being and one that he wants to be sexual with, those looks are fleeting and overpowered by the ones of caring, and of awe, and of love. Kurt is much more than somebody he wants to get alone for lust’s sake.

Anywho, Kurt is still singing, and once he lets himself smile, he also looks at Blaine with this expression of care and love and it melts my heart. It’s soft, and beautiful, and utterly touching. Blaine notices this, and it turns his I want Kurt expression into one of enchantment, of affection, of all the emotions he’s just realized were there.

Then we get a shot of them singing to each other, profiles to the audience. Blaine is smiling, jittery, while Kurt is calmer, collected, but still smiling. And that’s just so them. Blaine is ruled by his emotions. So is Kurt, yeah, but Blaine yells it from the rooftops, while Kurt is adamant in the strength of his.

As the song progresses, Kurt looks to the audience more, but Blaine doesn’t take his eyes of Kurt. It’s more of the smile we saw first, where the emotions are there and undeniable and real.

Sometimes, Blaine will reach out out of reflex to touch Kurt’s arm, or he’ll step forward a bit. It’s subconscious. He catches himself, but the movement is there. All he wants to do is to be closer to Kurt, as close as possible. It’s what he’s known he’s wanted to do since Blackbird, and it’s what we’ve known he’s wanted to do since the moment they met, Fates be thanked, on the Dalton staircase.

Kurt shines, and Blaine revels in it. When Kurt does look at Blaine, it’s with such intensity and caring that it just makes Blaine’s looks all that much better.

Maybe Blaine didn’t chase him from the start. Maybe Blaine had it a bit easy in his pursuit. But when Blaine did realize it, finally, he was the one going after Kurt. He was the one pulling out all the stops to spend time with him.

He was the one initiating a kiss, confessing his feelings. He was the one chasing Kurt on stage, stepping forward, reaching out, doing everything to be closer to Kurt. Between the two, Blaine pursuits. As the duet comes to an end, they look at each other and nothing else.

It is, indisputably, one of my favorite moments from the episode.

Look at their expressions, their eyes, the way their faces speak and the way they are reveling in each other. They are so happy to be on that stage, doing what they love with the people they’re in love with. Kurt gets his moment to shine, and Blaine gets to spend time with Kurt. The smiles throughout even when the song is angstier than Harry in Order of the Phoenix; the subtle movements; the way they interact with each other.

This is the moment they’ve wanted for so long, the moment they’ve deserved, the moment that is in the wake of a pivotal change and the beginning of so much more. This is everything Kurt wanted– a duet with a boy, a boy he loves, a boy who loves him back, the spotlight on him, everything. And Kurt is everything Blaine wants, everything Blaine’s been looking for.

Though the last lines in the song, as the most intense of looks are exchanged and as their breathing is heavy and tears gloss their eyes, are “But I think I’ll be alright,” the moment means so much more. Their voices are quiet, soft.

Alright is not the word, not in the slightest. And they don't think, they know. Because Kurt has Blaine, and Blaine has Kurt, and everything is far, far more than alright.


I adore that Kurt’s initial reaction is completely uncontrolled and he throws himself at Blaine. There is no restriction and he doesn’t even care he’s in the middle of McKinley where he was tortured for who he was. Now he’s throwing himself at his boyfriend. But after that quick moment, he begins to freak out because as much as he wants Blaine at McKinley, he knows the hurt that Blaine has from his past, and he knows how much it could come back to haunt him. Blaine all the while is just amused and has come to the conclusion as well that he was ready to leave Dalton. He did this for himself, and he knew he needed to stop being protected and venture back into the real world. He’s ready to continue his battle. And then he pulls out the fact that Kurt is really the best thing in his life - and he can’t be away from him. Then you see the last frame - that’s Kurt sucking in air because he cannot believe this is real, and he needs air in his lungs to remind him that he is alive and this is his boyfriend who loves him. 

Kurt’s reactions throughout Blaine’s speech and before and during and after the kiss kill me. It’s the best death possible. I am equal parts Kurtsie and Blainiac, but I’ve been a Kurtsie longer. From the first episode I watched, Kurt has been my favorite character. I have wanted nothing more than happiness for him. I have seen him struggle, be put down, be bullied, go through every kind of pain, and through it all he’s put on a facade of unwavering strength. In this scene, that’s not there. It’s never there with Blaine. But this just epitomizes it, and then takes it and redefines it. He has grown used to getting the short end of the stick no matter what. Now, he has somebody who means the world to him, somebody he loves, somebody he’s in love with, telling him he means something. Telling him that his feelings are reciprocated. Telling him everything that he has needed to hear for so, so long and everything he has deserved to hear, and meaning it. And showing him. The walls come crashing down, and Kurt is in shock. He’s tearing up. He’s breathing heavily. He’s freaking out. And then Blaine kisses him, and it’s the culmination of everything, and after that– Kurt is happy. All the tension and pain that has built up for years just kind of disappears. You can see it in his posture, and in his face, and in everything. The past becomes the past once and for all, and Kurt is ready for more. He smiles, and laughs, and jokes, and then he goes in for the second kiss just as much as Blaine does. Kurt jumps into the now, the one that all parties involved (audience included) have waited so long for. Blaine is his now, as is love, as is happiness. Finally.


