drshebloggo wrote everyone a brittana story that has both jealous brittany and brittany proving her love to santana
May 2011
why do so many people want to see jealousy from brittany?
and why why WHY are there still people who think that brittany needs to prove that she loves santana as much as santana loves her?
Why on earth would people want this? Jealous TV does not automatically make good TV. If anything, it’s an unrealistic and severely overused plot device. In the real world, if the only thing standing between two people who are deeply in love is the fact that one is in the closet, no WAY would another girl help the situation. It would just further confuse things. If the ride is really supposed to be about Santana’s journey as an individual and her identity as a lesbian—and, more importantly, if it’s about her self-love—no new character is necessary.
And since Britt has proven time and time again that SHE loves Santana for who she is, what else even matters?
So I see there are a couple of posts floating around about jumping from Brittana to Quinntana
Just wanted to clarify Brittany/Santana is still my OTP of OTPs but I also multiship. I started out in BTVS where there was a lot of ships and crack ships and where I basically formed ‘as long as its well written I can be convinced of any ship!’ philosophy.
Also the finale left me with a lot of Unholy Trinity feelings… friendship, Quinn/Santana, Brittany/Santana, Brittany/Quinn, Brittany/Quinn/Santana.
So no jumping ship here. I’m just so happy we got the scene with all three of them together again.
Aaron Sorkin wrote Sports Night a funny and heartbreaking half-hour ensemble show all by himself
Sure there were occasional duds but when it hit its stride it was off the charts awesome and he was also writing another ensemble show that was both funny, heartbreaking and hopeful. The West Wing won many, many awards.
RIB, I don’t mean to compare you to Aaron Sorkin but actually I really do.
I know it’s an unfair, apples-to-oranges comparison, but still. C’mon. Can you imagine RIB producing any episode like The Apology? Or Six Southern Gentlemen of Tennessee? Or Shoe Money Tonight? Or the entire first, second, and fourth seasons of TWW (which, until the second and third seasons of Parks and Rec came along, were the most perfect television seasons ever to exist don’t argue with me about this I will cut you)?
That is a good way of saying this: RIB, you aren’t Aaron Sorkin. Only Aaron Sorkin is Aaron Sorkin. (And it’s a good thing that is true.) You, obviously, can’t do this by yourselves. When you’re still finishing the script for your finale AS YOU’RE SHOOTING IT, you have problems. Hire a writing staff. Hire a diverse writing staff. Hire, as someone mentioned in this post liked to argue, smart people who disagree with you.
Hire someone who watches your show.
Hire someone who cares about Tina.
Hire someone who can plot out a character’s arc without getting distracted by something shiny midway through and running headlong toward the shiny thing like a particularly wired puppy.
Hire someone without the tendency to procrastinate as if they are a freshman at Ball State.
Hire a woman. (Go crazy and hire more than one! I know! Nuts!)
You need new voices and new blood. Because you three seem burnt out.
But not only that, you seem to have failed to internalize something that you had Brittany tell us very pointedly in the finale. Brittany’s point about family and acceptance was, in a way, not just the period at the end of the Brittana storyline this season; you wanted it to be the period at the end of the entire club’s. But: show, don’t tell. When you forget Mercedes, or Tina, or Mike, etc., for entire episodes on end, and play favorites with Rachel, and Kurt, and Finn, and Brittany/Santana, you’re undermining your own message. This show is about these kids—all of them—and who they are, together. Having new voices there to make sure that point is emphasized can only improve the show and enrich the characters.
Because, really, I don’t want to deal with 22 more episodes in which we get a different Quinn every five minutes and in which Tina gets to speak only when you need some exposition in a choir room scene.
On HeMo and the Tweet Heard 'Round the Fandom
Another “Unpopular Opinion,” as it were.
Unlike Tumblr, the magazine industry does not operate on an instantaneous schedule. Sometimes magazines will print breaking news stories in next day editions, but usually, it takes about two weeks for a story to go from raw interview form into print—and especially in the case of low priority “public interest” stories… like interviews with adorable television actresses, for instance.
Emphasis mine. Because, this one is the most important of all… magazines aren’t like blogs or newspapers they take weeks or months to prepare before going into print!
Also, context matters! We don’t even know what the question was Heather was answering!
wise up (quinn & santana & brittany & scissors in a bathroom, PG)
Wise Up (a glorious song by Aimee Mann. Is this song fic? I don’t really know. What it is, however, is the first thing I thought of when this came on shuffle.)
Oh, my girls.
Aaron Sorkin wrote Sports Night a funny and heartbreaking half-hour ensemble show all by himself
Sure there were occasional duds but when it hit its stride it was off the charts awesome and he was also writing another ensemble show that was both funny, heartbreaking and hopeful. The West Wing won many, many awards.
RIB, I don’t mean to compare you to Aaron Sorkin but actually I really do.
Queerios New York fic. →
novel-concept26.livejournal.com
Since I’m stuck in this library forever, might as well give y’all this.
This really gave me soooo many feelings!
I'm going to be so MAD if the show makes Rachel and Kurt stay in Lima
Especially if the reason Rachel never leaves Lima is Finn. I would fly over to LA, bring my uncle’s arnis/kali sticks along and hit the writers until they fix it.
