Are you kidding? Blaine is High Priest. KURT is the one being groomed.
Now whether by stoning (The Lottery), his throat slit in the field (Harvest Home), crucifixion among the corn rows (Children of the Corn) or Wicker Man has not been decided.
As for the Kathy Griffin Tea-Partier crossing herself, TVTrope: “Christianity is Catholic”.
I watch Glee only occasionally, and decided to watch this episode just because. I don’t know the characters very well but I could totally see Blaine and Kurt being gay, or at least hinted that they were. Then all of a sudden BOOM gay kiss on TV! Prime Time Network TV Holy Fucking Shit. Then they did it again! It was actually a really sweet and touching moment, and totally played off like it’s no big deal.
Kurt has been openly gay since last season. There was a whole episode about him coming out. Of course, everyone already knew or suspected. Blaine has been open about being gay since he was introduced at the beginning of this season.
Producers stated at a Paley Center talk that Santana is not bicurious but a closeted lesbian and this will be developed further in coming plotlines. Poor Trouty Mouth, and poor Brittney who’s going to feel compelled to clean out her closet for Santana to move into.
Someone will have to console Trouty Mouth. Who shall it be … ?
It’s more than that. Blaine is the deity of Dalton who secretly mind-controls all the students. He calls himself a “Junior Member of the Warblers” and pretends they elevate him because of his talent. In reality he bathes in the blood of young talented gay men once a year and that’s what gives him his youth and mind control powers. He’s actually six hundred and sixty seven years old. He just can’t stand not being in the spotlight, so he’s created this “Warbler Council” to vote him every solo and keep him as the center of attention. But when the students disappear, the upperclassmen, the ones in charge, are the ones to take the fall for it.
On an unrelated note, now that Glee is doing original songs maybe they’ll stop bitching about not making any money off their album sales/downloads. It’s like they never read the manual and were expecting to get rich off their cover albums, and it was getting annoying.
Enjoy,
Steven
I believe tradition demands a virgin sacrifice. It’s not too late for Kurt to save Blaine and/or himself!
How does that work? Does the person/company who holds the rights to the original get the bulk of the profit from the sales of the cover songs? What percentage does Glee get?
feels strange that they couldn’t get whoopi to play that nun role.
She’d make an excellent grandmother for Mercedes or Rachel.
I’m free whatever day it might be. I swear I’m a good consoler.
Trouty Mouth and BigAss Heart are on itunes now- the masses have spoken!
I think it’s the contracts the actors have that were really bad. Cory Monteith (Finn) said when the first Glee CD was Number 1 he got $400. He doesn’t do many solos so I don’t know if he got less than those who do.
Well, technically historically…
They may actually have pretty standard contracts. I don’t know a lot about the recording industry, but it’s my understanding that the artist doesn’t receive a very big piece of the pie (and this piece would have to be split up amongst all the Glee singers) and that they don’t get any royalties until they’ve paid back their advance. I’ve heard that the current state of the music industry means one doesn’t need to sell as many albums to hit #1 as in years past, so a good chart position doesn’t necessarily mean a lot of money is coming in. Artists also make less money off iTunes sales than CDs, and I think a lot of Glee music sales are via iTunes. I could believe that even without an unusually bad contract the cast wouldn’t be making much money from their recordings.
I know that the music recording industry has been notorious since its beginning almost a century ago for practices that would make “Hollywood accounting” seem like an ethical gauge by comparison. It’s not unusual for artists who have a hit record/CD/whatever the term is now to end up owing their label money after it’s release due to advance payments and expenses and promotion money and the like.
A lot of the Doo Wop singers and first generation rock stars from the 50s and 60who wrote their own material were very famously screwed out of publishing royalties, often signing them over to the label because they weren’t familiar with the business or were offered something like a few thousand (or even a few hundred) dollars that seemed like a lot of money to a broke musician. Few realized that publishing was where the big money was.
It was a standard part of Elvis’s contract until his death that he received a percentage of publishing rights to any song he sang. This worked out great if you wrote a number for one of his movies that would be forgotten 12 minutes after it was sung- half the publishing rights to a song sung by Elvis would probably make you more money than retaining 100% ownership would make you from anybody else. If you had a song that could stand on its own (Suspicious Minds, Can’t Help Falling in Love, etc.) then it meant that if somebody else recorded the song 20 years later Elvis (or his estate) would get as much money as you got.
The most famous story is Dolly Parton. She wrote I Will Always Love You specifically for Elvis (inspired by Porter Waggoner, but she wanted Elvis to sing it). He loved it and wanted to do it, Col. Parker demanded half publishing rights, she balked because she wanted to record it herself at some point. She counter-offered a deal where he would received half the publishing rights on his recording of it, but not on subsequent recordings, but Parker wouldn’t budge. She said it was extremely painful to her at the time, but after she had a hit with the song three separate times herself and then made even more money from Whitney Houston’s recording than she made from her own, she says “I stopped cryin’ and started cashin’ lots and lots of checks’”.
Anyway, since all Cory Monteith did was sing somebody else’s song it’s not surprising he didn’t make much, but $400 still seems paltry. I’ve wondered before if chorus members on Original Cast albums get royalties or if it’s a flat fee, or how actors who sing lead on one track (e.g. Stubby Kaye in Guys & Dolls) and support on others split the royalties. OR, on something like the soundtrack to Moulin Rouge, would Paul McCartney (whose “Silly Love Songs” is sampled on one track) get a share of royalties or just a licensing fee, and ditto Sting/The Police whose Roxanne was a full length number.
No no no, Betty White would play the new coach of Aural Intensity, who coincidentally turns out to also be Britanny’s grandmother.
Her lesbian grandmother.
Who prior to a series of operations in the 1960s was her grandfather.
A casual comment by Brittany will make it clear that she finds nothings strange about the fact that her grandmother is the father of one of Brittany’s parents, because she believes everyone changes sex when they get old.