I find it amazing that someone who was so bullied he had to run away has the ability and the strength to stand in front of a school full of homophobes and sing his love to his boy friend. But not with his Warblers… alone. He has fully put himself on the line and is doing it with all the love and passion in the world. Not only that, he is thoroughly enjoying himself and is letting loose. Blaine shows his emotions through his performances and puts in all of his talent and soul, which is exactly what happened for this number. Not only that, but the students around Blaine actually enjoyed his number. The cafeteria? None of the students smiled. But here, everyone is laughing and smiling and enjoying Blaine; he’s infectious and adorable andhe tries with everything and makes heartwarming performances. 


I absolutely adored this scene. While most people complain about the fact that they have to go in for ‘Booty Camp’ Blaine willingly offers himself to join in so he can learn the moves. But the thing is, Blaine isn’t just doing this so he learns the moves and catches up - he’s doing this to prove to everyone that he’s here to work and he’s trying to still feel completely accepted. Not only is that a major component to his decision, but he looks at Kurt making it very obvious that he wants to spend more time with Kurt within Glee club as well. Lastly but not least, I love Kurt’s reaction! Kurt is not only overjoyed with how Blaine looks at him pointedly, but at the fact that his boyfriend is willing to work so hard for the Glee club.

Do I even have to comment on this? No. I don’t. But I will. Blaine ships Kurt/Happiness with the best of them. In the beginning of his arc, he drives hours to help Kurt. He texts him messages of encouragement. He takes him out to plays. He goes to dinner with him and hams it up. That, and so much more, just to see him happy. Just because he enjoys his company. Kurt is his best friend and, as I’ve drilled into your heads by now, somebody who he cares sososo much about. The difference between then and this is that Blaine finally realizes the potential he has to make Kurt happy in every way, and how Kurt makes him happy in every way, and how things go so much deeper than he had originally thought. He knows his place, and his purpose, and he goes for it like he has innumerable times before, but with so many new intentions and realizations. It’s not a matter of him just now caring about Kurt, because he’s looked at him like this since day one. It’s a matter of him finally realizing that there were reasons to every little detail between Teenage Dream and this very moment that he was never aware of before. It’s a matter of him wanting it, and him doing everything in his power to get it, and ‘it,’ being so much more than a relationship. He ships Kurt/Happiness, and he finally sees, like we have all along, that he himself is the missing puzzle piece with the emotion all over it.


I found Finn in this episode so, so annoying. Finn is one of those characters who enjoys the spotlight, being on top and being the leader even if he doesn’t admit it to people’s faces. When his ‘leadership’ status is threatened, he will attack and take down other people in order to maintain it. Rachel last season even said how much better of a singer Blaine was than Finn, and obviously Finn is feeling this. In It’s Not Unusual, Finn looks around for the usual glum and angry faces of the McKinley students but finds them to be entertained and enjoying themselves; hence Finn’s first expression of surprise and envy. Then in the choir room, when Blaine is really putting himself out there and nervously expressing his feelings for New Directions, Finn attacks him. I like watching everyone’s faces fall in disappointment at Finn; isn’t he supposed to be the leader and to accept everyone? Yet Finn sees the challenge and sets it up for Blaine. And for one of the people that has seen his most besides Kurt, he really should be helping accept Blaine into the school instead of rejecting him. He obviously knows a little bit about Blaine’s past from Kurt, and I actually think it’s the biggest dick move he could ever pull. I also think this is setting up for some major confrontation in the future.

Pavarotti, and Kurt, and Blaine, and Klaine.

My ask box just imploded with theories regarding Pav.

Not the twitter account. The actual bird. Most of them are all “BLAINE ONLY LIKED KURT WHEN PAVAROTTI DIED AND PAVAROTTI REPRESENTED KURT’S INDIVIDUALITY,” etc. And I have to admit, they’re great interpretations, but I don’t agree with them.

So. Uh. I’m tired and lazy, so I’m not going to make this some long-winded essay. Let’s use bullets instead. Bullets are nice.

Okay, my general point is that Pavarotti’s life as we saw it was Kurt’s molting stage and that Pavarotti’s death and its aftermath represented Kurt’s rebirth. In a nutshell. Okay, bullets.

