#Daffy Is Allowed To Be Upset
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It Came Slow
Summary: His liking. His Admiration. His everything.
It came back slowly when he finally decided to let pieces of his walls break apart in order to let the rabbit in.
It was the studio that created what was just a character into a person- well toon In Daffy Ducks Case.
Nobody knows about the happy Daffy that first Joined the looney tunes show. All they know is the cocky narcissist they've created who would do his absolute best to be in the spotlight
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Characters are not mine they all rightfully belong to the Warner Brothers and Looney Toon Studio.
A/N: So I posted this on Wattpad, hopefully I’ll be able to continue it. It’s short so I hope you enjoy.
Pt 1?.
Inspiration from @nebelihood actor AU.
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He was at it again, angrily spouting and shouting demanding his own show so — in his words — that greedy rabbit stops hogging the spotlight.
Everyone moaned and groaned, some complaining that Daffy is causing too much of a scene and stopping other people from working.
It took Chuck to dismiss the duck that made him shut—not completely. His beak grumbling under his breath heading towards his dressing room by Chuck's orders. Daffy hands were balled up into a fist at his sides as he stomped away from the producer. Everyone brushed it off as Daffy having a temper tantrum but the toons— specifically Bugs didn't. Today's anger and episode was different.
Usually when Chuck calmly denies Daffy from having his own Show, the duck oddly enough just glares at him and walks away of course complaining under his breath and somewhat stomping away to show he was unhappy.
But no, today was different. Daffy's face from the neck up bubbled red like a thermometer steam coming out of his head and ears to the point the duck almost seemed like he was gonna cry. Bugs has known the duck for years and he knows in his spare time that the duck cries out his frustration when he's alone and when no one is looking.
Today the rejection actually got to the little black duck and no one took the time to take him seriously or care since they thought he was just being a thorn in their side again. When Daffy passed Bugs on his way, he side eyed the rabbit quickly as Bugs munched on a carrot looking right back at him tilting his head a bit to add more character.
The black duck huffed through his nose going on his marry way wanting to be away from people for a while.
Bugs follows behind at a safe distance so Daffy doesn't bust a vein in his head or neck. Understanding the duck wants to be alone.
But then again.
He wouldn't be Bugs Bunny if he left well enough alone now would he?.
#baffy#bugs x daffy#daffy duck#bugs bunny#looney toons#rival#love#it’s complicated#bugs cares for daffy#Daffy Is Allowed To Be Upset#drabble
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Miraculous is always weird about apology but it's also weird about the thing that count as joke and not. Like Marinette stalkery behavior? It used to be a joke but then BAM! S5 say nope, Marinette is just mentally unstable. And then there's the whole LB throwing CN to the trash can, "it's a joke!" Fandom said, except CN reaction said otherwise. He's basically beat himself for almost half of the episode because of his untiming joke.
I don't know what part of throwing someone in the trash is supposed to be a joke. Maybe if the character isn't affected by it at all, but considering he even talked about it to Marinette then it's not supposed to be a joke!
Miraculous' main humor style is absurdist humor and throwing someone in the trash is pretty classic absurdist humor.
To give a quick overview, "absurdist humor" is humor that is based on the absurdity of the situation the characters are in or the things the characters are saying or the way they're reacting to things. A key component of this humor style is irreverence. Even the darkest of topics aren't taken seriously, making it a terrible humor style to use in serious scenes assuming that you want the scene to actually feel serious.
If you want an example of absurdist humor done right, then watch some Looney Tunes cartoons. They're classic absurdist humor where nothing is sacred and nothing is ever treated seriously.
That doesn't mean that you're not allowed to be upset by one of these cartoons. It's perfectly understandable if one of them gets under your skin because a lot of what we see in Looney Tunes would be terribly cruel or straight up horrific if someone did the same thing in the real world. For example, this Daffy Duck cartoon always makes me laugh, but at the same time, I feel kinda bad for poor Daffy. If he was a real person, then this would not be okay:
youtube
The trash can stuff in Glaciator 2.0 falls in line with the above examples. It's very clearly there to be an absurd punch line:
Marinette: She doesn't hate you!
Cat Noir: She threw me in the trash today.
But just because something is clearly a joke doesn't mean that you need to think that it was a good joke. Even if you think it was a good joke, you can still think it was a poor call for the overall narrative, which is where I fall. I love absurdist humor, but I'd never use it to have my romantic leads treat each other poorly because - joke or not - it's still establishing part of their relationship dynamic. The more you make jokes about them being cruel to each other, the more that's just who they are, jokes or not.
Circling back to Looney Tunes, when I think of Bug Bunny and Daffy Duck, I don't think of loving friends who cherish each other. I think of two characters who delight in torturing each other. If you asked me to write these two in a more serious story without any of the humor, they'd be toxic and abusive because that's the only dynamic they have. I can't think of a Looney Tunes story that shows them being nice to each other.
That doesn't mean that you can't use absurdist humor between people who love each other. You just have to be careful about what type of jokes you tell. If you stick to situational absurdist humor such as Marinette needing to steal Adrien's phone to erase a message, then you can get away with a lot more questionable behavior because there's a strong argument that a serious show would just never put her in that situation, making her actions easy to ignore.
Stuff that's a lot harder to ignore would include things like a running gag where Ladybug throws Chat Noir in trashcans when he annoys her. The more you do that, the more it comes across like she actively dislikes him. Eventually, it will reach a point where, even if you remove the joke, you still feel like you can't write her as actually liking her partner because the show never writes her as liking him. This is a problem I'd argue that the show actually has. They massively overplayed the pushy Chat Noir/annoyed Ladybug dynamic to the point where it was painful. I can only overlook it in my own writing because of how massively it goes against their intended character roles.
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Tease tidbit Tuesday
Tagged by @daffi-990 @wikiangela @thewolvesof1998 thank you! ❤️
Of course I somehow distracted myself by writing a Christmas fic. This hasn’t been looked over at all, I wrote it in my notes on my phone on the way home from work so it’s going to need some serious editing, so if you see a typo no you don’t. 🎄
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Buck hadn’t really understood what had upset Maddie so much until he grew up and saw kids much older than him still believing in Santa, still writing their letters and taking photos at shopping malls with what they thought was the real guy. It looked fun, exciting, magical.
Even then, he never felt to left out.
Every year Buck would hint to Maddie what he’d want from ‘Santa’ and every year he’d get it, hidden up in his room so his parents never saw.
Maddie would do the same, only her hints were for drawings, handmade ornaments and jewellery made from string and beads. When he was a little older and Buck could save up his allowance, he bought Maddie chocolate bars and sweets and nail polish from CVS that she’d always put on first thing Christmas Day.
He never felt like he was missing out, not when Maddie was around.
But then she left with Doug.
He still got cards and vouchers for his favourite places, but Christmas was just never the same, it was only then that he felt the magic truly fizzle out.
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No pressure tagging @made-ofmemories @watchyourbuck @callmenewbie @malewifediaz @evanbegins and anyone else I forgot/wants to do it ❤️
#buddie#buddie fic#this sounds so sad I swear it’s going to be wholesome and swear and have a happy ending#Maddie Buckley my beloved
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Eric during the season 4 finale: a photo essay
This scene occurs at the end of the episode, after Casey’s dumped Donna in front of everyone in the Forman’s living room. Donna comes by to see Eric a few hours later.
Eric asks her how she’s doing, and she says she’s humiliated and she starts to cry. She asks him what’s wrong with her and he says nothing, that her mom left and she’s allowed to freak out. Donna laments that everybody warned her about Casey but she didn’t listen, and that he’s a jackass. Eric says he really wanted her to figure that out, just not like this. She apologizes to him, and they hug.
When Donna hugs him, you can already see the conflict building in him.
My guess? At this point, he thinks she’s here for sex/a hook-up to feel better after Casey’s dumped her. As we learn just a few moments later, Eric believes himself to be Donna’s second-choice. A rebound. And Donna’s used him similarly already this season, in episode 6 “The Relapse”.
In that episode, Donna slept with Eric after her mom left so she’d feel better. Knowing better than anyone that sex is meaningful to Donna and not something she does casually, Eric assumed (wrongly) that they were back together. But Donna told all their friends that it was just comfort sex, impersonal, and that she didn’t want to get back together.
That’s not what she tells Eric - she says she’s sorry for needing him, and Eric forgives her. But that memory has to be in the back of his mind now. I think that moment was more heartbreaking for Eric than he let on to her - and he’s on guard not to let it happen again.
But at the same time - it’s Donna.
She’s upset, crying. How can he turn her away? He loves her. He hates seeing her cry. He wants to make her feel better.
She needs him.
When she kisses him, he kisses back. He was ready for this.
He might still be undecided - but his body responds to her. Maybe automatically.
But then she surprises him.
“Eric, we should be together. Let’s just forget all this other stuff happened.”
She’s not just looking for a hook-up. She wants them to get back together. (And to ignore everything that’s happened between them all season)
Now once again, Eric is conflicted.
On one hand, this is what he wanted. It’s all he’s been talking about to his friends for the past few episodes/past few weeks - how can he get Donna to realize Casey’s bad news, to come back to him instead? Hyde even nicknamed him Daffy Duck, because he was setting up “zany schemes” to make Casey look bad and drive Donna back into his arms.
And now it’s here. This is the moment he wanted: Donna’s realized Casey’s a jack-ass, and she wants Eric back.
But it doesn’t feel the way he wanted it to feel. Because he has doubts about her true motives licking at the back of his mind.
And after the way Donna was behaving earlier this episode, who can blame him?
Eric tells Donna that he can’t be her second choice.
Donna is - and always has been - his first choice. His only choice. He’s never fallen out of love with her. And being a rebound for her again, someone she uses when she’s in pain but isn’t serious about at the end of the day... Eric knows it would break his heart. Like she’s broken it before.
So he’s being strong. He’s protecting himself. He’s saying no.
Eric doesn’t believe Donna’s serious. He thinks she’s acting impulsively in the aftermath of her break-up with Casey - the way she’s been acting all season, really.
But Donna, I believe, is genuine here.
She is vulnerable and does feel awful after being dumped, but she’s also had a realization. She’s set aside the agitation and animosity she had towards Eric earlier in the episode/season, and now seems to realize that he was looking out for her the whole time. That probably led to the realization that he’s still in love with her. And that she’s still in love with him, too.
I don’t think this conversation is going the way Donna thought it would. I don’t think she was prepared for his reaction, for having to explain herself. And I don’t think she expresses herself to him particularly well.
Her heartbreak and distress in this moment is palpable, though. She quickly turns desperate for the love of her life - she makes a strangled sob and then looks embarrassed. She definitely didn’t fight this way for Casey. Anyone who knows Donna knows that she doesn’t cry often. The only other time we’ve seen it on the show up to this point is in The Promise Ring, when Eric breaks up with her. So this vulnerability from her speaks volumes. And Eric knows it.
But she pushes through her discomfort anyway. She begs him to respond to her.
But he doesn’t.
I think he ducks his head because he can’t watch her cry, but his body language also tells her the conversation is over. He’s made up his mind. Frustrated, embarrassed - and rejected for the second time in the span of a few hours - Donna leaves instead of trying to convince him further.
And then a little while later, Eric’s parents speak to him. Kitty must’ve been spying, and saw Donna barrel out of the basement upset. That conversation is... a whole different analysis. 😅
#That 70s Show#That '70s Show#Eric and Donna#Eric x Donna#I love my OTP#my OTP is married#otp: mom and dad#S4xE27#Love Wisconsin Style#Season 4 finale#my essays#my gifs#I had time today
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What is your take on how filming “Back In Action” was for the Looney Tunes? Are they still in touch with Fraser, Elfman, and Martin?
Hey! Sorry for the delay. I've actually done a back in action headcanon already which I think covers the question, so I've mainly repeated the answer. Sorry about that, but I don't seem to have the energy to come up with new ones.
The filming was quite difficult. The scene when Granny reveals herself to be the chairman was particularly hard. It was achieved with a mix of very good acting [Granny and co filming the first bit of the scene - having to pretend they were humans in disguise - then Steve Martin and co did the next bit. The only one using a genuine ‘Toon-Suit’ was Taz]
Most of the Toons knew B.I.A was going to be a disaster even while filming it. So by the time it got to filming the ‘portrait gallery’ scene with Bugs, Daffy and Elmer the three of them were determined they’d be at least one good scene in it.
The director had an idea of what he wanted, but was ‘talked out of it’ by Bugs [I.E. “Either ya let us do this, or dere’s no film’] and the toons were allowed to go ahead with their improvisation. As it ended up being awesome no one complained.
Daffy was the only one who genuinely thought the film would be good and would re-launch their careers again. He was gutted when it fell through and still sticks up for the film now.
As for Fraser, Elfman and Martin...they're not really in touch with them, no.
Brenden Fraser and Jenna Elfman were NOT invited back to Toontown, which upset them both a bit. They had heard via the newspapers that Bob Hoskins and Michael Jordan had gone back to Toontown and had assumed they would be to.
This did not go down well with the toons - who saw it as an act of entitlement, given that they were interacting with a lot of Toons, a situation most people would kill for - but of course, they’re professional and so treated them with courtesy.
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Lola Bunny Tier List
This is my rankings of the different versions of Lola Bunny. The versions I chose to rank are Space Jam, the DC comics, Tweety's Highflying Adventure, Baby Looney Tunes, Dating Do's and Don'ts, Loonatics Unleashed (Yes, I am aware it's not actually Lola but it's still a variation of her), The Looney Tunes Show, Rabbits Run, New Looney Tunes (Formally known as Wabbit), and Space Jam: A New Legacy.
1.DC Comics- This version of Lola is absolutely the most PERFECT version of Lola that there is. She's smart, strong, competent, independent, and feisty but is able to get into wacky situations like a traditional Looney Tune. She's a pizza delivery girl for mythical creatures, ancient spirits, and deities, which is awesome and has a lot of comedic potential that they take full advantage of. She shows that she can hold her own as a Looney Tune without having to rely on the other Looney Tunes to make her story work. She's sassy, witty, hot-headed, vindictive, resourceful, clever, can take a beating, and is just everything you want in a great female Looney Tune and a great Looney Tune in general. I'd love to see animated shorts based on the comics.
2.Space Jam: A New Legacy- I was very skeptical about this when I learned that out of nowhere at the last minute they replaced Kath Soucie with Zendaya, who is a TERRIBLE actress in my opinion. However, Zendaya did surprise me by actually giving a good performance, for once. She wasn't monotoned, wooden, or stale but full of energy, genuine emotion, and showing personality. This version of Lola takes full advantage of Lola by fleshing her out more and making her more important to the plot than she was in the original Space Jam. She's really awesome and a lot like her DC comic book version. The only thing holding her back is that Zendaya voices her. I'm sorry but the fact that Kath Soucie was going to voice her but they just out of nowhere screwed her over in favor of a big named (And OVERRATED) celebrity really leaves a bad taste in my mouth.
3.New Looney Tune- This is pretty much just like her DC comic book version where she is smart, competent, strong, and independent but is able to be in wacky situations. The episode Lola Rider is amazing and shows her full potential being shown. Kath Soucie even returned to voice her, showing off her versatility. The art style is terrible but this is a very faithful and well-done version of Lola. However, she's not higher because of two things. The first being she's only in three episodes, one of which is only for one minute. In her third and final appearance, she acts like a major fangirl that is kind of clueless, which seems out of character. However, I chalk that up to Lola just being such a big sports fan that when she's near someone she's a big fan of, she loses her senses in excitement.
4.Loonatics Unleashed- An underrated and overly hated show that is a lot of fun. Lola's descendant, Lexi Bunny, is the best part of the show because of her strong, smart, fun, sassy, and badass personality. Her personality is fleshed out and despite being the only girl never feels like she's just there to be the token chick but rather an essential member of the team. She's even second in command to Ace, Bugs Bunny's descendant. I really love her sass and how she carries herself in all situations whether mellow or dangerous. I find her interactions with Daffy Duck's descendant, Danger Duck. They have very much a sibling relationship where she never misses an opportunity to call him out on his crap, not to mention put him in his place when he does something to make her upset. I feel like this is what Lola and Daffy's interactions would be like, which I wish we would see more of with the actual Lola and Daffy.
5.Space Jam- The original Lola Bunny, who is awesome. I love her catchphrase, "Don't ever call me doll" and I wish that it would've stayed her catchphrase in later versions of Lola. She's smart, strong, feisty, has great expressions, is self-reliant, and never lets people underestimate her simply for being an attractive female. She's a wonderful character but she isn't very well written. She has less than 4 minutes of screen time in the whole movie, speaking and non-speaking. That makes her not as fleshed out as she could've been. They should've given her more to do and more of a role in the film. Not to mention make her a bit more looney like she would be in the comics. I feel like they should've modeled her personality a little bit more like Babs Bunny from Tiny Toon Adventures (Yes, Babs Bunny actually came before Lola).
6.Baby Looney Tunes- The same Lola we know and love but as a baby. She's still smart, strong, stands up for herself, is creative, feisty, caring, and maintains her amazing athletic skills. She's great but her being a baby does limit her.
7.Tweety's Highflying Adventure- This is just a cameo with her as a weather girl. She's cool and all but there's not much to judge because of how it's less than a minute.
