Spring Break would be lovely. I was wafting off into the daydream we played with before -- getting Tina and Mike involved, and all of them surprising themselves by getting comfy enough with each other to get a little cosy, a little risqué. It touches sweetly and delicately on the conversation about their fantasies: "a friend, someone we trusted...." But I feel like that's something they wouldn't do before the end of this story's major arc. So yeah, why not, Spring Break, just the two of them. Which plants the idea for a proper photoshoot project in summer. ;)
Theme! Oh, man. Gazes. Camera gaze, male gaze, subjectivity, control; the film/feminist theory is more college 101 than high school, but maybe they got some at Dalton, and they're both so interested in film, comma, history of, and in celebrities with fraught relations with all of the above: Judy Garland, James Dean....
Kurt is very aware that people look at him and think about sex. Not that they want sex from him, just that it's a one-two jump: "Oh, look, that man is gay. Gay men are people who want to have sex zomg with other men." So, dude, no wonder his sex life was so slow to start. No wonder he dressed to put so much focus on his clothing that no one ever got around to noticing he had a body. Just -- ew, the poor kid. He's always loved the camera, but it's been about glamour, never in a way that asked the camera to acknowledge his sexuality -- not until Born This Way.
And now that can change. First, he's a big, tall, talented, multifaceted person: being gay is no longer the elephant in his own mental landscape, so it takes up less space, or at least he's less concerned about the space it occupies, in other people's conception of him. Second, he's actually sexually mature. He's beautiful and been told so, and sexually active with evidence he's good at it. It's all a bit new and weird for him, but if he still waffles and wobbles, about selling the Peter Allen tune or whatever, then when Blaine whips out his camera and says, "Shut up and let me collect EVIDENCE," then he's at the point where he can allow that to happen.
Also, fair's fair, and he really wants that shot of Blaine in the corset.
no subject
Theme! Oh, man. Gazes. Camera gaze, male gaze, subjectivity, control; the film/feminist theory is more college 101 than high school, but maybe they got some at Dalton, and they're both so interested in film, comma, history of, and in celebrities with fraught relations with all of the above: Judy Garland, James Dean....
Kurt is very aware that people look at him and think about sex. Not that they want sex from him, just that it's a one-two jump: "Oh, look, that man is gay. Gay men are people who want to have sex zomg with other men." So, dude, no wonder his sex life was so slow to start. No wonder he dressed to put so much focus on his clothing that no one ever got around to noticing he had a body. Just -- ew, the poor kid. He's always loved the camera, but it's been about glamour, never in a way that asked the camera to acknowledge his sexuality -- not until Born This Way.
And now that can change. First, he's a big, tall, talented, multifaceted person: being gay is no longer the elephant in his own mental landscape, so it takes up less space, or at least he's less concerned about the space it occupies, in other people's conception of him. Second, he's actually sexually mature. He's beautiful and been told so, and sexually active with evidence he's good at it. It's all a bit new and weird for him, but if he still waffles and wobbles, about selling the Peter Allen tune or whatever, then when Blaine whips out his camera and says, "Shut up and let me collect EVIDENCE," then he's at the point where he can allow that to happen.
Also, fair's fair, and he really wants that shot of Blaine in the corset.