  • Pre-Pavarotti Kurt was his “birth,” and growing stage. From being bullied to discovering himself to asserting himself to all of that. Yup. Self-explanatory.
  • Pavarotti’s molting was introduced in the same episode that Kurt was given Pavarotti. However, Kurt did not notice what he would later learn was molting until after encountering the way that the Warblers worked. Like, here’s the thing: Kurt struts in, thinking he’ll automatically rule the club, spouting suggestions and jokes without being acquainted with the members. He meets opposition and is given Pavarotti. Pavarotti is introduced as a canonical metaphor for Kurt’s voice. Kurt does not question this. The last solo we see him get before Blackbird was after that, where his delusions remain intact. Then he is shot down by the club and Blaine gives him that speech. It is not until at least a day after Sectionals, which is well after the initial Dalton scene, that Kurt notices that Pavarotti is not himself. He freaks out because he’s not familiar with Pav’s behavior, instantly sees it as something wrong. Then Blaine tells him that Pavarotti is molting. Really. Think about it. Kurt is upset by the fact that he’s not ruling the Warblers, and Blaine talks him down. Later, Kurt freaks out over Pavarotti’s molting, upset by it. Blaine talks him down. Yup.
  • Kurt begins his molting process during SE, but is aware of it only at the very end of the episode. This, then, continues throughout the following ones. Remember during Dog Days, where, after Blaine leaves, we get this shot of Kurt being all thoughtful while looking at Pavarotti? That’s where he gets it. This is his molting. He’s not staying at Dalton forever. He’s not going to stay in the background forever. But, for a while, it’s going to be necessary for him to do so. It’s not bad. Different. But not bad. In AVGC, Kurt puts it that way for Mr. Schue. In TSSSBS, he puts it that way for Rachel and Mercedes. In SLS, more molting occurs in Kurt as a romantic character, then in Sexy as a sexual character. As the episodes progress, we see more and more of Pav. In Sexy, he’s in the background, chirping along. That’s the beginning of the end, right there. In the beginning of Original Song, emphasis is put on him, too. Pavarotti is happy, well-cared for, adjusting. Kurt puts his spin on Pavarotti’s cage. This is a direct metaphor for Kurt. Then, in the scene of Pavarotti’s death, both Kurt and Pav are happily whistling, going about a regular day. Because the storm passed, and Kurt is ready to fly. Pavarotti, however, being a metaphor for Kurt’s molting, has served his purpose and dies.
  • Kurt mourns Pavarotti and is simultaneously reborn. It’s no coincidence that his first solo since Don’t Cry was also his goodbye to Pavarotti. He’s sad about Pav’s death, but this is him taking the first steps outside of the cage. The cage wasn’t Dalton. The cage was molting. Kurt’s done molting, and he’s ready to shine once again. He doesn’t even ask permission. He bursts in, makes a snide remark about Blaine, and starts his solo, no questions asked. That’s the Kurt we know and love. He’s also doing something thoroughly emotional over a bird, a testament to his character’s compassion and love and all that jazz that we love. All that jazz that Blaine loves. He’s flying, he’s allowing himself to fly, and Blaine notices. This is Kurt at his prime– a solo fueled by emotion and plot– and that’s why it’s what makes Blaine finally see what’s going on. It’s a pretty commonly-accepted theory within the Klaine ship that Blaine had it bad for Kurt all along, he just didn’t know. This is why. Kurt was molting. Blaine wasn’t “turned on,” by Kurt’s sadness (as other shippers have insisted), but moved by Kurt’s emotions at their highest.
  • Once Pavarotti is dead and Kurt has entered a new stage, everything starts going right for Kurt. Blaine sees him. He sings a solo. The club is even more accepting of him. He gets his duet. He gets Blaine. He is flying.
  • The aftermath of Pavarotti’s death. Klaine’s first kiss happens over Kurt decorating Pavarotti’s casket. Klaine buries Pavarotti together (note the timing of that, too! it parallels the metaphor’s timing in Special Education when Kurt is given Pavarotti.). They are embarking in this new stage of Kurt’s life together.

The last bullet brings me to another point– Pavarotti is also a great metaphor for Blaine, but in a completely different way. Pavarotti is Blaine, and both are molting, but, again, it’s different.