8.Rabbits Run- This version of Lola is VERY different from the Lola that is normally shown in media. She's more of an airhead because of how she's based on The Looney Tunes Show version of Lola. So I should really hate this version but she was actually okay. She wasn't a brainless, man-obsessed, dumb blonde stereotype and actually had some independence and goals that didn't revolve around a man or just change out of nowhere. On her own, she's an entertaining character but she's still just NOT Lola.
9.Dating Do's and Don'ts- This version has no lines other than giggling like a dumb teenage valley girl stereotype. This really isn't anything like Lola and is just so out of character.
10.The Looney Tunes Show- I absolutely DESPISE this version of Lola. They took an already established character that was smart, competent, independent, self-reliant, and strong and turned her into the polar opposite of who she was. They made her a scatterbrained, man-obsessed, dumb blonde stereotype that never shuts up. This is bad fanfic levels of terrible character writing. The creators of the show actually said they never saw Space Jam or anything else Lola appeared in, which just shows how terribly written this character is. I respect people's opinions but saying this version of Lola is the best is just really insulting to the character, to women, and to quality writing. Just let this version DIE and never be allowed to see the light of day EVER again.
#lola bunny#looney tunes#space jam#a new legacy#space jam a new legacy#the looney tunes show#tier list#lexi bunny#loonatics unleashed#kath soucie#rabbits run#baby looney tunes#dc comics#dc#comics#zendaya#kristen wigg#new looney tunes#wabbit#ranking#rankings
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The Gift
Pairing: Loki x reader
Summary: Tony says no pets in the Tower, but since when has Loki ever listened to him?
Warnings: like one curse word
A/N: Any Tom Hiddleston stans out there should get the Easter egg in this one :)
Disclaimer: Picture not mine
“Oh, come on, Tony! Please,” you whined for the fifth time that week. “Not even just a little one?”
“Absolutely not. It’d make a mess of the place. Not to mention that this isn’t exactly the safest place for a pet.”
“So it gets into a lab accident and we have a super dog. Not the worst thing ever,” you said, half joking, though Tony actually seemed kind of intrigued now. You changed your tactic before he got any ideas. “Besides, it won’t make a mess. I’ll train it. And not all dogs shed.”
“I guess, but someone might be allergic,” Tony countered, thinking he delivered a winning argument.
“We can get a hypoallergenic dog,” you shot back, though you’d already checked with almost everyone and no one said they were.
Tony grumbled, running out of excuses to give as to why you couldn’t get the pet you’ve been pleading for the past few months. Tony had become somewhat of a father figure to you during your time in the Tower, and you’d been pretty sure you could use that to your advantage. Sadly, though, nothing had been working. In fact, that relationship had been more of a detriment to you than anything else as you didn’t want to make him upset with you. Otherwise, you might just go out and buy the pet of your choosing. Maybe even more than one. Although, to be fair, it was Tony’s building, and he was allowing you to live here rent free, so you should probably just drop it. But you really wanted a pet, and you knew you weren’t the only one.
“Sorry, but still no.”
“Fine,” you relented with an overdramatic sigh. “For now, anyway.”
“Thank you,” he said, going back to whatever he was tinkering with before you came in.
You pouted in the lab for a bit, hoping he might change his mind, but to no avail. Eventually you slinked out and went into one of the common rooms, plopping on the couch between Peter and Bucky.
“So, how’d it go?” Peter asked after popping a handful of Skittles into his mouth.
“No luck," you responded sourly, stealing some of the colorful candy from him. “None of my strategies are working.”
“What if we tried for something smaller?” Bucky offered. “Like a gerbil.”
“I guess,” you grumbled as you flopped back in exasperation. “But we’ve had our eye on that Cocker Spaniel for a while. A gerbil just wouldn’t be the same.”
“Yeah, I know.”
You all sat in silence for a bit and watched as Bugs Bunny and Daffy Duck argued about what hunting season it is, mulling over the situation. Admitting defeat seemed to be the most likely option at the moment, but you hated to just give up when you were sure there was a way to get what you wanted and not have Tony be upset with you.
“I’ve got it!” Peter suddenly shouted, bubbling with excitement. “We go and adopt it and then tell Mr. Stark that it just followed us home!”
“Except he wouldn’t let us keep it even then,” you stated, having already thought of that yourself.
“So we hide it. Simple,” Bucky chimed in. “By the time he notices, Peter will be so emotionally bonded to it, Tony wouldn’t dare take it away.”
“Great idea, Mr. Bucky,” Peter said, high-fiving him.
“Yeah, if only there weren’t cameras everywhere. Not to mention a home system that tells him everything,” you added, growing more upset at the lack of options by the minute.
You pushed up from the couch as the episode’s end was heralded by Porky Pig’s “Th-th-that’s all folks.” After waving bye to your friends, you headed to your room to brainstorm in silence. The figure lurking in the shadows didn’t even register in your mind, so you had no idea that a certain god heard your whole conversation. Not only that, he was about to fix all your problems.
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“Mr. Loki, where are we going?” Peter inquired as he and Bucky were led into the city by the trickster god.
“All will be revealed, spiderling. I assure you.”
Bucky just shrugged when Peter looked at him, and so they continued following Loki through the busy New York streets. After hearing about your plight, he had hatched a plan to get you what you wanted. All it took was a bit of research on that infernal computer device, and he was pretty sure he’d found the right shelter. It was a far walk from the Tower, and since neither he nor his travel companions could drive, he resorted to taking the subway, an experience he’d rather not have again. Finally, they arrived at the destination, and Peter was about to burst with excitement.
“Mr. Loki!” he gasped. “This is exactly where we were looking for dogs!”
“But I have a feeling you knew that already,” Bucky said.
“Indeed,” Loki replied. “I must confess that I overheard your conversation in the common room yesterday.”
“Oh I get it now. You’re doing this for-”
“No time for speculation, we are here to get me a pet,” Loki interrupted, “Go on. After you, spiderling.”
Peter, still blissfully unaware of Loki’s true intentions, led the way into the shelter. They were greeted with the sound of happy barking and the distinct smell of dog treats. Loki had to admit, he wasn’t the biggest fan of animals. He found some to be more agreeable than others, such as a good steed, but overall he thought them to be more of a nuisance than anything else. Thor had bought a cat for Jane once, and it tore up half of his capes before he presented it to her. Loki was glad his brother kept it away from him and his belongings. Not to mention he didn’t appreciate the sheer number of similarities people said he had with felines. Dogs, however, he was fine with, so long as they were trained properly.
“Hello, how may I help...” the girl behind the front desk trailed off, her eyes going wide with excitement upon realizing who the trio was. “Y-you’re... Oh my gosh. My friends are never going to believe this! But, uh, how may I help you?”
None of the heroes were particularly comfortable with the attention and star struck gaze of the girl, so it took them a minute to get over their sheepishness. Loki looked at both his companions before realizing he would have to do the talking. He sighed but knew the look on your face would be worth it. You’d look at him the same way you had so many times before, whenever he did little things for you, whether it be rubbing your shoulders after a stressful day or brewing you a cup of tea on a chilly morning. The two of you weren’t dating, exactly, but you weren’t exactly not dating, either. Loki found himself incapable of asking you to make it official, lest it ruin what you currently had. He didn’t know what he’d do if you no longer casually held his hand or rested your head on his lap while reading in the evenings. Even though he was fairly certain you felt the same way, that last bit of doubt wouldn’t leave him alone. Besides, despite usually being quite a great thinker, he couldn’t come up with a good way to confess. He supposed that kissing you would do the trick, but he wasn’t brave enough for that, so getting you a dog would have to suffice for now.
“My friends here were looking at some of your dogs recently, and there is one that they are quite smitten with. We are here to adopt it.”
“That’s right! A Cocker Spaniel named Bobby,” Peter offered. “He hasn’t already been adopted, has he?”
“Nope!” the girl responded in a perky voice. “He’s all yours as soon as you fill out the proper paperwork.”
“Mr. Loki, are you sure about this. Mr. Stark told me I couldn’t get a dog.”
“Exactly. He told you, not me,” Loki replied, picking up a pen.
“Well, yeah, but I don’t really think he meant it just for me. I think it was more of a general kind of thing.” Loki and Bucky looked at him in exasperation for a second, wondering how he could still be so innocent, before he caught on. “Oh, ok. I get it now. Carry on.”
The three boys huddled around the page as Loki filled it out, providing Tony’s credit card as payment when the time came. It seemed appropriate, Loki thought, that Stark should have to pay for making you upset, and taking that in the most literal sense was the only somewhat acceptable way, it seemed. No longer could The God of Mischief go around stabbing those who hurt the ones he cared about. In a way, he missed the good old days, as he referred to them, but his new life led him to you, which made the rest of it fine with him, he decided, as he finished his signature with a flourish.
“There,” he declared, admiring the loop of his fancy, cursive L. “Finished.”
The girl disappeared into the back, only to return with Bobby a moment later. After giving the paperwork a quick once over, she handed the leash over to Bucky, who couldn’t stop the smile from growing on his face. Peter immediately bent down to scratch the dark brown dog behind his ears.
“Who’s a good boy? You are! You’re a good boy!” he cooed.
“Spiderling, he hasn’t even done anything yet,” Loki said, somewhat perplexed, as Bobby rolled over onto his back, stopping at the god’s feet. “Though, I do suppose he is a rather good boy,” he added, an inexplicable smile tugging at his lips.
One stop at the pet store and a taxi ride later, both unknowingly paid for by Tony, they arrived back at the Tower with the newest member of their family. It wasn’t even ten minutes later that Tony strolled into the room where they were playing with Bobby. He stopped dead in his tracks as he noticed the dog, happily playing tug of war with Bucky.
“What is that?” he asked, pointing at the Cocker Spaniel.
“A dog,” Loki deadpanned.
“Yeah, no shit. I mean what is it doing here?”
“I adopted it. Really Stark, for a supposed genius you ask a lot of obvious questions.”
“Don’t get snippy with me, Rock of Ages,” Tony quipped back, gritting his teeth a little. “This is my Tower and I say no pets, except for maybe a goldfish.”
“Yes, this is your Tower, but it is our home, is it not? As thus, we should be allowed the simple pleasures of life, such as having a pet. After all, studies show that having a dog can reduce stress, something I’d say is rather important for people in our position.”
Tony glared for a minute, not really having a good response to that. Then he called your name, certain you were behind this.
“No, Mr. Stark,” Peter said. “They had nothing to do with this. Don’t blame them.”
“That’s right,” Bucky also defended you. “It was all us.”
It was already too late, though, and you appeared in the doorway. Loki had been planning on presenting your gift to you in some cute or clever way, but all he had time to do was a magic up a bow on the pup’s head, a green one, of course. Bobby started happily yapping at your arrival and trotted over to you, looking for a scratch behind the ear.
“Oh. My. Gosh. He’s adorable!” you exclaimed as he rolled over for belly rubs. “You finally got a dog for me, Tony? Thank you, thank you, thank you!”
“Sorry, but I can’t take credit for this,” he said, turning down the hug you were offering him by putting a hand up. Then he pointed at the mischievous trio whose doing it was.
“Well actually, it was mainly Loki,” Bucky said, nudging the god in the ribs.
“But Mr. Bucky, we all- Oh wait. Awwww,” Peter gushed as he realized what Loki was feeling.
“Oh. In that case, thank you Loki!” you shouted, throwing your arms around him in a hug.
Without a second’s hesitation, he wrapped his arms around you, too, returning the embrace. “You are quite welcome, my darling.”
You nuzzled into the spot where his shoulder met his neck. In turn, he put his head on your own and breathed in your scent, forgetting the others in the room for a minute. It seemed you had, too, because you looked equally startled when Tony cleared his throat.
“Ok, fine. He can stay,” Tony conceded, “but only if he doesn’t wreck the place. And keep him out of the lab.”
You all chorused your thanks and, despite his harsh tone, could tell that Tony had already taken to Bobby, who was now the center of attention again. After playing with him for a bit, Bucky made some excuse about having to leave and took Peter with him, both of them wanting to give you some alone time with Loki.
“This really is very sweet, Loki,” you told him after a few minutes.
“Think nothing of it. It is my gift to you.”
“I feel bad, though. I don’t have anything for you,” you said, biting your lip. “Well, actually, I do have one thing that I can give you.”
“Oh? What would that be, my darling?”
The end of his sentence was nearly cut off by your lips crashing into his. The kiss was a little sloppy, but filled with so much love and desire that neither one of you cared. After gathering his wits, Loki kissed you back, cupping your cheeks as you grabbed his shoulders, still a little unsteady from surging forward.
“That,” you breathlessly whispered, pulling away as Bobby began barking again.
Later that night, Tony found you and Loki passed out on the couch, Bobby sprawled out across both your laps.
“Huh,” he mumbled, draping a blanket over your shoulders. “I guess it’s a good thing they got that dog, after all.”
#loki x reader#loki x y/n#loki x you#loki laufeyson#loki odinson#loki friggason#loki fluff#fluff#mcu loki#young loki#loki oneshot#marvel reader insert#marvel#marvel fanfiction#reader insert#loki fanfic#mcu reader insert#mcu fanfiction#thor odinson#gender neutral reader#loki pov#reader pov#second person pov#tony stark#ironman#bucky barnes#winter soldier#the winter soldier#peter parker#spiderman
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Eva VS. Becca: War of the (Head of the Family’s) World
@pomme003 just for you, thanks for the request. Hope you enjoy it!!!!!
Eva groaned at the imminent approach of Les Revenants, inwardly cursing herself that she not only A. managed to allow Baldwin to worm his way back into her life after so many years and B. agreed to this awful children’s party.
“remind me again, why the daffy duck I’m here?” Since she would be around the children, Eva had been informed she could not use swear words, so instead became quiet colourful with her language
Baldwin switched the car engine off and turned his lips up into a devilish smirk. His thick, preened eyebrows wagged up and down as he childishly pointed to his crotch “few reasons”
She rolled her eyes for the hundredth time that day and simply stepped out of the car ignoring his baritone chuckle. She regretted ever telling him that he was the best she ever had, and teased her relentlessly about it. He loved it. She definitely fucking loved it.
His arms grew wide as he knelt lower to scoop up the bounding six year old. His arms wrapped tightly around her as he jiggled her onto his hip. Becca peered over his shoulder scouting for the ugly blonde haired menace that had stolen her favourite Uncy away. She had been the focus of his attention for as long as she could remember, and then he married that thing. Her beady eyes met Eva’s deep blue ones and she scowled.
War had begun.
Eva bit her lip, biting back the profanity she wanted to spill out. she had listened to Baby shark, paw patrol and various other children’s songs. She had begrudgingly joined in with the hokey cokey twice and participated in put the tail on the donkey. During the Hokey Cokey Becca had ‘accidently’ stepped on her toes more then once. the first time it was sweet, the 8th time it had been blasphemous. And she couldn’t even fudging swear!
Her ear drums bled as S Club Juniors blasted them, and she felt like it was the 2000’s again. Phoebe most definitely selected this playlist. Her bum met an uncomfortable chair as the music stopped, as this was the game; ‘musical chairs’.
Becca scowled from her position, she had sat in the chair next to the evil woman. She had to think of a plan to make her go away and didn’t know what to do. She had to make sure her Uncy was free of her, so he would go back to seeing her every weekend like he promised. He never broke his promises, till she showed up.
The music started again, as did the game. Fiercely competitive, Becca and Eva were the last ones standing (or sitting depending on the music). Becca knew this was her chance to strike, and acted like a girl on a mission. It was about as tense as it could be for the 6 year old, and the vampire could not have been more bored. The music thudded, then it stopped. In perfect timing, Becca had kicked the plastic chair over so evil woman landed on her bum.
She had never giggled quiet so loud, and Eva laughed along too. She could laugh at her own expense, and found it of the upmost humour the little girl dared to do such things to her.
“REBECCA!” Diana shouted “That is NOT how we treat our guests!”
The girls brows furrowed, why could they not see the good she was doing? “It accident” she feigned a lip pout, hoping the fake sob earned her brownie points
Baldwin chuckled, lifting the girl into his arms “I find it highly unlikely the birthday princess would do such things” he kissed her on the cheek, eyeing her carefully “would you, Cara”
She shook her head tucking it into the crook of his neck “No Uncy” her eyes once more found Eva’s, and this time the adult vampire took notice of hateful look.
She knew it was not an accident.
Dinner had been lovely, as side from the child that repeatedly kicked her under the table. She had insisted that she sat on Baldwins lap, and did not apologies as she thudded her chunky little thighs against Eva’s leg when demanding ‘juicy juice’. It didn’t hurt, though it had been utterly annoying.
Eva knew better then to row with Baldwin over his niece, especially at her birthday but when they left they would be having stern words.
“Finish your steak pieces, then you can have juicy juice” Diana gave her daughter another stern look, and the little girl hated it. What was it about blondes? It was like the evil woman was Queen and Mummy had fallen under her spell. And Mummy was a powerful Witch.
Perhaps in hindsight trying her on beakers without lids had been far too premature. At the moment the juicy juice made it’s way to Becca’s tiny hands she had already reconciled the loss of it. She thought, this plan would be better then tasting the juice itself. She smiled, it had been a full cup. She reached for the cup’s lip, and allowed it to slip from her grasp mid-air. As if from a film clip, the air stilled and began in slow motion. Perfectly planned, the pink cup tumbled in the air spilling it’s contents on Eva’s lap.
