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- innypocket -

@innypocket / innypocket.tumblr.com

Thank you so much it really is a pleasure. While other blogs chose a selection of posts that casts an eye inward on the irresponsible writing choices and inequality of today’s modern Glee, I’ve chosen a selection of posts that speaks to the fandom as a whole during these troubling times filled with character uncertainty and unbridled social wank because if there’s two things fandom needs right now, it is sunshine and orgasms. Also cacti.
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So: A Thousand Miles.

The song could be about New York/Broadway, but let’s be honest, Rachel is singing to a star named Finn Hudson.

If I could fall into the sky Do you think time would/could pass us by? 'Cause you know I'd walk a thousand miles if I could see you If I could just hold you Tonight

If Rachel fell into the sky, she would fall into space, or towards Heaven (away from the Hell that she accurately labeled McKinley as). Time was Finn’s barely-controlled power and time dilation occurs during space travel.

Makin’ my way downtown Walkin’ fast, faces pass And I’m homebound

"What are you doing here?" "I’m home."

That’s how Glee was supposed to end. Rachel was supposed to succeed on Broadway and on television, walk away from fast-paced New York life, and go back to Finn back home, where he’d got a handle on the teaching and found personal fulfillment by himself. Winning separately would have meant the Finchel unit could be restored.

Corollary: Sue spends the episode trying to restore Klaine, who have taken the reins of the will-they-won’t-they, annoying-but-you-totally-love-it relationship drama in Finchel’s place.

Rachel is singing about Finn, but what about Sam? He’s hypnotized to be in love with Rachel even though his girl is Mercedes. By the previously established rules of how Glee (and most musicals with sufficient substance) operates, Sam losing control of his mind means that he’s not singing his true feelings.

Rachel falls in love, or back in love, over duets: it’s happened with Finn, Jesse, Kurt, Will, Mercedes, Blaine, Santana, and Quinn. It’s how she co-opts her newest sidekicks (Elliot) and makes it up with friends she’s insulted (Artie). So Sue hypnotizes Sam and causes him to sing the words that Rachel will fall in love. Sue makes Sam’s Rachel’s duet partner. She makes him channel Finn’s feelings. He echoes Rachel’s words, because Finn was just barely secondary to Rachel in the narrative, because he learned how to dream from her. Because Rachel Berry is a force of nature and therefore operates by rules, and Sue knows those rules. She is a character and a fan and a hater of Glee and she knows very well how her show was supposed to end.

This part is not sung in the episode:

It’s always times like these when I think of you and I wonder If you ever think of me

'Cause everything's so wrong when you don't belong Livin’ in your precious memory

Two things I can think of here: they don’t sing the lines where Sam/Finn admits that something is wrong or where Rachel mimics the boy without free will, instead of the boy without free will mimicking the sad, lonely, force of nature.

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innypocket

Mostly ow ow ow ow ow, but also whoa smart.

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GLEE: Sue (Jane Lynch) surprises students in the “The Hurt Locker, Part One” episode of GLEE airing Friday, Jan. 23 (9:00-10:00 PM ET/PT) on FOX. ©2014 Fox Broadcasting Co. CR: Tyler Golden/FOX GLEE: Sue (Jane Lynch) performs in the “The Hurt Locker, Part One” episode of GLEE airing Friday, Jan. 23 (9:00-10:00 PM ET/PT) on FOX. ©2014 Fox Broadcasting Co. CR: Jennifer Clasen/FOX GLEE: Sue (Jane Lynch) overhears a conversation in the “The Hurt Locker, Part One” episode of GLEE airing Friday, Jan. 23 (9:00-10:00 PM ET/PT) on FOX. ©2014 Fox Broadcasting Co. CR: Eddy Chen/FOX GLEE: Becky (Lauren Potter, L) and Sue (Jane Lynch, R) prepare for revenge on the glee club in the “Hurt Locker, Part One” episode of GLEE airing Friday, Jan. 23 (9:00-10:00 PM ET/PT) on FOX. ©2014 Fox Broadcasting Co. CR: Adam Rose/FOX

THE TRIUMPHANT ONSCREEN DEBUT OF SUE’S LE CAR. BLESS YOU, GLEE.

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“screw writing “strong” women. write interesting women. write well-rounded women. write complicated women. write a woman who kicks ass, write a woman who cowers in a corner. write a woman who’s desperate for a husband. write a woman who doesn’t need a man. write women who cry, women who rant, women who are shy, women who don’t take no shit, women who need validation and women who don’t care what anybody thinks. they are all okay, and all those things could exist in the same woman. women shouldn’t be valued because we are strong, or kick-ass, but because we are people. so don’t focus on writing characters who are strong. write characters who are people.” – lori

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