  • Pavarotti and Blaine have been around for a while. Blaine’s molting has been longer, and he’s done with taking care of Pavarotti, and he’s learned to look out for himself. However…
  • Pavarotti and Blaine are still caged. Blaine is okay with this, but it’s obvious he’s only a lesser version of himself at Dalton. Look at how he acts just around Kurt and/or Kurt’s friends, and then look at how he acts in front of the Warblers. Especially in SE. This does change– ‘ello, character development, nice to have you here– but it’s there nonetheless. Pavarotti knows nothing but the cage, and Blaine has been there long enough to feel like that’s his home.
  • Pavarotti’s death is Blaine finally being able to be himself. It’s been ages in the making, most notable in SLS with his “porcelain brids,” speech but probably long before that. Maybe even long before we knew him. And Pavarotti’s death, the end of Blaine’s longer stage of molting, allows him to notice and pursue Kurt, and to let others have the spotlight, things like that.

So Pav’s burial is metaphorical for the both of them, in my opinion, and it’s both of them taking flight, and it’s both of them saying goodbye to the past. It’s both of them embarking on a new, better stage, together.

But even if you choose not to accept it as a metaphor for Blaine, so be it. It doesn’t have to be. The metaphor is still there. Klaine is still there. And RIB are still amazing for having it play out like this.

I love that this picture is still in Kurt’s locker. He received it in a time of need and hell and it pushes him to move forward. It used to be a picture containing the boy he was mesmerized with, and now it has the boy he is in love with in it; his boyfriend. What I think is amazing is that it isn’t a new or updated picture of Blaine today without a uniform. It’s the same picture, the same ink on the same paper as the year previous that held him together. It’s something that’ll remind him of the past, how he overcame the obstacles, and how he’s now moving forward with that same boy’s hand clasped in his own.


This scene had so, so much in it. When Blaine first tells Kurt that he is auditioning for Tony, he honestly doesn’t know what to expect. Obviously at this point Kurt has told Blaine that he really wants this part as he would like the extra curricular credit, but hasn’t actually gone into greater detail. As Blaine runs the idea by Kurt, he acknowledges the fall of Kurt’s face and how much it disappoints Kurt. Kurt knows that Blaine would have the part in the bag as it’s perfect for Blaine and not himself, but even despite his fight to control his face he can’t. This kills Blaine. He immediately falls apart as well when Kurt isn’t watching and it breaks his heart to see his boyfriend crumble. So he puts Kurt ahead of himself and quickly tries to cover up his own disappointment with logic about Kurt being the senior. And even though this doesn’t seem to fully convince Kurt, Blaine goes the extra inch and says he’d love to play alongside Kurt’s Tony. No one else’s but Kurt’s. If this isn’t love, I don’t know what is, because Blaine is willing to do anything for Kurt. Blaine adores performing, and is willing to let it go because he adores Kurt even more.

It physically pains me to see Blaine attacked

Yes, we don’t know why Puck is attacking him. ‘You told them what we’re doing!’ is what he exclaims. But I can only see Blaine only trying to do things for the good of the team, not ever for his own benefit. So here I am, literally clutching at my sides because I hate to see Blaine attacked. Plus, he is also slushied in this episode and I don’t know about you, but I have a feeling that we are going to see some walls breaking down around Blaine in this episode. I feel like this could potentially be the beginning of a break down and a deeper look into Blaine’s past soon. Still, though - two weeks is going to be hard to see what happens. I really hope Kurt or others stand up for Blaine when he gets slushied and when Puck attacks him.

"I've been looking for you forever."

Know what makes this line even better? The sheer volume of times Blaine has looked at Kurt. And I don’t mean just looking at someone like you do when you’re talking to them. I mean really looking.

Sometimes Blaine looks at Kurt like he’s trying to see past whatever walls Kurt is putting up. He knows there’s something there that Kurt needs help with, and he’s willing to be that person who will help Kurt through all his struggles. 

Sometimes Blaine looks at Kurt like he’s just trying to figure out what’s going on in that kid’s head. This isn’t a “why you so crazy?” look. Usually it’s just one of curiosity. He doesn’t get something, but he accepts Kurt for it regardless. Occasionally it’s a look of frustration at not being able to understand. He and Kurt get each other so often that, when they don’t, it just bothers him.

Sometimes (a lot, actually) Blaine looks at Kurt for approval. Kurt’s is the first face he looks for, the most important person for him to find and to know he is accepted by. 

Sometimes Blaine looks at Kurt like he’s just glad to have him there. No pretenses, no awkwardness. Blaine just loves being around Kurt, and the soft lingering looks he gives Kurt at times like this tell us exactly how much he values Kurt. 

(I could go on, but I think you all get the picture.)

Blaine really has been looking for Kurt all this time. He just didn’t realize it. 

Klaine, kisses, hugs, and other PDAs

So, I was going to write this all on the post I just reblogged (Klaine did not kiss in Night Of Neglect, nor will they in Born This Way and Rumours.), but on the off chance (off chance? who am I kidding?) that this turns out really long, I figured it should have its own post. 

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