Eva’s chair screeched along the floor and her voice matched the pitch “RIGHT THAT’S IT!” She flung her napkin to the table “IM DONE” With the speed of a vampire, she rushed out the door completely embarrassed and infuriated at the days events.
She had allowed herself to be bullied by a 6 year old, and now covered in blood. The last time her clothes were this stained, it had been during a battle. Now she was at war with a child.
Baldwin had been courting Eva on and off for three centuries, and now they were mated it had been a lot easier to bend her to his will. After the ‘cup falling’ incident, they had retreated to Sept-Tours with Ysabeau to help calm her down. She would not harm the girl, but the house would be an entirely different affair. He knew her well, and the oak table and walls had a lucky escape from his ferocious mate.
What would not be so easy, would be reconciling this feud between them that stemmed from his beloved niece. He thought it easier if he did not like the little thing but he was besotted. Nothing moved his sense of responsibility to her and it wounded him slightly knowing she did not approve of his wife.
He made pace for Les Revenants, hoping to have caught Becca before she slept. It had grown late, but this would be time she had her bed time bath and drink.
He let an alleviated sigh out as Diana had been just about ready to empty the bath tub. Without conversation, he simply picked up Becca’s pink towel and began to pat her dry. He could see her eyes were red and puffy; she had definitely been crying. He took care to dry her off, making sure between her tiny toes and little fingers were carefully covered by the towel and then helped her into her pyjamas.
She had a choice between two stuffies that she liked taking to bed, Elmo and a silver back Gorilla plushie. The silver back, appropriately named ‘Gerald’ had been bought by her favourite Uncy when he took them to Safari Park in the cold country they went too. It was her favourite, he bought it for her and it was black and grey like him.
She settled into her bed and waited for him to speak first. Diana had taken Philippe to their room, so she could allow her brother in law time to talk to her daughter, though she listened intently outside in case. She had still been uneasy around him, after all this time, but knew with absolute fervency he would not ever cause her daughter upset. Purposefully.
“You were not very nice to Aunty Eva, you should not have poured your juicy on her” he had knelt by her beside like a Knight
“It accident” she couldn’t look at him, and her little lip trembled. Her father had already turned his back on her, and her mother had been cold. She just wanted her Uncy and now everyone had been angry. And it was her birthday.
He held her chin carefully, making sure she looked at him “I do not think it was an accident, I think you meant to do it”
Her eyes spilled over again as she buried her little face into her stuffie. He felt like the Wolf from the ‘three little pigs’ , the amount of times he had exhaled today. He surely could have blown the house down by now. He picked her up, settling her on his lap as he (uncomfortably) slid up the Frozen bed. Her little frame shook against his as she sniffled, and it took some time before the tears stopped again.
“I thought you did not like her” he raised a brow as Becca looked up from her dolly, a guilty look on her face “Eva thinks you feel abit left out” he took the girls silence as a green light and rubbed her back soothing the last of her sniffles “how about, tomorrow I take you horse riding, hmm”
She peered up at him, and moved to stand on his thighs “just me you?” her sad face turned into a bright glow at the prospect
“No, I thought Eva could join us” her lip trembled again, and he knew he had to reconcile the situation “Becca, Eva is very special to me and I would hope my number one girl would get along with her”
Her bright smile had returned when he called her his number one “I your nubber one girl” she giggled, nervously twirling her hands over her jammies
“But of course, who else would be?” his smile matched hers, and she fell into his chest wrapping her short arms around his neck giggling with glee.
He knew Matthew would be annoyed for keeping her up so late, but he could not resist tickling her until her sadness had been drowned out by fits of laughter.
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bob clampett’s daffy
i hated daffy as a kid. i thought he was annoying, unnecessarily rude, bitter, and mean. and he was. and now i’m going to preach to you about why he’s my favorite character in the franchise, and how bob clampett totally changed my view of him.
although tex avery was the father of daffy, bob clampett was the first director other than tex to use daffy in a cartoon. clampett’s 1938 “what price porky” pins daffy as the dictator and leader of a group of ducks who are currently in a war with a group of chickens, with porky in the crossfire.
daffy’s head is a perfect circle with no feathers, and he’s considerably taller than other appearances. he’s a bit more rotund too, making him seem more malleable and easier to manipulate with gags. notice how his eyes seem like they could continue to wrap around his head. we start to see what will stay in his design for years to come and what will go, such as lacking the trademark white ring around his neck. what he DOES have, however, and for the first time, is his trademark lisp.
his next appearance in a clampett cartoon is “porky and daffy” (1938). this is truly where his daffiness is allowed to shine. porky enters daffy in a boxing match against a burly, undefeated chicken. the match includes (but is not limited to) daffy acting like a lion tamer, riding an invisible bicycle, and hiding in the beak of a pelican. the short is really just daffy being daffy, but we get to see how he interacts with porky.
his eyes are much taller and skinnier than they were in “what price porky”, and his head and body have been slimmed down. the ring around his neck is jagged, something that would make a few appearances in his design for the next 2 years.
in around 1939-1940 daffy was drawn with a light colored “mask” around his eyes and the ring around his neck a zig zag. there’s a definite difference between these two pictures (left: wise quacks, 1939, right: porky’s last stand, 1940). on the left daffy’s eyes are rather skinny and tall like the rest of him, the mask around his face taking up half of his face, whereas on the right daffy’s eyes are shorter and wider (again, like the rest of him) with the mask taking up less room. interestingly to note, porky’s last stand would be the last short to feature daffy looking like that, aside from a few advertisements in the early 40s.
both continue to prominently feature daffy as unhinged, off the handle, giddy, and, well, daffy. he was truly the epitome of ignorance was bliss. he was oblivious and didn’t have a clue, but he didn’t care. he had such an energy to him that’s so addicting to watch. of course, nothing but screaming HOO HOO! CAN get old over time, but the way clampett just makes him so enthusiastic and such a firm believer in whatever he’s currently preoccupied with is contagious. it’s hard to be in a bad mood when daffy’s jumping around all corners of the screen screaming in your ears.
clampett’s “the henpecked duck” (1941) is really the first short that would dictate how daffy would look in the rest of clampett’s cartoons. his eye mask is gone and the ring around his neck isn’t jagged, and he’s considerably taller and skinnier. his head is still rather short and round, but he’s really starting to take shape.
daffy’s personality also changes in this short. previously he was just a prop, truly a daffy duck. but now “the henpecked duck” opens with daffy and his wife (yes, he has a wife in this short) in the courthouse in front of a judge porky, with his wife angrily demanding to get a divorce. daffy is depressed and devoid of energy, not for a quick, breathless joke, but for suspense. in his previous shorts he’d shown bouts of anxiety or anger, but typically they blew through for a punchline. now something serious is going on, he’s actually depressed, he’s something other than wacky.
the majority of the short is a flashback. daffy is supposed to be laying on an egg as his angry wife is out for the day. because he IS daffy, boredom strikes and he eventually does magic tricks with said egg, making it disappear, reappear, disappear, reappear, disappear..... disappear. the egg is gone and he freaks out, and suddenly we’re back in the courtroom. all eyes are on daffy as he does one last cautious “alakazam....” and the egg is back in his hand and his marriage is saved.
it’s a strange and goofy premise, sure, but it’s surprisingly riveting, primarily because this is when we really get to see daffy express some real emotion. he’s a very versatile character. clampett prioritizes his daffiness, but that’s not to say he’s purely daffy. he can be angry, anxious, upset... he expresses such a wide range of emotions which is what i love about clampett’s characterization. he’s so versatile and UNPREDICTABLE. you don’t know what you’re going to get. it’s an element of surprise. it’s formulaic, but at the same time it isn’t at all.
two years later in 1943 we have “the wise quacking duck” with daffy taking on a role he hadn’t assumed for quite awhile: prey. in it, we have “mr. meek”, a dopey, meek, balding man who tries to appease his “sweetiepuss”’s hunger by serving her duck for dinner. daffy, of course, is said duck.
the short is just daffy teasing mr meek (quite literally, there’s an infamous scene where he does an actual strip tease) by throwing eggs at him, pretending his head was cut off, hitting him in the face with pies and coffee creamer, etc. it’s another “daffy daffy” short, but it’s so energetic and fun. there’s a method to daffy’s madness, and at the same time there isn’t one at all. you know he’s going to do some crazy stuff, but you don’t know what exactly he’s going to do.
daffy’s appearance is pretty solid from here on out. skinny, oval shaped head, long, slender bill, pear shaped body. i really like this design to him, he still looks like a duck. chuck jones draws a great daffy, but i just like clampett’s daffy more. it might be the bill. clampett’s cartoons make a point of daffy’s lisp, making him spew spit everywhere and his tongue has a life of its own. it’s great. they really took his physical qualities and had as much fun with it as they could.
in 1945 we have “draftee daffy”, about daffy getting drafted into the war and frantically trying to evade it. this is a personal favorite of mine, the energy is boundless. in a matter of seconds daffy is happily marching around, singing about how he was drafted, and all of the sudden he screams and breaks down into sobs. what an unpredictable mess! that’s why i love clampett’s daffy. he’s messy. a matter of seconds and facial expressions later he can act like a totally different person (or duck). again, he’s a firm believer in whatever scheme he’s riding the high on currently, whether that’s one-upping bugs, seducing his way out of becoming a roast duck dinner, or trying to dodge the draft. not much to note on his design here.
you knew this was coming! 1946 gives us “book revue” in a slew of continuous great shorts just before clampett left WB. i love how ridiculous daffy is in this. he’s not even in half of the cartoon, maybe topping out at about 3 minutes max, but he’s what makes it so memorable.
the short is another “books come to life” cartoon, a theme that had been popular in the late 30s and early 40s (another clampett cartoon starring daffy and porky was 1941’s “a coy decoy”, pertaining to this theme). as various book title pun related characters are playing a rousing rendition of frank sinatra’s “it had to be you”, daffy pops out of nowhere and throws on a zoot suit, wig, bad russian accent and danny kaye impression, and suddenly has disconcerting teeth. he screams at everyone to shut up, demonstrates his poor vocabulary by talking about sitting on balalaikas (a guitar like instrument), and sings “carolina in the morning” while rolling every “r” possible.
basically he encounters little red riding hood, warns her about the big bad wolf (by scatting), and the cartoon ends with the wolf chasing daffy around until the cops book him and the wolf, wooed by frank sinatra, passes out and literally goes to hell and tells everyone to stop celebrating his departure.
daffy’s just so good in this. he’s so in character and out of character. yes, i could see bugs putting on the same costume and same shtick, but it would be a bit predictable. funny? absolutely, but bugs is known for his costumes. what costumes has daffy ever worn? his wardrobe isn’t nearly as expansive as bugs’. it’s a nice surprise. just how out of character he is proves how in character he is.
“baby bottleneck” (1946) is next, one of my all time favorite cartoons. porky and daffy make such a great pair, they’re so different. daffy’s just completely off the handle in this one. i’ve rambled about this one a lot and repeated myself many times, so i won’t go too in depth here, but daffy’s unpredictability really carries the cartoon. he says he’ll sit on the egg. he doesn’t. he fights porky in a battle of strength and (lack of) wits. you just don’t know where the cartoon is going to head next, it’s packed with gags and so much action, i definitely recommend it. the jokes are nonstop.
and finally, saving the best for last... 1946’s “the great piggy bank robbery”, possibly my favorite clampett cartoon (just above baby bottleneck by a frog’s hair) and really one of my all time favorite cartoons in general.
the short starts off with daffy pacing around his mailbox impatiently (to the tune of raymond scott’s “powerhouse”—maybe that’s why i like this short and baby bottleneck so much, anything that uses powerhouse is automatically great to me) until exploding “WHY DON’T HE GET HERE!”
his attitude changes from pissed off to eager as the mailman arrives, slowly puts whatever daffy’s expecting in the mailbox, and walks away. we never see the mailman’s face or what it is that daffy is expecting, furthering the suspense. daffy tears through his mail and grabs what he was looking for and dashes over hill and dale before hugging his package, a comic book, and throwing himself upon it.
it’s a dick tracy comic, to which daffy declares “i LOOOOVE that man!”. what’s funny is that after this short i was watching frank tashlin’s “porky pig’s feat” (1943) and the antagonist gets his face pushed in by daffy, to which daffy looks at the camera and says “look, a dick tracy villain! pruneface!”. foreshadowing? 🤔🤔🤔
daffy reads to us the comic in excruciating detail (or lack thereof. he’s just manically sputtering out words. the change in emotion is what makes it so funny, from celebration to apprehension to despair, all in a matter of seconds). he celebrates the victory of dick tracy, saying how he’d love to punch those goony criminals, before punching HIMSELF in the face.
this is how we meet duck twacy, on the hunt for a case of stolen piggy banks (“it’s a piggy bank crime wave!”). daffy finds the case juvenile and a waste of his time... before he finds that his OWN piggy bank was stolen. he goes on a hunt for the culprit, kicking sherlock holmes off the streets, riding a trolley driven by porky for about 5 inches before arriving to the gangster’s hideout. he encounters a barrage of weirdly awesome villains, complete with a manic, breathless, and spitty narration of who is who. even though he thinks he’s about to be killed, you can tell that he’s totally eating up the fact that he’s in dick tracy’s shoes, that he recognizes all of these villains. after shooting all of the villains, he finds his own piggy bank and caresses it and kisses it. we’re now back in the real world where he’s kissing a barnyard pig who kisses him back and bashfully declares “i just love that duck!”, with daffy HOO HOO!ing off screen.
i should add, aside from the pig saying “i just love that duck!” and one of the villains grunting “guess who?”, no one in this short talks except daffy. and that’s why i love it so much. he carries the WHOLE thing. it’s all him and him alone. no one for him to upstage, no plans for him to ruin, we get to see his own motivations and his own personality.
i could ramble on forever about bob clampett and daffy, but i’ll try to summarize it the best i can here.
i love bob clampett’s daffy because he’s predictably unpredictable. his zaniness is prioritized above all else, but he’s able to feel emotions other than daffiness. he CAN be cynical, he CAN be depressed, he CAN be anxious, he CAN be happy... his emotions feel very believable, as zany as he is. you can go into each bob clampett daffy short knowing that he’s probably going to do something wild, but that’s it. you don’t know what he’s going to do. clampett keeps you on your toes with how he portrays daffy. daffy is TRULY unhinged in the best way possible.
thank you for reading! i’m sure i repeated myself and even contradicted myself dozens of times, but i love daffy and i love bob clampett. the best way to see for yourself how great he is is to watch some of these shorts. (i recommend the great piggy bank robbery, baby bottleneck, book revue, draftee daffy and the wise quacking duck, and the daffy doc and the henpecked duck are some really entertaining black and white shorts)
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About that Bugs in drag post. I'm a bit upset they altered the last image of Duffy to make Bugs and Lola the ones dressed up. It was Duffy, not Bugs : /
Those last images are from the movie Rabbit's Run. The scene you're thinking of is from The Looney Tunes show. The gag where both Bugs and Daffy say they "like the height the heels give" is just a recycled joke, which happens often in Looney Tunes, and since the movie was made by a lot of the same people and in the style of the show, they're allowed to do that.
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I posted 21,023 times in 2021
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For every post I created, I reblogged 175.7 posts.
I added 6,871 tags in 2021
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#i’ve been remixing and fixing up old concepts/ocs and i’m kinda proud of how far i’ve progressed even though it’s only been like 3-4 years
My Top Posts in 2021
#5
I forgot to mention this in my post but I think it’s cool how Lilith is now associated with ice, just like how Eda is associated with fire!
Parallels!!
15 notes • Posted 2021-06-19 20:19:21 GMT
#4
my ideal Bugs/Daffy dynamic that I wish I could see more of is Daffy as the goofy and wild guy and Bugs is the rational and normally chill one who tends to react when it comes to Daffy’s antics
15 notes • Posted 2021-05-09 15:30:44 GMT
#3
TOH Theory
my theory for next week’s episode?? (”Hunting Palismen”)
Luz doesn’t get a palisman at all and she keeps on using Eda’s staff because it’s just as much as hers as it is Eda’s, but she does become a friend/protector to them!
18 notes • Posted 2021-07-10 22:25:26 GMT
#2
Last night as a result of hyperfixation, I had a dream with TOH characters in it, and this one was based on how “Yesterday’s Lie” might turn out...I’m not gonna talk about it bc it made 0 sense and it just had me like 🤔 but it did get me into a couple of theories on how the episode might go down...and all of them are heartbreaking 😭
1. Luz gets to the Human Realm and notices the doppelganger and her mother and feels like her mom is happier with this “normal” version of herself, and goes back devastated (what I think is most likely to happen)
2. Luz gets back and Camila sees her but rejects her because she thinks she’s lying or couldn’t be “the real Luz” because camp was supposed to “fix” her, and Luz goes back and is sad beyond relief, but then Camila either gets Luz’s messages or something tips her off and suddenly realizes that was her Luz and now she has to get her back
3. Luz tries to go but it doesn’t work all the way, maybe it can only allow her in the human realm for a couple minutes or so or she’s “tugged back” and Camila finds something out about the doppleganger that makes me realize that that isn’t her Luz
Also I’m like...EXTREMELY CONCERNED as to who created “Creepy Luz” in the first place...but that’s a bunch of theories for another time and thinking about a couple of them makes me upset (┬┬﹏┬┬)
20 notes • Posted 2021-08-08 22:48:42 GMT
#1
MA’AM....💕
66 notes • Posted 2021-07-21 01:34:07 GMT
Get your Tumblr 2021 Year in Review →
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LUCILLE BALL DUSTS OFF HER SLAPSTICK
by Aljean Harmetz for The New York Times, August 3, 1986
On Stage 1 at the old Samuel Goldwyn studio on a hot day in the middle of last month, Lucille Ball came back. Barking the familiar laugh that blends a strangling Airedale with a porpoise, mugging for assistant directors and stagehands who weren't even born when ''I Love Lucy'' went on the air in 1951, Lucille Ball came back to weekly television - 12 years after she left it.
