Blaine’s midgame is a straight guy and it’s been more romantic than Kurt’s midgame who is a gay guy he’s actually dating.
(via daxterdd)Source: timemcflies
From the time they had announced “At the Ballet,” I had been concerned because there were 3 verses and 4 people singing. But don’t worry, I told myself - it’s all about Isabella which means Kurt will be prominently featured!
…Kurt no longer gets solos in what’s meant to be his own storyline? And you can barely hear him through most of the harmonies even though Chris and Lea and Naya sound really great together. WTF is this shit?
I don’t understand how it’s possible to be as terrible as the Glee writers are, but I’m going to angrily blog about it anyway.
Everyone should read this. It sums up my biggest issue with the show perfectly, especially this bit:
I wasn’t upset about Kurt still seeing Adam in 4x15, and I’m not upset about Blaine having a crush on Sam now. But the lack of care these writers put into developing these things in a way that makes sense on screen without me having to write fucking essays causes it to be really unpleasant and unenjoyable to watch. Instead of feeling like a larger part of a whole it feels pointless and like nothing is happening, and why bother getting invested in that?
I saw numerous people last night saying “well, Glee has never spoonfed us emotional development, but it’s always been there!” …no, the meta has always been there. A well-written show doesn’t need meta to make sense of the giant, central arcs. Meta can be great to give depth to those actions, to explain the way each story impacts others, to talk about smaller connections and analyze little things actors do that change the way the character reacts, but it shouldn’t be absolutely essential for a person to understand one of the major “arcs” of a season. That’s not creating an easter egg for fans to find; that’s just bad writing.Source: gingerberrysnap