Ah, thank you for sharing all your thinky thoughts. It gives me a lot to think about. I've been feeling a bit overstimulated mentally with these themes and what to do with them.
... into the daydream we played with before -- getting Tina and Mike involved... "a friend, someone we trusted...."
I would love to get to this part of the summer, too. I really enjoyed the images and feelings we were discussing there. And it does go well with the boys' fantasies. In my head it's Mike, they just don't know it yet.
Spring Break they could definitely start playing with the camera more together. What I'm thinking at this point is they actually end up on their own in D.C. for a few days. so they do some fun Big City stuff (monuments, museums, theatre, restaurants...) as well as having a bit of a dirty weekend. (so initially, Kurt chalks up their prior-to-DWS dry spell to having over indulged sexually over that weekend; but for Blaine, seeing Kurt in the city in D.C., seeing how happy he is, triggers more acute insecurities about Kurt heading off to New York without him.)
Theme! ... Gazes ... film ...
Oh, this is great. I am a rather inept film historian myself, so I'd have to do a bit of extra research (Fun!), but I like that angle. And for Kurt gaze is definitely a big thing (especially in this story), both be permitted to look and to be looked at in more straightforward sexual ways. He's still getting there a bit, so it's definitely something I want to play with more. I think he's compartmentalized a lot of stuff and is still integrating it all together.
Kurt is very aware that people look at him and think about sex
Yeah, I mean, that bit in 3x22 about avoiding eye-contact really struck me, because it's not just about general adolescent insecurity, but more specifically that other people--guys--perceive his gaze as a threat (as he knows and tells us in NBK). Which goes into a lot of stuff about the potency and danger of the male gaze, effemephobia and misogyny even? I haven't really studied much feminist theory, so I may be fumbling a bit, and I don't know the vocabulary well. But yeah, there's a lot that goes into his performance in "Born this Way" that is then reiterated and expanded even more powerfully in "Choke". (Which reminds me, that vid you linked me was very cool! Belatedly, thank you.) There's also something about the way Kurt looks at Blaine in 3x22 that's new and beautiful that I can't quite quantify. IDK.
And since you mentioned Kurt's dress, I am already loving the hints of maturation of his fashion sense we're getting in S4. The tailoring is a lot more powerful and body conscious, putting him on display as a beautiful and mature young man rather than simply Kurt being a vehicle for the pageantry of the clothing. I'm excited about the move away from more theatrical designers to labels like Hugo Boss, Burberry, and Dior.
...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.
Yeah, I think something like this has to happen. :D
Also, fair's fair, and he really wants that shot of Blaine in the corset.
no subject
... into the daydream we played with before -- getting Tina and Mike involved... "a friend, someone we trusted...."
I would love to get to this part of the summer, too. I really enjoyed the images and feelings we were discussing there. And it does go well with the boys' fantasies. In my head it's Mike, they just don't know it yet.
Spring Break they could definitely start playing with the camera more together. What I'm thinking at this point is they actually end up on their own in D.C. for a few days. so they do some fun Big City stuff (monuments, museums, theatre, restaurants...) as well as having a bit of a dirty weekend. (so initially, Kurt chalks up their prior-to-DWS dry spell to having over indulged sexually over that weekend; but for Blaine, seeing Kurt in the city in D.C., seeing how happy he is, triggers more acute insecurities about Kurt heading off to New York without him.)
Theme! ... Gazes ... film ...
Oh, this is great. I am a rather inept film historian myself, so I'd have to do a bit of extra research (Fun!), but I like that angle. And for Kurt gaze is definitely a big thing (especially in this story), both be permitted to look and to be looked at in more straightforward sexual ways. He's still getting there a bit, so it's definitely something I want to play with more. I think he's compartmentalized a lot of stuff and is still integrating it all together.
Kurt is very aware that people look at him and think about sex
Yeah, I mean, that bit in 3x22 about avoiding eye-contact really struck me, because it's not just about general adolescent insecurity, but more specifically that other people--guys--perceive his gaze as a threat (as he knows and tells us in NBK). Which goes into a lot of stuff about the potency and danger of the male gaze, effemephobia and misogyny even? I haven't really studied much feminist theory, so I may be fumbling a bit, and I don't know the vocabulary well. But yeah, there's a lot that goes into his performance in "Born this Way" that is then reiterated and expanded even more powerfully in "Choke". (Which reminds me, that vid you linked me was very cool! Belatedly, thank you.) There's also something about the way Kurt looks at Blaine in 3x22 that's new and beautiful that I can't quite quantify. IDK.
And since you mentioned Kurt's dress, I am already loving the hints of maturation of his fashion sense we're getting in S4. The tailoring is a lot more powerful and body conscious, putting him on display as a beautiful and mature young man rather than simply Kurt being a vehicle for the pageantry of the clothing. I'm excited about the move away from more theatrical designers to labels like Hugo Boss, Burberry, and Dior.
...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.
Yeah, I think something like this has to happen. :D
Also, fair's fair, and he really wants that shot of Blaine in the corset.
This too!