Whether she was named Lucy Ricardo or Lucy Carmichael or Lucy Carter, whether she was the daffy housewife pinned to her kitchen wall by a loaf of homemade bread or the wacky widow wheedling a different sort of dough from a sour-faced banker, Lucille Ball was the queen of slapstick television comedy from 1951 to 1974. Now, a few weeks away from her 75th birthday, she is waiting to slide across a hardware store on a wheeled ladder in the first episode of a new series, ''Life With Lucy.'' It will be shown Saturday nights at 8 on ABC, starting in late September.
This time, she is Lucy Barker, a widow and a grandmother. In the initial episode, she moves into the Pasadena home of her daughter and son-in-law and her two grandchildren and takes over half-ownership of a hardware store run by the fuddy-duddy father of her son-in-law. He is, of course, played by Gale Gordon, her employer and comedic nemesis on ''The Lucy Show'' and ''Here's Lucy.'' During the past few years, Mr. Gordon, who is 80, has been traipsing around the country performing in musical comedies.
Industry observers have serious doubts that ''Life With Lucy'' will succeed. In a recent printed forecast, Joel Segal, vice president and a buyer of commercials on prime-time television programs for the Ted Bates Advertising Agency, said that Miss Ball is ''a broad physical comedienne who may have some difficulty doing boffo comedy in the midst of her eighth decade.''
''Everyone predicted 'I Love Lucy' would be a flop,'' says Bob Carroll, unconcernedly. Mr. Carroll and his partner, Madelyn Davis, have been writing for Lucille Ball for 38 years, since her radio show, ''My Favorite Husband,'' in 1948. More recently, the team spent eight years as executive producers of the CBS situation comedy ''Alice.''
Just today, Mr. Carroll and Miss Davis have discovered there is a pit under Stage 1. ''So, we can have something where Lucy goes through a tarp into the basement,'' says Miss Davis with delight.
When ''Life With Lucy'' was being planned this past spring, Miss Davis did offer one concession to Miss Ball's age. ''I said, 'We won't fly you,' '' says Miss Davis, referring to putting a wire on an actor so he can do stunts. Miss Ball's answer: ''Oh, I can fly!''
At first glance, at least, Miss Ball seems to be remarkably agile and limber. ''I'm not dropping out of an airplane or jumping up and down on a trampoline this first show,'' she says. ''But the Lucy character is the same as ever. To her, nothing is impossible. She's going for it. This show is Lucy at another time in her life.'' And, indeed, as in all her earlier series, Miss Ball will be the centerpiece of every episode.
Wearing an over-sized yellow shirt over white slacks, with a gold print scarf tied loosely at her throat, Miss Ball is eating lunch in a huge dressing-room suite that her husband, Gary Morton, has already spent a week making homey. Although, to television audiences, she is indelibly married to Desi Arnaz - it was a national event when their son, Ricky Ricardo, was born on ''I Love Lucy'' in 1953 - she was divorced from Mr. Arnaz some 28 years ago and has been married to Mr. Morton, a comedian and producer, for nearly 25 years.
The walls are full of pictures Mr. Morton has hung, including a poster for Miss Ball's 1974 movie - her last movie - ''Mame.'' Oddly, it was at this studio that her film career began in 1933. She was a ''Goldwyn Girl,'' a long-legged showgirl, in ''Roman Scandals,'' starring Eddie Cantor.
There is no single reason why she has returned to the grind of weekly television. ''We went to Florida last year and did seminars, and people kept saying, 'Please come back, please come back,' and we started thinking about it,'' says Mr. Morton. ''She was bored,'' says Madelyn Davis. ''Lucy doesn't want to sit at home in a rocking chair, going through her scrapbooks.''
Certainly, money was not the lure. Miss Ball and Mr. Arnaz were the first television stars to put their series on enduring film instead of impermanent kinescope, and some old ''Lucy'' show is being run on some television channel somewhere on any given day. Since CBS refused to allow Miss Ball and Mr. Arnaz to film in front of a audience, they decided in 1951 to borrow $5,000 and create their own space in which to film their pilot live. ''That's how we came to own the show,'' Miss Ball says 35 years later, and there is still a tinge of wonder in her voice.
She paints her lips into a huge cupid's bow and tosses the familiar red hair. ''I've missed doing a television series,'' she says. ''I didn't realize it until two or three years ago, after I had paid back all the guest appearances to Carol Burnett and Bob Hope and the others, all the promises I had made, all the charity I had to catch up on.''
But there was a psychological barrier to overcome. ''I missed Viv so much. And I couldn't bear the thought of going on without her,'' Miss Ball says. Vivian Vance, who died in 1979, had been Miss Ball's friend and partner-in-mischief on all the ''Lucy'' series. On ''Life With Lucy,'' Lucy Barker will be provided with no woman friend or confidante. Miss Ball pushes the idea away with her hands. ''No way, no way,'' she says. ''That's one thing I draw the line on.'' She says she decided to go for a new series because, with ''The Bill Cosby Show,'' ''the cycle for this sort of thing, family shows, came around again. I wouldn't have to do a pilot. And Gale was available and so were my writers. Gale is the strength, the one I upset so he can hardly stand it and he recoils comedically. Hopefully, we'll find plenty for him to bluster about.'' (1)
As always, Lucille Ball has creative control. ''Young network executives are not going to walk in and tell Lucy what's funny,'' says Mr. Morton. The series is a co-venture of Lucille Ball Productions and Aaron Spelling Productions. It was Mr. Spelling who got Miss Ball excited -''like a war horse,'' he says - about doing another series. And it was Mr. Spelling who made ABC commit to a firm order for 22 episodes, an unusually high number nowadays (2). ''I'm sick of this prejudgment by age,'' he says. ''Does Bob Hope work? Does George Burns work?''
Across the television dial from ''Life With Lucy,'' at 9 P.M., on NBC's ''Golden Girls,'' the dialogue is crammed with sexual jokes and middle-aged widows bring men home to bed. Although Miss Davis speaks of ''Life With Lucy'' as ''vintage Lucy turned into a today's woman,'' the show will have no sexual humor. ''She's never cared for that,'' says Miss Davis. Instead, according to Miss Ball, ''one premise will be my first date since my husband died, with a mother-daughter switch, the daughter worrying when her mother doesn't get home on time.''
By ''bringing the Lucy character up to date,'' Miss Ball and Miss Davis mean that ''Life With Lucy'' will provide a stronger, less-dependent Lucy. ''She was always kind of childlike,'' says Miss Davis, ''afraid of her husband's disapproval, saying, 'Ricky will kill me!' We wouldn't do that today. She's into jogging and health foods, a grandmother and not a scatterbrained wife. She's gotten a little smarter through the years, and a little more worldly. In several scripts she says things like, 'Why am I clinging to the past?' And she tries to see things through her grandchildren's eyes.''
''Lucy is not as dependent on anyone, except under the blowtorch of Gale,'' says Miss Ball. ''I go into the hardware store and re-arrange everything alphabetically and give them apoplexy.''
She is standing inside the hardware-store set on Stage 1, waiting to rehearse among the rakes and hoses and bins of plastic tubing. The two young children who play her grandchildren pass the time by playing with flashlights on an open shelf. When the rehearsal begins, they come too tentatively into the shop. Told to walk faster, they are still too slow. Patiently, Miss Ball takes them by the hand and demonstrates. She bursts into the shop, shouting ''Grandpa!''
The hardware store was her idea. ''It gives us a lot of gadgets to work with,'' she says, grinning.
In the first show, she fights with a defective fire extinguisher. The following week, the problems will be with a guard goose. (3) ''She doesn't mind working with animals,'' says Miss Davis. ''We've had her with three sheep, a chimp and an elephant, and milking a cow.'' (4) Eventually, she will convince Mr. Gordon to put his inventory on a computer and will manage to erase it. And there is always that sliding ladder.
There is also sleight of mind. ''We didn't have as much physical comedy as you think,'' says Mr. Carroll of the old ''Lucy'' shows. ''She wore funny outfits and was in funny situations - out on a ledge with pigeons on her head.'' (5)
In equivalent ''Life With Lucy'' scenes, she will drink a health-food concoction and turn as rubbery as an octopus. Or, in classic ''Lucy'' style, she will get her hand stuck in a saxophone. The sax is sitting on a desk in her dressing room. She really plays, although badly. In her spare moments, she is trying to strengthen her lips so she can struggle through the whole ''Marines' Hymn'' for a scene with a high-school band in a future show.
During one of the endless waits between scenes, Miss Ball's chair becomes surrounded by crew members eager to listen. ''What are you going to do now, Director Man?'' she teases Peter Baldwin. A few moments later, Mr. Baldwin tells her to deliver a line from the third step of the stairs of the three-story gabled stage house. Instantly, Miss Ball decides that the line works more amusingly from the bottom step instead. ''You don't give a chance for a laugh, if you don't wait,'' she explains to the director who is 25 years her junior.
''I didn't expect it to last,'' Miss Ball said later of ''I Love Lucy.'' ''Nobody wanted me to go into television. Everybody at Metro [M-G-M], where I was under contract, said I was out of my mind. And then, when Desi and I went on a tour and there were 5,000 people outside a steel fence at the Miami Airport and they trampled it, and people knocked down a plate-glass window at the lobby of one hotel - we didn't know what was happening.'' (6)
That was a long time ago. Today is a different country. Will re-cycled ''Lucy'' seem old-fashioned? (7)
While Miss Ball and her husband were wavering, a friend pushed them over the edge to ''Life With Lucy.'' ''Why not?'' the friend told them. ''You have nothing to lose.'' Whatever happens, says Mr. Morton, is ''icing on the cake.''
FOOTNOTES aka HINDSIGHT IS 20/20
(1) Although Lucille did not want a female co-star, the final episode aired featured Audrey Meadows as Lucy’s sister. Critics remarked on their comic chemistry and theorized that had Meadows been a regular cast member the show might have stood a chance. Too little, too late.
(2) The series order was reduced to 13, with only 8 episodes airing. A 14th was being plan when the ax fell.
(3) “Lucy and the Guard Goose” was filmed second, but was replaced with “Lucy Makes a Hit With John Ritter” to boost ratings with a guest star. “Lucy and the Guard Goose” was moved to episode 9, but the show was cancelled after episode 8 on November 15, 1986, and “Guard Goose” went un-aired. Ironically, a clip of the episode featuring the goose was already part of the opening credit sequence, leaving viewers wondering “what’s with the goose?”
(4) Madelyn Martin is under-rating Lucy’s experience with animals. On “The Lucy Show” there was a pen full of sheep, not just three. On television alone, Ball has worked with seven chimps, three elephants, and milked two cows! This in addition to other animals of almost every description.
(5) Carroll is referring to “Lucy and Superman” (1956) where Lucy Ricardo impersonates the Man of Steel to surprise her son, making her entrance through a window populated by pigeons.
(6) Ball is remembering an experience in November 1956 when Lucy and Desi visited Miami in advance of their setting several episodes of “I Love Lucy”.
(7) Very quickly it became apparent that the answer was “no” - America and the critics did not embrace “Life With Lucy”, which was cancelled after eight episodes, much to the dismay of Ball, who was devastated by its failure.
[The article’s text has been reprinted verbatim. The images have been added to enhance the reading experience. Some images property of Getty Images Inc.]
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“Yeah, well, this is a club”: On Brittana, Complicated Dynamics, and the New Directions
So the wonderful @letmerebloginpeace asked
i know you've done a post about what all the ND kids think about brittana but what do brittany and santana think about each of the new directions kids?
Unsurprisingly, my answer got a little unwieldy.
I will warn you up front that just like with my posts on what the New Directions think about Brittana (see here and here), this post comes down a little on the negative side. While there are certainly a handful of their glee teammates that our girls love wholeheartedly and count as true friends, there are also more than a few of them that they straight up can’t stand or with whom they have toxic relationships.
Though Glee tried to sell the idea that all the kids in the New Directions were the dearest of dear chums, they weren’t always successful in doing so, particularly in Brittana’s cases. There was lots of bad blood between Brittany, Santana, and the New Directions, and while Brittana undeniably share in the blame, they’re not the only guilty parties.
As I say in my original post:
Examining the New Directions’ views of Brittana is not an entirely uplifting pursuit. It requires that we as Brittana fans talk about some of Brittana’s worst traits. It also requires that we look at examples of how a group of people who preached acceptance often could not find it in their hearts to accept Brittana, despite Brittana’s best efforts to win them over.
In writing this response, I’ve realized, not for the first time, how Glee mishandled so many potential friendships over the years. Things could have been so much better if the Glee writers knew how to wield their characters better and to allow for true, meaningful character growth, forgiveness, reconciliation, acceptance, etc.
Since they didn’t, this is what we’re stuck with: five and three-fourths seasons worth of bad relations between Brittana and the majority of their glee club peers.
If I haven’t scared you off by now, let’s get on with the analysis.
More discussion after the cut.
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“Oh, please, you guys love me”: On Brittana, Character Development, and How Self-Perception Shapes Their Relationships with the New Directions
The main factors that affect how Brittana’s respective views of their teammates change over time are their individual character development and perceptions of themselves as people.
In the beginning, both Brittany and Santana have bad reputations, Brittany as a “dumb slut” and Santana as a “mean” one. While deep down, the girls don’t like that their classmates view them in these ways, they feel helpless to do anything to change the status quo, particularly as at the time they’re both guarding deep, personal secrets that they feel they cannot reveal without then suffering lasting social consequences.
Brittany’s secret is that despite her reputation as the ultimate easy girl who is too stupid and aloof to care about who she sleeps with, she is actually deeply in love with Santana, and if she had her druthers she would choose to be with Santana exclusively.
Santana’s secret is of course that despite her reputation as a sharp-tongued, hyper-heterosexual bitch who’s screwing half the football team, she is actually secretly a sweetheart with an ooey-gooey center and deep and monogamous love for her female best friend, Brittany.
Brittany can’t stop pretending that she is indiscriminate about her sexual partners for fear of upsetting Santana and causing her gay panic about their relationship, while Santana can’t drop her “mean girl” guard and show her sweet, caring side for fear of making herself socially vulnerable and perhaps even causing her peers to realize the truth about her sexuality (see here).
So they both carry on, not only passively “allowing” their classmates to think poorly of them but oftentimes actively contributing to the perpetuation of their own negative stereotypes (see here).
For as much as Brittana don’t necessarily enjoy being pariahs in glee club and knowing that their teammates distrust and even in some cases dislike them, they’re both too scared to drop their guards and let everyone see who they really are inside. In this early stage in their development, they feel that it is better to be misunderstood and rejected than it is to be understood perfectly and rejected anyway. Sure, it hurts when people don’t like them based on the personas they project, but it would hurt even more if people didn’t like them based on who they really are inside and after knowing the things that are nearest and dearest to their hearts.
So for a long time, Brittana go along playing the bad girls.
Brittany is very much in the business of letting things slide. If someone treats her badly, more likely than not, she’s going to just take it and not do anything to confront the person or stand up for herself. With few exceptions, most people treat her poorly, so she’s just kind of “gotten used to it.” She expects her classmates to call her stupid, disparage her sexuality, and treat her like she is a child, and she’s even convinced herself that if they do these things in a “gentle” way, she can still count them as her friends. She’ll just let their meanness roll off her back.
It isn’t until S2 that she starts to really grow out of her go-along-to-get-along mode of operation.
Part of her learning process involves taking ownership of her own feelings and realizing that she doesn’t have to “settle” when friends or even lovers treat her poorly. Part of it involves quitting Cheerios and refusing to accept Sue’s bullying anymore. Part of it involves joining the Brainiacs and proving that she isn’t dumb like everyone thinks. Part of it involves making a conscious decision to be hopeful about her future (see episode 2x22). Part of it involves recognizing that she is so much happier being herself than she is pretending to be someone else. Part of it involves standing up first to Santana (see episode 2x04) and then to Artie (see episode 2x19), demanding that they treat her with the respect she deserves.
Brittany learns to advocate for herself and starts to actively seek after her own happiness. It takes her a while, but eventually she gets to the point where she is no longer willing to allow anyone to treat her badly, whether that person is her true love, her former cheerleading coach, the boy she’s dating, her glee club instructor, the captain of the football team, the school’s biggest diva, or anyone else. No more passes for people who call her stupid. No more forgiveness to people who do things to hurt her (or Santana) and then fail to sincerely apologize and change their ways. Brittany is all out of fucks to give, and she isn’t about excusing people’s bad behavior anymore. It’s not enough to just be “less mean” to her than others are. If you really want to be her friend, you have to actually be nice.
It is with this attitude in place that in the later seasons, Brittany starts to lose her patience with a lot of the kids in the New Directions, to the point where by S6, most of them are on her shit list.
She has tried to be nice. She has tried to give them the benefit of the doubt. But so many of them have been nothing but condescending to her and mean to Santana right from the very start, and she isn’t cool with it anymore.
She gets that when she and Santana first joined glee club, they were far from saints, but she also believes that they should be allowed to change and should be accepted for who they are now, not condemned for who they were in the past (see her Heart Locker speech in episode 2x22).
The problem is that from her perspective, the New Directions aren’t adjusting their perceptions based on the new evidence.
Over the years, she has proven that she’s not stupid or daffy like everyone thinks she is. She’s been an academic decathalon champion---who carried her team to victory at nationals---an SAT high-scorer and a certified MIT math genius, but the glee kids still look at her like she’s nuts whenever she opens her mouth.
But what’s even worse, in Brittany’s view, is how they still regard Santana as a bully despite the fact that Santana has opened up and shown them “all the awesomeoness that [she is.].”
Back in the day, Brittany swore to Santana that if she would just drop her guard and make an effort, the glee kids would welcome her with open arms and recognize her as the brave, sweethearted person she really is inside.
But that’s not what happens. Santana tries to make friends---especially with Hummelberry---but is never unreservedly welcomed by the group. Her acceptance always comes with a caveat and is frequently revoked due to petty reasons. Brittany isn’t present to witness the full rigmarole in person, but she hears enough to understand that no matter what Santana does, the New Directions are never going to fully forgive her for the things that she did when she was a sophomore and junior in high school.
---and knowing that they won’t both breaks Brittany’s heart and infuriates her.
While she refrains from directly confronting the New Directions largely for Santana’s sake, she doesn’t hold back from making passive-aggressive comments about them left and right or from trolling them when the opportunity strikes (see for example her mean comments to Tina in episode 6x03 and the way she teases Kurt about his love life in episodes 6x02, 6x03, and 6x08).
Since most of the kids in glee don’t understand Brittany’s wit and erroneously believe that she is incapable of holding grudges, they just ignore her spitefulness, writing her jabs off as “Brittany being Brittany.”
However, if you watch the later seasons with an eye for it, the truth becomes increasingly clear: Brittany no longer believes in what she told Santana during her Heart Locker speech. With few exceptions, the members of the glee club aren’t her family. They’re just a club, and she’s about done with them and their hypocrisy and exclusivity.
There are a few good apples in the bunch, but the rest of them are a bunch of petty narcissists who don’t deserve the time of day from Santana, let alone her friendship.
Now, with Santana, things are different.
Santana starts out being super aggressive and hostile toward everyone in glee club except for Brittany. Aside from the outside pressure she gets from Sue, her biggest reason for being so truculent is that she is trying to use offense as defense. Simply put, Baby Girl feels vulnerable and like if she lets anyone too close, they’ll hurt her, so she keeps everyone—except for Brittany—at arm’s length for her own emotional safety. Hers is a “strike first or be stricken” mentality.
Of course, the interesting thing is that for as much as Santana purposefully drives everyone in the glee club away from her, at her heart, she just wants them to love and accept her. She builds a high, unbreachable wall around herself in the hopes that maybe someday someone will care enough to climb it.
For the longest time, Brittany is the only one who does, and no one else.
Eventually, Brittany tells Santana that if she wants the glee club to accept her, then she’s going to have to make the first move and show them “all the awesomeness that [she is]” (see episode 2x22). It’s a scary proposition for someone as insecure as Santana, but Santana makes a go of it. She’s still prickly, of course, because that’s just her nature, but she tries to also be sweet and supportive and at times even generous, and she does make many concerted efforts to reach out to the people she has formerly bullied, such as for example when she tries to help Kurt defend his boyfriend from bullies (see episode 3x11).
But the sad thing is that even though Santana really does try to change, most members of the glee club never accept her efforts and still regard her warily all the way up through S5 (see episodes 5x12, 5x13, and 5x18).
For a long time, Santana tries her damnedest to get in their good graces, but eventually—circa the events of episodes 5x12 and 5x13—she seems to realize that no matter what, the New Directions are never going to accept that she’s changed, no matter how many evidences she shows them.
From this point forward, she continues to be her reformed self, but she stops holding her breath waiting for the love and acceptance she is never going to unconditionally win. With few exceptions, she settles for surface-level acquaintanceships at best, which is what we see from her throughout S6.
So onto our discussion of the individual relationships themselves.
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Finn Hudson
Finn’s history with Brittana is complicated at best. They start out in the same social strata---he a football player, they cheerleaders---and come into incidental contact through their respective relationships with Quinn and Puck. However, as Sue starts to target the New Directions, she essentially sics Brittana on Finn and instructs them to run interference in his burgeoning relationship with Rachel.
This mid-S1 development causes Brittana to have more direct interactions with Finn and ultimately starts the three of them down the path that will lead to Santana taking Finn’s virginity, Finn outing Santana to all of Western Ohio, and Finn becoming one of the most troubling figures in Brittana’s collective history.
We’ll start with the Brittany side of things.
Early on, Brittany doesn’t seem to give Finn much thought. He’s a football player and for a time Quinn’s boyfriend but not someone she has a lot of personal interest in herself. She may occasionally cheat off his math assignments, but it is not as if they are friends. He only really comes onto her radar as she notices Santana becoming increasingly fixated on him throughout the school year.
Brittana go on one unsuccessful date with Finn in episode 1x14, and then in episode 1x15, Brittany suggests that Santana make another attempt to get with Finn, this time solo.
From an outside perspective, it is difficult to understand why Brittany would tell the girl she loves to sleep with a boy she knows said girl doesn’t care about.
But Brittany does have her reasons.
While Brittany knows better than anyone that Santana isn’t truly romantically or sexually attracted to Finn---despite what Santana may be trying to tell herself---she also knows that Santana is not one to drop an obsession once she’s gotten it into her mind.
The thing is, Brittany isn’t putting ideas into Santana’s head that weren’t already there to begin with.
Santana has long been interested in possessing Finn for herself, not because she actually has any personal interest in him but because she feels insecure about her ability to make and maintain lasting relationships with guys and she is jealous that Quinn and Rachel have had success in that pursuit when she hasn’t.
Particularly after Sue sics Brittana on Finn but they fail to seduce him, Santana is left wondering why she can’t manage to get Finn into bed with her. Shouldn’t he want to sleep with her when she’s giving him the option to? Is she not sexually attractive to him? Does some part of him know she isn’t really interested in him? Does he realize that there is something “wrong” with her?
Santana feels so conflicted inside. She knows she “should” want Finn, but the fact is that she doesn’t. Her head and her heart are constantly at war, the former telling her that she has to get with boys, the latter not wanting to. The less her heart wants her to be with boys, the more her head tells her that she must do exactly that.
Part of her feels so relieved when her and Brittany’s BreadStix date with Finn ends before it even really begins, but another part of her feels guilty that she feels relieved.
In her mind, she should want Finn, or at least she should want to want him. She clings so hard to that belief, and ultimately she convinces herself that she has to get with Finn even if the mere thought of doing so makes her feel sick.
Brittany knows what’s going on inside Santana’s mind and heart in her intuitive, Brittany way, and she sees that Santana is going to go after Finn regardless of how she really feels about him, so she tries to ameliorate the situation---because that’s her m.o. at the time.
Sure, it breaks her heart to see Santana throwing herself at a boy she doesn’t actually give a damn about, and, yeah, she knows that Santana will walk away from the situation feeling terrible once all is said and done. But Brittany isn’t yet in the habit of calling Santana out on her bullshit. Santana’s gonna do what Santana’s gonna do, and since Brittany can’t stop her, Brittany’s only recourse is to try in advance to minimize the damage.
By essentially giving Santana her blessing to go after Finn, Brittany hopes that maybe Santana will at least not feel guilty where she’s concerned. She’s basically telling Santana, “Go do what you feel like you have to do. I understand. I’ll be here to pick up the pieces when it’s over.”
Now, throughout all this drama with Santana, Brittany’s opinion on Finn himself doesn’t actually change much. She would prefer that Santana not sleep with him, of course, but she also knows he’s not really doing anything wrong. He isn’t the pursuer in this situation, and he also isn’t at fault for not being romantically attracted to Santana even though Santana wants him to be.
He is just an object in Santana’s larger power play, and Brittany knows as much.
So.
Brittany remains mostly ambivalent to Finn throughout S1. But in S2, her opinion of him starts to change.
Here, Finn makes a few missteps that cause Brittany to occasionally side-eye him, the most notable of which occurs right in the season finale, when he kisses Rachel on stage at Nationals, and his actions get the New Directions disqualified from competition. While Brittany isn’t herself overly upset by this turn of events, Santana is, and Brittany takes note that Finn has the propensity to hurt people through his thoughtless behavior. Still, she is willing to allow that everyone makes mistakes from time to time and to both move on from the incident herself and encourage Santana to do the same.
Cut to S3.
No surprises here: Brittany’s true dislike for Finn starts during Santana’s outing arc. First he calls Brittany stupid and offers only the lamest apology afterward (see episode 3x04). Then he has the audacity to not only out Santana to the entire school but act like he is a hero for doing so (see episodes 3x06 and 3x07).
“Lady Music Week” is what changes Finn from acquaintance to enemy in Brittany’s books.
Of course, Glee doesn’t actually allow Brittany to talk for most of S3, so we don’t get a lot of dialogue to confirm Brittany’s feelings in this regard. It’s all in her furious silence, which is something that the genius Marjorie discusses at length in this post.
Note: Marjorie has retired from the Brittana fandom. Please respect her privacy while you enjoy her archived work.
Now. Had Finn properly apologized to Santana for violating her privacy and really seemed to learn from his mistake, then Brittany probably would have forgiven him---because, after all, she has herself made some mistakes in how she has approached Santana’s coming out process (see episodes 1x13 and 2x19), and she’s had to learn from them and do better (see episode 3x04). But from Brittany’s perspective, Finn never acknowledges that he has even committed any errors. He just rationalizes what he has done by saying that he was motivated by his concern for Santana’s welfare. He isn’t sorry. Just smug.
So going forward Brittany gives him no more free passes. She starts holding him accountable for being thoughtless and self-important. As he continually condescends to her during his S4 tenure as the glee club director, she becomes increasingly passive-aggressive toward him, at one point even presenting him a severed Barbie doll head just to mess with his mind.
Ultimately, Brittany thinks that Finn is a bad leader, and she never forgives him for the way he treats Santana.
When he dies, she opts not to attend his funeral because she knows she doesn’t share the same positive opinion of him that most of the other kids in glee club do. To her, Finn Hudson wasn’t a heroic person or great leader. He was just a selfish boy who often hurt other people through his thoughtless words and actions and never really seemed to learn from his mistakes. While she certainly isn’t happy that Finn died, she also isn’t about to pretend he was perfect when she knows for a fact that he wasn’t.
Now for the Santana side of things.
Like we discussed above, early on in her development, Santana fixates on Finn because he represents everything that she thinks she “should” want. He is the popular, handsome stud quarterback, and any would-be prom queen such as Santana would socially benefit from being his girlfriend.
Of course, no matter how much Santana tries to force her feelings for Finn, the truth is that she isn’t ultimately into him, and the fact that she isn’t frustrates her. Eventually, she lashes out at Finn as the object of her frustrations. When she can’t manage to “hold onto him” even after she takes his virginity (see episode 1x15), she switches tacks, trying her best to sabotage his love life as he dates first Rachel and then Quinn.
It is only after Santana comes to terms with her sexuality that her attitude toward Finn shifts and she for the most part gives up on being actively aggressive towards him. While his self-righteousness as the glee club captain and smarminess in his relationship with Rachel still annoy her, she’s no longer interested in either possessing him or destroying him. If left to her own devices, she probably would have mostly ignored him going forward.
But Finn doesn’t leave Santana to her own devices.
Instead, when Santana and Brittany defect to the Troubletones in S3, he takes their departures from the New Directions as a personal affront and starts harrassing them about their choices. In the process, he calls Brittany stupid, and Santana gets riled. She shoots back a litany of insults of her own, until finally her and Finn’s quarreling comes to a head when Finn outs her in a crowded high school hallway.
Santana is understandably furious about what Finn has done to her, but even though he never truly apologizes, she still somehow eventually finds it in herself to forgive him.
Nobody in the New Directions would believe it, but Santana is actually an incredibly forgiving person, perhaps because she so craves forgiveness for herself.
Going forward, Santana and Finn don’t have many more personal interactions. Still, when Finn dies, Santana is deeply affected, largely because she feels guilty for her contentious history with Finn over the years.
In what is more than a little bit of a retcon, she claims that Finn was nice to her as they were having sex. She seems very touched when Kurt tries to give her Finn’s letterman jacket as a memento to remember Finn by.
Rachel Berry
Brittana’s history with Rachel is a fraught one. While Brittany basically dislikes Rachel from start to finish, Santana goes from disdaining her to admiring her to trying (unsuccessfully) to be her friend to realizing that she will never fully extend her acceptance and somewhat moving on.
To be fair: Brittana are really awful to Rachel during S1 and S2, so it’s not as if they are innocent parties in everything that goes down. However, to also be fair: Particularly in the later seasons, Rachel dishes out just as much as she gets, and she is very hard on Santana, even during times when Santana is legitimately trying to be her friend and confidante, so there is blame to be shared all around.
Getting into the details, then:
Brittany hates Rachel.
In the beginning, it is just because Rachel dresses badly, talks down to her, and is full of herself, but as the seasons wear on, Brittany’s big sticking point becomes Rachel’s mistreatment of Santana.
Brittany can’t understand why, but for some reason Santana craves Rachel’s approval and friendship, and after S3, she works damn hard to earn them. Sure, Santana and Rachel get off to a bad start when they are in high school, but Santana changes a lot as she becomes increasingly comfortable with herself, and once she graduates and moves to New York, she makes a real, concerted effort to become a part of Rachel’s inner circle.
Santana scores Rachel a job at the diner, supports her fledgling Broadway career, and, oh yeah, helps her through a pregnancy scare, and yet Rachel still treats her with patent disdain and distrust, kicking her out of the Loft and then getting her kicked out of the band, accusing her of stealing her theatrical glory, and constantly questioning her motivations for doing nice things (R: “Well, I mean, I wanted to see what you wanted in return.” S: “Is that the kind of friend that you think that I am?” R: “Yeah”).
Brittany isn’t present to witness all these slights firsthand, but she hears about them through the grapevine, and she sees how much Rachel has beaten Santana down, particularly after the accusations Rachel makes against Santana in front of the glee club in episode 5x12 (“You’re so cruel, Santana. You’re only doing this to me because I’m the lead of Funny Girl, and you’re just the lowly understudy. You want to make me feel bad because I’m better than you, and you’re an awful person”).
Brittany understands that no one is obligated to forgive their high school bully even once they reach adulthood and even if said bully has reformed, but she doesn’t understand why Rachel keeps stringing Santana along, pretending to be her friend for short stretches of time just to then reject her again immediately afterward. To her, it seems like Rachel is using Santana and wants her friendship only when it is convenient or profittable but never otherwise.
In Brittany’s view, if Rachel isn’t ever going to forgive Santana for what happened between them in high school, then Rachel should just say as much and be done with it. She shouldn’t keep giving Santana hope that they can be close only to then steal that hope out from under her. That’s just shitty behavior, and especially when Santana is being so earnest and contrite.
—and that is why during S4, S5, and S6, you can see just how 1000000% done Brittany is with Rachel and why she takes every opportunity to troll her.
If Rachel is going to disregard Santana’s attempts to be friends with her, then Brittany is going to mess with Rachel’s mind and vague the hell out of her at every opportunity.
She isn’t going to confront Rachel on Santana’s behalf because that’s not her place, but she also isn’t going to make any secret of the fact that she thinks that Rachel sucks.
As for Santana’s own feelings about Rachel, they’re fairly complicated, too.
Early on, Santana fixates on Rachel much in the same way that she does on Finn, mainly because she is jealous of Rachel’s emotional transparency.
When Rachel wants something, everybody in the world knows that she wants it, and Rachel never backs down or apologizes for pursuing her desires. To someone like Santana, who at the time feels trapped by her fears and is repressing a huge part of who she is, Rachel’s unapologetic Rachelness is enviable. Santana wishes she could be as brazenly herself as Rachel is. She wishes she could go after what she wants. But since she feels that she can’t, watching Rachel just frustrates her. It pisses her off that someone as unpopular and obnoxious as Rachel is out there achieving her dreams when she can’t herself do the same.
Among Brittanalysts, there is some debate as to whether or not Santana has an unwilling crush on Rachel. I personally don’t think she does, but regardless:
Throughout high school, Santana behaves aggressively towards Rachel due to her frustration, and it is only in their senior year that they start to make amends.
Following graduation and Santana’s brief stint at Louisville, when Santana ends up moving in at the Loft in NY, she does so knowing that she has been horrible to Rachel in the past and feeling guilty for it (“I think I just have this weird guilt-trip thing about being friends with you because I was so awful to you in high school. Quinn and Britt hated you, too, and that’s mostly just because you sucked so bad and you walked with that weird feet-pointing-out thing. I made Quinn look like the boss, but I was really running the ‘hate on Rachel’ parade”).
She tries her best make amends, but, as described above, Rachel frequently rejects her overtures, deeply hurting her feelings. While there are definitely occasions when Pezberry seem genuinely endeared to each other (see episode 4x15), they never seem to last, with Rachel refusing to believe that Santana is capable of altruism.
Rachel consistently expects the worst from Santana, and confirmation bias causes her to interpret Santana’s behaviors in the least charitable way possible. Santana, unable to win for losing, then lives down to Rachel’s low expectations, causing Rachel to feel justified in her original opinions. The longer this cycle goes on, the more frantic Santana becomes.
The final straw is their fight over Santana’s role as Rachel’s understudy in Funny Girl, the fallout from which I describe at length here and here.
Suffice it to say that in the end Rachel never really gets Santana’s motivations for behaving in the way that she does—hint: Santana doesn’t go after the role because she is in any way trying to undermine Rachel, and she also ultimately doesn’t relinquish the role because she is in any way lazy or unmotivated—but Santana reaches a place where she no longer cares.
Brittany teaches Santana that she can just walk away from Rachel if she’s not getting anything out of their relationship (“You have spent most of your life in the closet because you cared about what people thought about you. Walking away from a dream that you don't actually care about is you winning because it's you saying, ‘This is not who I am, and I don't care who knows it’”), so that is exactly the thing that Santana does.
Though she is still kind to Rachel when they come into contact later in the season, she clearly isn’t desperate for her friendship in the same way that she was before (see episode 5x18). When Rachel misjudges her, she allows it to roll right off her back. She can be the bigger person even if Rachel doesn’t realize that that’s what she’s doing. She can go high when Rachel goes low.
Santana closes out the show comfortable in the knowledge that she will never be Rachel’s bosom friend and that whatever “friendship” they have will always be mostly superficial. Rachel serves as a bridesmaid at her wedding and is someone she probably keeps in contact with throughout her life, but theirs is never really an intimate friendship, and, finally, after so many years, Santana is at peace with the fact that it isn’t.
Quinn Fabray
Brittana’s relationships with Quinn are complicated and presented ambiguously throughout the series.
While the Unholy Trinity often purport that they are best friends, Brittana frequently ostracize Quinn, and Santana frequently fights her. It is also uncertain to what degree Brittany has a personal relationship with Quinn independent of Quinntana’s personal relationships with each other.
Still, despite all the complications and unanswered questions, I do tend to believe that deep down the Unholy Trinity are friends and do care about one another, albeit in their own particular way.
I’ll link you to this post, where I discuss the issues at length.
Noah Puckerman
Brittany’s relationship with Puck is very minimal, at least as it plays out where the audience can see on screen.
While Santana insinuates that Brittany may engage in a casual sexual relationship with Puck sometime prior to the start of S1 (see episode 3x01) and Brittany may participate in a threesome involving Puck and Santana as late as the events of episode 2x06, in general, Brittany has far fewer personal interactions with Puck throughout the course of the series than do either Santana or Quinn.
By her own report, Brittany thinks that Puck is dumb (see episode 2x04). However, despite what fanon tells us, we have no indication that Brittany bears any secret or special animosity toward Puck, even though Puck is Santana’s boyfriend and sexual partner throughout S1 and some of S2.
As I discuss elsewhere,
It is worth noting that, historically, Brittany has always responded to Santana showing romantic attention to persons other than herself with a sort of quiet stoicism sometimes tinged with sadness and reservation, such as we see when she approaches Santana during the Dirt Locker scene (“Wait, you’re still dating Sam?”), in episode 4x13 with her heartbroken look as Santana kisses Elaine in the choir room, and during her speech to Santana in episode 5x12 (“And I’m sure your girlfriend’s great, but you can’t recreate what you and I have”).
As much as fanfiction likes to imagine Brittany being openly hostile toward anyone Santana bats an eye at, we don’t have much canon evidence to say that she would do so. Even when she’s suggesting that Santana should break up with Dani, Brittany is not insulting toward Dani or disparaging of her character. She respects Santana’s choices and attractions, even if she would prefer that Santana not date anyone but herself.
That being the case, I don’t think Brittany hates Puck even though Santana long uses him as a beard—and particularly because Puck, for as crass and rude and opportunistic as he can often be, never does anything in particular to hurt Santana, unlike, say, Finn, whose actions end up hurting Santana a lot in the long run.
Yes, Puck uses Santana for sex, but Santana uses him for sex right back. Moreover, Brittany knows that sex is all there is between Pucktana. There is no emotional connection there and nothing for her to really be jealous of. Ultimately, Santana isn’t even attracted to Puck. She’s just flaunting him for the social benefits, and Brittany knows as much.
While Brittany certainly doesn’t like the arrangement and would prefer that Santana not feel the need to maintain a beard at all, she does understand that Pucktana’s relationship is both reciprocal and consensual and that Pucktana are at liberty to do what they will in regards to each other.
The times when Brittany finds Pucktana’s relationship most hurtful are the times that Santana rubs it in her face (episode 2x04), and in those instances, Puck is just the tool Santana is using to hurt Brittany, not an active participant in bringing hurt to Brittany himself. Brittany’s sense of sadness and frustration in these situations is therefore directed at Santana, not at Puck.
Once Pucktana go their seperate ways in S2, Brittany doesn’t seem to give Puck much thought thereafter. The fact that Puck attends Brittany’s wedding to Santana shows just how much of a nonfactor she considers him to be.
As for how Santana feels about Puck, as I discuss in another post,
Making her private business with Puck public knowledge affords Santana some cover. If she is having sex with the most popular boy in school and everybody knows that she is doing so, then most people won’t give a second thought to her close relationship with Brittany. Consequently, the more Puck brags about sleeping with her to his buddies, the more secure Santana feels in her life.
It also works for Santana that she and Puck are scarcely friends outside of their sexual relationship, as frankly she has no real interest in Puck as a person—he’s just a means to an end for her. Constantly berating Puck, keeping him at arm’s length emotionally, and making him perfectly aware that her relationship with him is entirely contingent upon his ability to service her social needs are all tactics that she uses to keep Puck from getting all needy on her.
In fact, as we see in episode 1x18, when Puck makes an ill-advised attempt to form a deeper emotional bond with Santana, looking to her for comfort in his time of emotional vulnerability, he gets himself burned in so doing—and badly. Not only is Santana totally unsympathetic to his plight, but she cuts off his access to her sexually because he no longer appeals to her after having lost his alpha male status.
Throughout S1 and early S2, Santana’s relationship with Puck fluctuates according to the pattern I describe here.
Basically, she turns to him whenever she is feeling insecure and needs to “reassert her heterosexuality” but then also frequently ignores him in favor of Brittany. Her lack of real attraction to Puck causes her frustration and anxiety and prompts her to occasionally lash out at him, weakening their already tenuous bonds to each other.
By my estimation, the last time Santana and Puck sleep together is circa the events of episode 2x06. Thereafter, Puck completely abandons his sexual relationship with Santana in order to romantically pursue Lauren Zizes, and he even emphatically tells Santana that he’s finished with her come episode 2x12.
Eventually, Santana replaces Puck with Sam, using him as her beard instead.
From then on, Pucktana have little contact throughout the rest of the series. Like Brittany, Santana doesn’t seem to bear Puck any ill-will going forward, but she also isn’t at all close to him and doesn’t maintain any kind of real friendship with him after they graduate.
My guess is that in adulthood, Santana probably doesn’t like to dwell on her memories of Puck, not because he was necessarily horrible to her but just because she was so deeply unhappy during the time when she was with him. It’s sad to think back on herself at fifteen years old, scared to death, believing that her farce of a relationship with Puck is perhaps the best “romance” that she is ever going to experience. She’s glad that she eventually grew up and grew out of that stage in her life, and she doesn’t want to really revisit that old headspace even now that she’s clear of it.
Kurt Hummel
Both Brittany and Santana have complicated relationships with Kurt over the years, which I have written about at length here.
Mercedes Jones
Though at first they mostly ignore her, Mercedes eventually becomes one of Brittana’s best friends from S3 onwards, and particularly once she hires them as her background singers on her nationwide mall tour between S5 and S6.
Santana is generally closer to Mercedes than is Brittany. However, both girls get along well with Mercedes on an interpersonal level.
I have rambled a lot about their individual dynamics with her here.
Tina Cohen-Chang
Early on in the series, Brittana tend to ignore Tina, having few personal interactions with her on screen.
Though in S2, Brittany participates on the Brainiacs with Tina and Tina serves as Santana’s accompanyist for “Trouty Mouth,” we see no one-on-one conversations between them.
In S3, Tina acts alongside Santana in West Side Story and shows tacit support for Brittana’s relationship, but there are again no definitive exchanges between her and Brittana either individually or as a couple.
It is only in S4 that Tina seems to come onto Brittana’s radar, and only then because she starts to become obnoxious to them. In the S4 premiere, Brittany jockeys with Tina to become “the new Rachel” of the glee club. Then in episode 4x06, Santana returns to Lima and “steals” Tina’s dream role in the school musical, much to Tina’s chagrin.
During this time, Brittana still remain mostly oblivious to Tina, though she starts to resent them, feeling as if she has waited years for it to be her turn to shine only to have them continually steal her opportunities and overshadow her.
Tina gets her revenge on Brittana in episode 4x13, when she springs the news that Brittany is dating Sam on Santana in a surprise phone call.
As I say elsewhere,
In the long run, Santana is more upset by the message than by the messenger who brought it to her and seems not to hold anything against Tina for letting the proverbial cat out of the bag. Their relationship doesn’t much evolve from this point forward.
Brittany, on the other hand, never truly forgets the slight—which is why we see Brittany be downright mean to Tina in S4 through S6 (such as, for example, when she cuts Tina a new one in episode 6x03 when the glee girls go to talk to Becky).
Artie Abrams
While fanon likes to imagine lots of bad blood between Brittana and Artie following S2, I honestly don’t think that such is the case.
For a long time, both Brittany and Santana basically ignore Artie’s existence, to the point where when Brittany approaches him in episode 2x04, professing her supposed sexual interest in him and asking him to be her duet partner, he has reason to question if she even really knows who he is (“Okay. Sorry, I’m just a little confused. You’ve never even made eye contact with me”).
Of course, at this point, Brittany really doesn’t know Artie much at all and she has no actual personal interest in him. She is just using him as a pawn in the emotional chess game she is playing with Santana, trying to get back at Santana for shooting her down and hurting her feelings the night previous.
She chooses to make Artie an accessory in her revenge plot specifically because she knows that he breaks every “rule” Santana has set for her regarding their dating relationships (see here).
Brittana only date boys for the social perks, but Artie isn’t popular, and if anything being with him will hurt Brittany’s reputation. Plus, Brittany is pushing his wheelchair around like he is her boyfriend-boyfriend, and that is a status she and Santana typically don’t afford their male dates. They’re not supposed to treat boys like partners, just objects. Santana wouldn’t be caught dead holding hands with Puck, so what the hell is Brittany doing sitting in Artie’s lap? Everything about the way Brittany approaches Artie is meant to agitate Santana.
---and it does.
Big time.
Brittany seduces Artie, and then Santana confronts Artie, revealing to him that Brittany is using him. Hurt, Artie unloads on Brittany for cheapening his first sexual experience.
Only then does Brittany really even seem to see Artie for the first time and realize that he is not just some object she can use to mess with Santana. He is an actual person with thoughts and feelings and considerations of his own, and she was wrong to assume that sex didn’t mean anything to him.
Though it takes Brittany until episodes 2x06 or 2x08 to really start dating Artie in earnest, the things he says about sex being special really seem to stick with her and make her think in the interim.
For years, Santana has been telling her that sex isn’t dating, but now Artie wants sex to be a part of dating---and a part that conveys real feelings and functions within a larger network of affections. Unlike Santana, Artie is actually proud to be by Brittany’s side. He loves being able to say that the most popular girl in school is his girlfriend. Plus, he is sweet, and unlike every other boy at the school, he hasn’t called Brittany stupid.
Sure, being with him isn’t like being with Santana, and Brittany’s feelings for him, though warm, don’t come close to her true love, which is reserved for Santana alone. Still, if she can’t be Santana’s girlfriend, being Artie’s is maybe the next best thing.
So Brittany dates Artie between episodes 2x06 and 2x19---and during that time, she does really come to care for him. Even though she is in love with Santana, she does come to love Artie and value his feelings, and she learns a lot from being with him about what she wants and needs from a relationship and about how important it is to communicate emotions to one’s partner.
For as unpopular as Bartie is with our fandom, the truth is that Artie is a pretty good boyfriend for Brittany.
His downfall is mostly that he misunderstands her.
Like my dear friend Roch points out,
The problem with most people in the Gleeverse and their understanding of Brittany is that there’s often a failure to balance 1) Brittany’s belief in "magic" and unconventionality, and 2) Brittany’s ability to reason and behave like most other people do. Most often, people rely on the second option too much, which accounts for the raised eyebrows when she speaks in Brittanyisms.
What results is that people fail to respect her nonnormative way of approaching the world. However, when people rely too much on the first option, they tend to infantilize her and treat her like her understanding of “magic” means that she completely disregards any facet of reality. What results is something like Artie’s “magic comb” scheme from “Special Education.”
Note: Roch has retired from the Brittana fandom. Please respect her privacy while you enjoy her archived work.
Like most of the New Directions, Artie believes that Brittany is of below average intelligence. However, whereas most of the New Directions across the board look down on Brittany for being “dumb,” Artie actually finds her “dumbness” somewhat endearing.
To him, Brittany is a whimsical but ultimately simple creature whose joie de vivre and naïveté on the one hand make her attractive but on the other hand cause her to be particularly susceptible to being taken advantage of. Artie likes the idea that Brittany needs him to protect and guide her, but it also scares him that she could so easily be swayed. He is allowed to sometimes trick her when his doing so is “for her own good,” but he doesn’t want anyone else swindling her or exploiting her for their own gain or at her---or really his---expense.
Though Brittany doesn’t actually come from a “magical land,” Artie acts as if she does, and he is the benevolent human man whose job it is to guide her through our harsh and unforgiving reality.
At one point, he literally tells her that her brain "exists in this magical other dimension where anything is possible," and he means what he says in a pretty straightforward way.
It’s all a take on the Born Sexy Yesterday trope.
Of course, in a classic Born Sexy Yesterday relationship, the woman typically has no sexual experience prior to meeting the man. Obviously, such is not the case with Brittany and Artie, as in fact she has much more sexual experience than he does. Nevertheless, the trope still applies inasmuch as while Artie is not Brittany’s first sexual partner, he is very much her first serious boyfriend, and he believes that he possesses greater emotional maturity than she does regarding sex. For all her worldly experience, Artie still can and does conceive of Brittany as an ingénue, believing that she knows nothing about love or being in a committed relationship and that he will therefore be in a position to teach her and mold her to his liking.
The problem (for Artie) is that Brittany wasn’t actually born yesterday.
For as much as Artie thinks that he is doing what is best for Brittany and treating her well, the truth is that it is his very belief that he has a better understanding of her life than she does that ultimately leads her to sever her relationship ties with him.
Brittany will humor Artie when he wrongly assumes that she still believes in Santa Claus and possesses a Dumboesque trust in magical objects (like combs), particularly early on in S2, when her basic m.o. is still to just go along to get along and to not confront people about their bullshit even when remaining silent causes her to look foolish.
But when Artie asserts to Brittany that he knows more about Santana than she does and decries Santana’s actions to her as if he holds greater insight into them than she, that’s Brittany’s line in the sand. Artie says that Brittany is stupid because she can’t see that Santana is manipulating her, and between how much the insult hurts her and how wrong Artie is to disparage her true love’s character, she decides she won’t take it anymore.
She’s done.
Now, even in the aftermath of the Blurt Locker, Brittany doesn’t necessarily hate Artie. Her primary feeling is rather disappointment---in him for so underestimating her and her cognitive abilities and in herself for “allowing him” to persist in treating her like a child for so long. She had known for the entire duration of their relationship that Artie had the wrong idea about her and her intelligence, but she figured that since he was being relatively nice about it, she would let it slide. Only recently has she acquired enough confidence in herself to realize that she deserves better and that even the kindest of condescension is still condescension.
Of course, deep inside, Brittany also knows that she doesn’t get to walk away from this breakup along the moral high ground. She was cheating on Artie, and despite how she tries to rationalize that behavior to him, the fact is that she had always known that what she was doing was wrong. Santana wasn’t fooling anyone---least of all Brittany---by claiming that sex doesn’t count when the plumbing is different. Brittany just hoped that maybe Artie would see things that way so she could have her boyfriend and be with her soulmate, too.
But when Artie calls her out, she knows in her heart that he is right to feel hurt. She has wronged him, and the fact that her affair was with Santana doesn’t somehow make it more excusable. Once again, she has made harmful assumptions about how Artie values sex and monogamy.
She may have never meant to hurt him, but she has.
Going forward from the Blurt Locker experience, Brittany realizes that she has some things she needs to work on in herself before she gets together with anyone, including Santana (see episodes 2x19 and 2x20).
Part of that work involves making active decisions about her love life.
So when Artie tries to woo her back to him in episode 2x20, Brittany doesn’t give in. In S1 or early S2, she may have. But now she tells him, “Artie, that was lovely, but I’m not gonna go to prom with you. You called me stupid, and I really didn’t like that, so, I’m sorry, but I’m gonna go to prom by myself and really work on me and dance with other people’s dates.”
Brittany stands her ground, and Artie says he understands.
---and from that point forward, Brittany never really looks back at Artie.
Like I said before, Brittany doesn’t go away hating the kid, but she also realizes that he was never the one she really wanted and that she isn’t going to settle for him anymore. Brittany wants to be with Santana, so when Santana is ready, that’s what she does, and she soon becomes so absorbed in their relationship that she seems to completely forget about the bizarre, old Bartie days, to the point where, in S4, when Artie mentions that he and Brittany used to date, Brittany can easily pretend she has no idea what he is talking about (see episode 4x03).
Despite Artie’s initial bid to win Brittany back following their breakup, he eventually comes to share in her resignation. They were fundamentally incompatible as a couple, and with time and distance, they both realize as much. There are no regrets on either side that they couldn’t make it last. For as difficult as things were in the moment, they can both agree that everything worked out for the best in the end.
Though Artie serves as Brittany’s campaign manager and running mate in the class election of S4 and her and Santana’s wedding planner during S6, they never resume their former closeness. They are friends but not close ones, and that’s just fine with both of them.
Now.
On the Santana side of things, Baby Girl completely ignores Artie until suddenly he’s dating her one true love. Then, in classic Santana style, she freaks out.
Like I talk about in this post,
Unfortunately, the fact that Brittany has a relationship with Artie is misery for Santana.
Despite her initial jealousy towards him in episode 2x04, Santana never really considers Artie a rival for Brittany’s affections prior to when he and Brittany officially start dating in episode 2x08.
Sure, Brittany had had sex with lots of boys in the past, but she had never had a real boyfriend or even acted like she wanted one before she and Artie became a thing. Both she and Santana had always remained emotionally aloof from the boys they had hooked up with. That was their basic mode of operation. They could fool around with however many football players they liked, but they always went home to each other at the end of the day. In Santana’s mind, that was the way things had always been and the way they would always be.
Consequently, after Santana quashes the early Bartie relationship, she figures that she has made her point and that things will “go back to normal” between her and Brittany thereafter. She never expects that Brittany and Artie will start dating in earnest, let alone that Brittany will develop feelings for Artie. Seeing Bartie not only together but happy comes as a total shock to her. She has no coping mechanisms to deal with losing “her girl” to a male rival, and especially a socially undesirable male rival like Artie Abrams.
Brittany dating Artie breaks all of her and Santana’s rules. Artie isn’t popular, so he doesn’t boost Brittany’s social cred. He also isn’t really a side thing, so Brittany being with him isn’t a corollary function to her and Santana’s relationship. He quickly becomes Brittany’s main partner, supplanting Santana, which is something that has never happened between Brittany and Santana before.
When this great shift occurs, Santana feels jealous and hurt, but she doesn’t know how to express her feelings, not when, by her estimation, she isn’t supposed to even be feeling said feelings to begin with.
During this time, Santana lashes out at various other happy couples in glee club but doesn’t dare go after Bartie or even just Artie for fear that if she does so, Brittany will fully choose him over her once and for all. Instead, she watches from a distance and frets, worrying that even though Artie is infinitely less popular than she is, she still can’t compete with him just because he’s a boy and he can be himself and he and Brittany can have a “normal” relationship in a way that she and Brittany can’t.
Eventually, most likely sometime between episodes 2x11 and 2x14, Brittana recommence their sexual relationship, with Brittany cheating on Artie with Santana. When they do so, Santana tries desperately to justify their actions, telling both herself and Brittany that what they’re doing “doesn’t really count” because they’re both girls and they’re just doing as best friends do.
Of course, in her heart of hearts, Santana knows that what she’s saying is a load of shit, and she knows that Brittany knows that what she’s saying is a load of shit. She’s just so scared to lose Brittany again that she tries to rationalize their bad behavior, giving them an excuse to continue.
The situation is a miserable one because for as much as Santana craves a relationship with Brittany, the kind of relationship they have now---where they’re both cheating on their boyfriends to be together, making excuses for their intimacy, and pretending that their sexual encounters don’t mean anything when clearly they do---isn’t truly fulfilling her needs. Though she has tried for years to deny it, Santana wants/needs to be Brittany’s primary (and really only) partner. Having to share is killing her.
By the events of episode 2x15, the center cannot hold, so Santana approaches Brittany willing to make some huge admissions and at the same time ask for the things she wants. Unfortunately, what she wants isn’t yet tenable, because it’s for Brittany to break up with Artie without telling him the real reason why and then be with her in the same way that they have been together before, secretly and constantly dreading that someday the jig will be up.
It’s not that Brittany needs Santana to come out in order for them to date.
S3 proves that she doesn’t.
What she needs is for Santana to be honest with herself.
The Hurt Locker is a big first step in that direction, but there’s still more work to be done. Brittany understands that. Santana doesn’t.
Like I talk about in my tags on this post,
It takes Santana totally by surprise when Brittany doesn't dump Artie on the spot in response to her Hurt Locker confession.
Going into that moment, Santana never even imagines that Brittany might turn her down because Brittany has never turned her down before.
Brittany’s demurral throws her completely off balance because suddenly all her biggest fears are being realized: Brittany ''doesn't want her.'' She isn't ''good enough.'' Artie does have something that she doesn’t have. She has made her big, brave gesture, and there isn’t going to be any payoff for it.
The thing Santana doesn't realize is that Brittany turns her down not because she is somehow inadequate but because Brittany wants them to have a real chance at being a couple. She doesn’t want them to be this hasty, dishonest, unjust thing anymore. Brittany loves Santana too much to do that to her.
If they’re going to be together, she wants them to be together in a way that’s going to last. Out or not, they need to be able to be honest with each other.
But of course Santana just thinks the worst.
---and that’s why after Brittany turns her down, Santana does start saying mean things about Artie (see episode 2x16).
From her perspective, Brittany clearly chose Artie over her, and the fact that Brittany did lends credence to the notion that Brittany’s heart does perhaps belong to Artie after all. Santana feels second best and frustrated and mostly scared. She put her heart on the line, and Brittany, in her words, “blew [her] off” (see episode 2x16). She doesn’t know how to handle the rejection except to be vicious about it.
Still, for as much as she rags on Artie, the truth is that she isn’t really angry at him. She’s angry at herself and the situation, and she’s scared about her future and sad because she thinks that she is never going to get the thing she wants most in the world.
But she can’t really even bring herself to hate Artie---not when, deep down, she knows Brittany’s right, and Artie hasn’t really done anything wrong.
So for a while, Santana sulks, and she licks her wounds, and then she comes up with her ridiculous plan to win Brittany away from Artie---as if that is really the issue---only it turns out that her machinations are all for nothing because Brittany and Artie break up without any prompting from her.
When Artie calls Brittany stupid, Santana is pissed at him, sure. But mostly she’s just concerned with helping Brittany to feel better. For the first time in a long time, she is able to forget herself and her own petty problems and just focus on cheering Brittany up.
With Bartie split up, Santana’s focus shifts entirely onto what she needs to do to set things between her and Brittany to rights, and she very quickly forgets about Artie, particularly as the events of episodes 2x19, 2x20, and 2x22 play out.
---and for as much as certain fanon likes to imagine that Santana carries lingering resentment towards Artie into later seasons, I think the truth is that she doesn’t much fuss about him going forward.
As she becomes increasingly comfortable with herself and in her and Brittany’s relationship, all the things about Artie that used to cause her to feel insecure just kind of fade away. She no longer has to worry about whether or not he is better than she is or if Brittany prefers him to her. Once he is no longer Brittany’s boyfriend, he recedes into the background again, and Santana mostly ignores him, to the point where she is fine with Brittany hiring him to plan their wedding.
Santana and Artie never become close friends, but they also aren’t in any way enemies. He’s just one of the glee kids, same as the rest. Both Brittany and Santana are okay with him.
Mike Chang
Mike is a football player when Brittana are cheerleaders, and he is their glee club teammate for three years and Brittany’s Brainiacs teammate for one season. On several occasions, he serves as either Brittany or Santana’s dance partner (see for example episodes 3x09 and 5x12).
That said, despite some subtextual suggestions that Brittana—and particularly Brittany—may have a friendship or even a dating relationship with Mike early on during their sophomore year, the truth is that Brittana never share any conversations with Mike on screen and seldom even refer to him when they are speaking to others, so it is impossible for us to gauge exactly what their feelings about him may be.
Fanon, of course, loves to imagine Bike bonding as the glee club’s two resident dancers, and some fic writers posit that Mike is such a likable person that he is one of the few boys in glee club whom Santana can actually stand, but canon offers no main text confirmation for these ideas.
Even after six years, Brittana’s feelings towards Mike remain a mystery.
Sam Evans
Glee tells us two very contradictory stories regarding Brittana’s feelings towards Sam Evans.
The one story unfolds in S2, S3, S5, and S6, the other only in S4.
The first story is one mostly of ambivalence. The second is one of longstanding jealousy, animosity, and love triangles.
The fact that these two conflicting narratives exist within the same series can be attributed to various retcons and shifting priorities on the parts of the writers.
Unfortunately, their very existence complicates our understanding of the entire Bramtana dynamic.
Throughout S2, it seems that Brittana are mostly ambivalent towards Sam.
To Santana, Sam is a social multitool: something she can steal away from Quinn as payback for Quinn stealing the Cheerios captaincy from her; a new beard to replace Puck now that she has lost him to Lauren Zizes; a boyfriend she can use to perhaps make Brittany jealous; a football player to boost her ailing popularity and help her, as she frames it, “have some buzz at [sic] school.”
Though in her initial attempts to convince Sam to date her, Santana acts as if he is the party who will most benefit from them having a relationship, the truth is that it is her who really stands to gain.
Throughout most of S2, Santana is in a tailspin. At the time when she starts dating Sam, she is off the Cheerios; on the out-and-outs with both Quinn and Brittany; heartbroken and frustrated due to Brittany’s relationship with Artie; confused about her own feelings and sexuality; a social pariah in the glee club; and just generally directionless and flailing. She needs something to help her reassert herself as the HBIC at McKinley, and that something turns out to be the Machiavellian plot she pulls to break up Fabrevans and score Sam as her boyfriend.
To her, their relationship is just smart business.
—but that’s basically all it is.
Obviously, Santana has no real feelings for or attraction to Sam. He is just the only vaguely popular boy she can entice into dating her at the moment. She doesn’t have any real interest in getting to know him or in spending time with him in private. Instead, she needs her classmates—and especially Quinn and Brittany—to see her sitting on Sam’s lap and sucking his trouty lips in public. It’s all a power play, and Sam is just an accessory.
Case in point: Santana gets as much mileage as she can out of Sam between episodes 2x13 and 2x18. Then when she is done with Sam, she immediately moves on to using Dave Karofsky without even dumping Sam first.
Come S3, her attitude toward Sam shifts to reflect her increasing comfort with herself and her sexuality. Since she no longer needs to use Sam to help her pretend to be something that she is not, she can drop her guard around him and show him more of her true character, which is exactly what she does.
When he returns to McKinley in episode 3x08, she greets him with a litany of insults, but the insults are purely affectionate—a fact that Sam actually recognizes himself at the time (“I missed you, too, Santana”), despite what later retcons may say.
Though she and Sam don’t have many other personal interactions throughout S3, Sam does show tacit support for both the Troubletones and Santana’s relationship with Brittany, and Santana seems to appreciate that he does.
Throughout both S2 and S3, there is nothing to suggest that Santana particularly hates Sam or has it out for him. At best, he is an acquaintance she feels somewhat friendly towards. At worst, he is a tool she uses to mess with Quinn and Brittany and maintain the illusion of her own heterosexuality. Even when Santana is mean to Sam, the meanness seems to derive more from her own frustrations with herself rather than from genuine animosity towards him. He is collateral damage, not the real object of her anger.
During all this time, Brittany is only aware of Sam insofar as she is aware that Santana is using Sam as a beard, and she feels sad that Santana is still so uncomfortable in her own skin that she feels the need to pretend to be someone she isn’t (“Wait. You’re still dating Sam?”).
Yes, Brittany and Sam kiss at the Rachel Berry House Party Trainwreck Extravaganza in episode 2x14, but their interaction occurs on a purely physical level, and there is no evidence that either one of them goes away from the encounter yearning for anything more, particularly as they both remain with their respective partners thereafter.
Indeed, Brittany doesn’t even have any one-on-one conversations with Sam in either S2 or S3. The first time that she ever personally addresses him is in episode 4x02.
—which is why what Sam says in S4 about how he has always felt attracted to Brittany and Santana has always known that he did and felt jealous of his interest represents such a major retcon.
Simply put, Sam’s supposed S2-S3 infatuation with Brittany just doesn’t exist, and neither does Santana’s supposed S2-S3 jealousy of and hatred towards him. Prior to S4, Brittany and Sam aren’t even really on each other’s radars, and Santana uses Sam to her own purposes, but she never indicates that she feels any personal animosity to him, and especially not on Brittany’s account.
But the trouble is that at least in the bizarre, self-contained OOC universe that is Glee S4, Sam’s supposed longstanding crush on Brittany and Santana’s supposed animosity towards him are canon—as are the supposed depth of Brittany’s feelings for Sam and the love triangle that exists between Bramtana.
During the days when S4 was originally airing, it was hard to make sense of it all. It’s only now that the rest of the show has played out that we can look back and see what was really going on.
To quote another post at length,
One of the first rules you learn as a writer is “Show, don’t tell.”
The Glee writers really wanted to make Bram fetch happen, but in the end they fell short of their goal because what they were telling us didn’t carry much weight and didn���t match up with what we were shown.
They told us and told us that Bram was the real deal, but their telling seemed quiet in comparison to the louder, more glaring cues we saw—and particularly as we compared Bram to Brittana and watched Bram eventually unravel and disappear into oblivion, never to be mentioned on the show again.
Sure, the writers engineered a Bram “wedding.” Sure, they had Brittany say that she loved Sam and that Sam was the person she was thinking about during the school shooting. Sure, they had Brittany spout nonsense about how Sam’s the one who really gets her.
But that was all telling, and poor telling, at that.
Brittany’s initial reluctance to date Sam spoke louder than much of her eventual dating him did. Her unenthusiastic response to many of Sam’s romantic gestures towards her spoke louder than all the writers’ telling, telling, telling about Bram as a great romance. The fact that she would rather serenade Lord Tubbington than Sam drowned out anything the writers had to say about how she felt about Sam as her boyfriend. The fact that she would kiss Santana while she was dating Sam spoke volumes.
Think: She would have never kissed anyone else when she was exclusively dating Santana. She and Santana would never cheat on each other, even in that small way.
Look to Brittany’s facial expressions throughout S4. Look to how sad she seems and how she appears to just be going along with things to get along. She uses her Brittanyisms as defense mechanisms, and when she’s with Sam she spouts almost nothing but Brittanyisms—baffling statements meant to keep him at arm’s length and confound him. She’s sometimes downright mean to the kid, such as when she talks about how stupid he is when he bombs the SAT and frequently condescends to him after she is proven a math genius.
Her “marriage” to him reads like a huge misunderstanding on her part—and especially because Sam says in his vows to her that they’re soulmates, and she very pointedly does not reciprocate and instead talks about how she honestly never noticed Sam when he first joined glee club (see here and here).
Her fear for and thinking of him during the school shooting scare is genuine, but her statement that he was the only person she thought of in that bathroom stall rings hollow (see here).
When she fears graduation and what might become of her in the future, she blocks Sam completely out and dumps his ass via an incredibly harsh, even vicious text message.
Then, once Bram is over, it is OVER, full stop.
Brittany never regrets ending the relationship. She never pines for Sam or wonders what might have been with him. She never tries to win him back. In fact, eventually, she seems to completely forget they were a couple. By the time she and Santana get back together, it is as if Bram never even happened to begin with.
Bram do, of course, have some coupley moments. They do express affection for each other. They’re certainly physically intimate, and Brittany does choose to remain with Sam throughout S4.
But, like I said, all of that is just quiet, largely unsupported telling—and what it tells isn’t what the writers seemed to have intended to say.
If you look at the big picture with Bram, it is abundantly clear that Sam was never the love of Brittany’s life—and you can especially see that when you compare Bram to Brittana.
Look back to S2, when Brittany wants so much to date Santana and works so hard to make it so that they can be together. Her pining for Santana from afar, her lovelorn expressions as she watches Santana try to come to terms with their feelings for each other, her heartbreak whenever something sets their relationship back, her genuine excitement and gratitude whenever something pulls their relationship forward, her emotional responses to “Landslide” and “Songbird” and her and Santana’s every locker conversation—all of those things speak volumes, and loudly.
Brittany is so enthused by even the smallest romantic gesture coming from Santana.
(Compare, for example, her reaction when Sam sings a song to her to when Santana does. In the first case, she most often looks amused. In the second case, she most often looks as if an angel has just come down from heaven and shown her a miracle.)
She is so open and heartfelt with Santana.
When she and Santana are dating, and she has a problem or experiences self-doubt, Santana is the first person she turns to and the first person she discloses to. She trusts Santana to give her good advice and to help her find her way—and that is even the case when she is dating Sam. It is ultimately Santana who helps her embrace her genius and make the decision to leave Lima to attend MIT.
It is also Santana to whom Brittany returns to time and time again throughout the series. She dates Artie in S2 and completely forgets she dated him come S3. She dates Sam in S4 and completely forgets she has dated him come S5. But Santana she never forgets about, whether they are dating or not, never mind the season or the day or the hour.
Notice how many times Brittany name-drops Santana, even while she’s dating Sam.
Santana is always the object of Brittany’s heart, from S1 when they are in love in the background to S2 when they try so hard to figure out how to navigate their feelings to S3 when they finally date each other to S4 when distance separates them to S5 when Brittany seeks Santana out again to S6 when they finally work out their happily ever after.
Even when Brittany is with Artie and Sam, it is clear that she never falls out of love with Santana.
Her statement that she is Santana’s, proudly so, is never conditional. It is perpetual. No matter who she is with or where she goes or what the official status of her and Santana’s relationship is, her heart is always, always Santana’s—which is something Brittany very much proves in S5 with the speech she makes to Santana in 5x12.
In retrospect, then, the story Glee actually tells about Brittany, Bram, and Brittana is this, regardless of what the writers intended to say: Brittany has been in love with Santana from the start, and Santana is always both her first and last choice. At times, she and Santana can’t be together—first, because Santana isn’t ready for them to be, then because distance and circumstance separate them. Whenever a relationship between them is impossible, Brittany accepts what she can’t change and waits. One of her greatest virtues is her patience. She dates other people and tries to find momentary happiness where she can. But Santana is always her endgame, her end goal. Sam is a stopgap. She cares for him, and she loveds him in a certain way for a time. He makes her laugh. He is, for the most part, kind to her. He throws himself into their relationship and tries very hard to be a good boyfriend to her. But, ultimately, he never fully understands her, and when she pictures her long-term future, it is never with him. She is always waiting for Santana, until suddenly she doesn’t have to wait anymore.
There is such a difference between the hedging, well-I-guess-so way Brittany gives into dating Sam in S4 and the determined, bold, triumphant way she wins Santana back in S5. In the one case, she is completely passive. In the other, she is a girl on a mission, out to woo her soulmate and restart their relationship on the way to forever.
Brittany may have loved Sam, but she is in love with Santana—and being with Santana has actually taught her what love is, the full infinity of it.
Really, to discern the difference between Bram and Brittana, one needs look no further than to Brittany’s willingness to fight for those respective relationships.
In Bram, she is a passive entity. She falls into the relationship, moseys along until it runs its course, and then goes her way and never looks back. She never once fights for anything with Sam. She never once initiates anything with him.
Like I indicate above, the really strange thing about Bramtana is that for as much as the writers insist over and over again in S4 that Santana hates Sam and Sam has always loved Brittany and Brittany and Sam are perfect for each other and should be together forever, by S5, it is as if that entire story arc never happened.
Brittana get back together, and they proceed to completely ignore Sam for the entire remainder of the series, to the point where they’re even chill with him attending their wedding despite the fact that they have both dated him in the past. Ultimately, the whole middle part of Bramtana history reads like a complete aberration.
So where does that leave us in terms of understanding Brittany and Santana’s respective feelings towards Sam?
My read is that neither Brittany nor Santana is ever as invested in Sam Evans as the Glee writers would tell it. To Santana, he is first a means to an end, then a rival and representation of the unknown, and then a neutralized threat and complete nonfactor. To Brittany, he is Santana’s beard, then a friend, then a means to some temporary happiness on the way to “happily ever after,” then nothing, really—not even a lasting memory.
Looking forward to the future, they probably only really consider him within the context of his relationship with Mercedes.
Blaine Anderson
Neither Brittany nor Santana has much of a personal relationship with Blaine to really speak of. Their interactions with him occur almost entirely within the context of him being Kurt’s man.
For more discussion on this dynamic, see this post.
__________
Conclusion
While Brittana do make a few good friends in the New Directions, the fact of the matter is that they have always been each other’s best friends, and in the end their relationships with their teammates are never as strong as they perhaps could be.
With all of their other teammates, they get off to a bad start. Though some forgive them and eventually recognize that they’ve changed, the majority never learn to fully accept or even remotely understand them.
To most of the kids in glee club, Brittany is a talking mad-lib and Santana is just plain rude. There’s not a lot of deep disclosure happening between them.
Though Brittana---and particularly Santana---would like to have strong bonds with the in-group, ultimately they come to terms with the fact that most of the glee kids are still a bit wary of and perplexed by them, even after so many years.
While this once-removal between Brittana and the New Directions makes sense within the context of their fictional universe, particularly given their tumultuous historites with one another, it also reflects a larger failure on the part of the Glee writers to create and maintain workable friendships across the whole show.
To be fair, changing characters introduced as antagonists into full-fledged members of the main protagonist group is a difficult writing maneuver to pull off successfully.
It’s just that Glee proved especially ill-equipped to handle such a transition, and Brittana’s friendships from S3 on really suffered for that ineptitude.
Though there are a handful of heartwarming moments between our girls and the New Directions in the canon, the truth is that if we really want to see healthy, mutual, fully developed friendships between Brittana and their glee club teammates, the best place to look is in fanfiction.
#Crazy Brittanalyst answers#letmerebloginpeace#Brittanalyzing#Brittanalysis#Such rambling#Such salt#Sorry kids
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any back in action headcanons?
Quick disclaimer - I do not know the actors/actresses in the film personally, I am treating them like characters.
Spoilers for B.I.A - so beware!
Brenden Fraser and Jenna Elfman were NOT invited back to Toontown, which upset them both a bit. They had heard via the newspapers that Bob Hoskins and Michael Jordan had gone back to Toontown and had assumed they would be to.
This did not go down well with the toons - who saw it as an act of entitlement, given that they were interacting with a lot of Toons, a situation most people would kill for - but of course, they’re professional and so treated them with courtesy.
The filming was quite difficult. The scene when Granny reveals herself to be the chairman was particularly hard. It was achieved with a mix of very good acting [Granny and co filming the first bit of the scene - having to pretend they were humans in disguise - then Steve Martin and co did the next bit. The only one using a genuine ‘Toon-Suit’ was Taz]
Most of the Toons knew B.I.A was going to be a disaster even while filming it. So by the time it got to filming the ‘portrait gallery’ scene with Bugs, Daffy and Elmer the three of them were determined they’d be at least one good scene in it.
The director had an idea of what he wanted, but was ‘talked out of it’ by Bugs [I.E. “Either ya let us do this, or dere’s no film’] and the toons were allowed to go ahead with their improvisation. As it ended up being awesome no one complained.
Daffy was the only one who genuinely thought the film would be good and would re-launch their careers again. He was gutted when it fell through and still sticks up for the film now.
This next headcanon isn’t quite directly about B.I.A, but is connected to it. After the film Daffy was focused on more by Warner Bros while Bugs - although not quite ‘taking a step back’ was happy for the focus to be more off him for a while. Bearing in mind at this point he was over 60, he decided he wanted a bit more time to dedicate to things like the Looniversity, the kids [who he’d only adopted within the last decade] and his home life.
Daffy - for his part - was delighted, but asked that they play up his screwball side [now that he can control it better, thanks to therapy from Doctor Scratchensniff] because he was tired off being treated completely as a punch-line. Audiences seem to like it, which is great.
#looney tunes headcanon#looney tunes back in action#back in action#Bugs Bunny#Daffy Duck#Elmer Fudd#Headcanon#doctor scratchansniff#the looniversity#screwball daffy
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Golden Globes honor ‘Bohemian Rhapsody,’ ‘Green Book’ in a night of surprises
It was supposed to be “A Star is Born’s” night. Instead, top honors went to another popular movie about the unlikely rise of a powerhouse singer.
In an upset, “Bohemian Rhapsody,” the biopic about Freddie Mercury and British rock band Queen, won best drama at the 76th annual Golden Globes on Sunday. Rami Malek, who won raves for his full-throated portrayal of the late Mercury, won best actor in a drama and thanked Mercury onstage “for giving me the thrill of a lifetime.”
“Green Book,” the inspirational true story about a budding friendship between an African-American pianist and a white bouncer on a tour of the Deep South in the early 1960s, won three Globes, including best picture in the musical/comedy category. It beat out “Vice,” the polarizing Dick Cheney biopic, which led all films with six nominations.
“Green Book’s” director, Peter Farrelly, made a plea for tolerance in his acceptance speech. “We are still living in divided times, maybe more so now than ever,” he said. “All we have to do is just talk and not judge people by their differences, and look for what we have in common.”
Bradley Cooper’s acclaimed remake of “A Star Is Born,” which was widely expected to win several top prizes, took only one award, for best song — its centerpiece hit, “Shallow.”
Bryan Singer’s “Bohemian Rhapsody” has been a worldwide box-office smash but has received mostly lukewarm reviews from critics. Its Golden Globe success may boost its chances for Oscar nominations, to be announced January 22.
The Globes honor the year’s best in movies and TV and are voted on by the 90 or so members of the Hollywood Foreign Press Association, whose choices are often quirkier than those of the Academy of Motion Picture Arts and Sciences. But as the first awards show of the season, the Globes have an outsized influence on Academy Award predictions — and voting on Oscar nominees begins Monday.
The Globes always split the best-picture nominees into two categories: drama and musical/comedy. That made for some head-scratching this year when two movies about music, “A Star is Born” and “Bohemian Rhapsody,” were nominated as dramas.
Sunday’s awards were spread far and wide, with few movies or TV series winning more than once. But the show had its share of surprises.
The TV awards
“The Americans,” the FX series about Russian spies posing as a married couple in suburban Washington, won best TV drama. The critically praised show, which just wrapped its sixth and final season, stars real-life couple Keri Russell and Matthew Rhys.
But Rhys lost the award for best actor in a TV drama to Richard Madden, who won for his role as a British security officer in the BBC/Netflix political thriller “Bodyguard.”
“The Americans” beat out “Homecoming,” the new Julia Roberts show about a counselor at a mysterious treatment center for returning veterans, and “Killing Eve,” about the treacherous rivalry between two dangerous women, a British intelligence officer and an assassin. But “Eve’s” Sandra Oh — who also co-hosted the Globes with Andy Samberg — won for best actress in a TV drama.
“I have no idea what is happening,” she said, looking stunned (or maybe just mock-stunned) upon returning to her hosting duties, her Golden Globe still in her hand.
In a mild surprise, best comedy series went to Netflix’s “The Kominsky Method,” starring Michael Douglas as an aging thespian who runs a prestigious acting class. Douglas also won the award for best actor in a TV comedy.
For the second year in a row, Rachel Brosnahan won best actress in a comedy for “The Marvelous Mrs. Maisel,” the Amazon series about a 1950s housewife in New York City who finds she has a gift for stand-up comedy.
“The Assassination of Gianni Versace: American Crime Story” won two awards: Best TV movie or limited series, and Darren Criss for best actor.
With the exception of “Mrs. Maisel,” none of last year’s TV nominees were nominated again this time around — partly because hits like “Game of Thrones” and “Master of None” didn’t air new episodes in 2018.
The other big movie awards
In another upset, Glenn Close won best actress in a drama for her role as a long-suffering spouse in “The Wife.” Lady Gaga, whose soulful performance anchored “A Star Is Born,” had been considered the favorite.
In an emotional speech, Close said that women in Hollywood should not be afraid to stand up for their careers. “We have to find personal fulfillment,” she said. “We have to say, “I can do that. And I should be allowed to do that.’ “
Shape-shifting actor Christian Bale, who famously gained 40 pounds to play former Vice President Dick Cheney, won best actor in a comedy for “Vice.” “Thank you to Satan for giving me the inspiration on how to play this role,” he joked.
Olivia Colman won best actress in a comedy for her performance as daffy Queen Anne in “The Favourite.”
“Green Book,” arguably the night’s biggest winner, also took best screenplay and best supporting actor for Mahershala Ali.
Also receiving multiple awards was “Roma,” Alfonso Cuaron’s affectionate look at his childhood in Mexico City, which won for best foreign film and best director. The film has received rapturous reviews but is already streaming on Netflix and is only playing in a few theaters, which could hurt its Oscar chances.
The moments
The show’s hosts, Oh and Samberg, mostly avoided politics in their opening comments. There was no mention of President Trump or the government shutdown, although the pair made jokes about identity politics and cultural appropriation. They also alluded to the (as of now) host-less Academy Awards, joking about holding a contest in which “one lucky audience member will host the Oscars.”
But some of their comic bits felt flat, including a gag about Jim Carrey being in the wrong seat and a bit in which fake doctors swarmed the room to administer “flu shots,” which left many stars looking confused.
Jeff Bridges, one of the most beloved actors in Hollywood, received the Cecil B. DeMille Award for his lifetime of work in such films as “The Last Picture Show,” “Starman,” “The Big Lebowski” and “True Grit.”
During his acceptance speech he thanked his late father, Lloyd Bridges, and pulled up his sleeve to reveal his dad’s cuff links. “They were your dad’s, too!” he said, before launching into a rambling metaphor about steering ships.
One of the night’s more poignant moments came when Steve Carell presented an inaugural award — named for TV legend Carol Burnett — to Burnett herself. The 85-year-old comic actress then gave a heartfelt speech about how TV networks would never produce a variety show like hers today because they cost too much money.
“So here’s to reruns and YouTube,” she said. “I’m just happy our show happened when it did.” Burnett finished with her trademark tug on her ear and left the stage to a standing ovation.
from FOX 4 Kansas City WDAF-TV | News, Weather, Sports https://fox4kc.com/2019/01/07/golden-globes-honor-bohemian-rhapsody-green-book-in-a-night-of-surprises/
from Kansas City Happenings https://kansascityhappenings.wordpress.com/2019/01/07/golden-globes-honor-bohemian-rhapsody-green-book-in-a-night-of-surprises/
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Pet Scoop: Stowaway Kitten Found on Oil Rig, Thousands Join Giraffe Baby Watch Online
March 01, 2017 at 08:40PM by
>br> March 1, 2017: We've scoured the Web to find the best and most compelling animal stories, videos and photos. And it's all right here.
Image: Maui the kitten
Kitten Gets Helicoptered Off Rig
A 3-month-old kitten who was found on an oil rig about 30 miles off the coast of New Zealand was spoiled by the crew before being flown back to shore on a helicopter. It’s believed that the kitten, who the team named Maui after the name of the platform, stowed away in a shipping container that was delivered to the rig. The workers gave her milk and sardines — and lots of love. But animals aren’t allowed on the platform, so a helicopter was arranged to pick her up and bring her to a veterinary clinic. As soon as the vet determines she’s ready, Maui has a home waiting with one of the oil rig workers and his wife. — Read it at New Zealand’s Stuff
World Waits for Giraffe Calf on Live Stream
It’s been more than two weeks since the Animal Adventure Park in New York began a live stream of its 15-year-old giraffe, April, in the hopes of airing the impending birth of her calf. But, alas, there’s still no calf. Tens of thousands of viewers have been waiting for the big arrival, and they’re getting impatient. So April, who’s been pregnant for 15 months, had a word with them via a “first-person” essay published by Today.com on Tuesday. “Newsflash: Staring at me and demanding “Where’s that baby already??” is NOT helping,” April wrote. — Read it at Live Science
Cat Rescue Takes in Orphaned Otter Pup
An otter pup who was found alone on the side of a U.K. river after a storm and “calling for her mum” was taken in by an RSPCA cattery. The 6-week-old baby is being fed formula through a syringe five times a day. Rescuers are being careful not to interact with the pup too much, so she can be released back into the wild once she’s ready to live on her own, in about 12 months. They’ve named the baby Daffi after the daffodils starting to bloom in the area where she was found. “Daffi is very sweet,” said Lee Stewart, a manager at the shelter. “It is very cute watching her move her paws while she is eating.” — Watch it at Inside Edition
Image: Victor therapy dog
Students Connect With Therapy Dog
Victor is one of a growing number of 4-legged school staff members. The 7-year-old Labrador Retriever mix, who’s a therapy dog, has been working with school counselor Marcella Holmes at Cumberland Elementary in West Lafayette, Indiana, this year. Any student is welcome to stop by Holmes’ office to cuddle with Victor. “If a child is angry, sad, upset in any way — he’s comforting,” Holmes said. “He’s nonjudgmental. He loves them without any kind of stipulation.” Second grader Owen Beaver said Victor often helps him with his emotions. “He’s helped me with my anger, my frustration,” Beaver said. “Pretty much any feeling, he’s helped me get through it.” — Watch it at Indiana’s WLFI
Bulldogs Descend on Mexico City
In an effort to break a world record, 951 slobbery English Bulldogs paraded through Mexico City over the weekend. On leashes and in wagons, the panting pups turned out in droves. Caring owners cooled their pets with water and held umbrellas over them to protect them from the sun. The event’s organizer said this is the first time there’s been such a big gathering of the breed, and data from the event will be sent to Guinness World Records to go for an official title. — Watch it at Fox 5 Atlanta
Original From:http://www.vetstreet.com/our-pet-experts/pet-scoop-stowaway-kitten-found-on-oil-rig-thousands-join-giraffe-baby-watch-online?WT.mc_id=RSSFeed
from Blogger http://positivelybarking.blogspot.com/2017/03/pet-scoop-stowaway-kitten-found-on-oil.html
via Susan Esquivel
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