#how to write queer characters

[tomfrogisblue]

i forgot to post this during june but i think one of the reasons qsmp was so important was how unapologetically Gay it was

for starters, the number of creators and admins involved who are irl queer of some variation, just chilling in a place where any kind of phobia would get Philza's legendary ban hammer faster than you could say "rainbow jelly"

and then the characters.

i remember showing up that first day and being shocked that somehow foolish had an ex-boyfriend already (I had missed the squidcraft lore apparently)

that server. gay. all the gay. all kinds of gay.

govermentally assigned platonic husbands that stayed together the whole time (despite one of them being gone for months at a time), not a chance in hell of infidelity. Proud fathers of two wonderful children.

governmentally assigned partners who yelled full volume at each other about cheating any time they were in the room together and between the two of them killed two children.

a grieving father and ex-convict becoming one of the most solid couples in the server, with a beautiful wedding and consistent public displays of affection via the in-game chat.

a demon ashamed of who she was and a lonely detective struggling with family trauma, now with a lil girl of their own, to love together and take care of, with more moms than could ever allow the little girl to ever be lonely herself.

a 2b2t warrior coming to terms with his sexuality with the support of his beautiful baby boy at his side, slowly but surely opening up to his eventual Brazilian Boyfriend. Where they went from the most cautious couple (baby steps) to the most sickeningly sweet couple on the server.

- and this list doesn't even scratch the surface.

gay characters, trans characters, ace characters, aroace characters, gender fluid characters, all kinds of relationships and families.

all presented without negativity or shame.

the point of the server was to exchange languages and cultures, without the biases and barriers seen so much in both the content creator scene and the wider world.

it also had a beautiful little side effect, practically by accident.

our lgbtqsmp.

[rookthebird]

the most important ingredients for a male character are

-beautiful, flowing hair

-the saddest most pathetic and downtrodden vibes you've ever seen in your life

hope that helps!

[seahorsepencils]

also can we just talk about the fact that in the Wish World, a woman can get away with calling another woman beautiful without setting off everyone's queer panic, but when a man does it to a man, it tips over the edge? so the Kates of the world are flying just under the radar, but are likely to be more emotionally repressed as a result - and yet, all the queer or queer-coded characters in this world are offered the same security and protection from doubt by the prospect of entering into an opposite-sex marriage...

[dennisboobs]

:) i certainly have no issue dressing in drag :)

^guy who has no issue dressing in drag btw

glenn said that dennis' drag name is victoria von hemen btw

(Source)

[bicryptide]

"Rise leo is not canon queer/MLM-"

Be serious.

[marasov]

friend in discord server made this and she literally couldnt be more right

[olis-inkwell-symposium]

How to Create a Flawless Villain: A Comprehensive Guide to Crafting Your Perfect Antagonist

Every great story needs a great villain. Whether you’re writing an epic fantasy or a gritty thriller, the villain is often the character readers can’t forget. They’re complex, morally grey, and create tension that drives the story forward. But how do you avoid clichés and create a villain who sticks with readers long after the book is closed? Let’s dive deep into the art of villain creation, exploring their psychological makeup, societal role, and relationships with the hero. We’ll also touch on how esoteric philosophies or occultism can shape their worldview, motivating them to chase power, forbidden knowledge, or even reshape reality itself.

Core Identity and Origins

A villain’s origin story is the root of their motivations. Were they betrayed by those they trusted? Once a noble hero, now twisted by tragedy? Crafting a rich backstory will set the stage for whom they become.

Name and Meaning: Choose a name that reflects their essence or offers an ironic twist. Consider names rooted in ancient languages, forbidden texts, or alchemical symbols if your villain is into esoteric or occult knowledge.

Defining Childhood Event: What critical moment led them to this path? A betrayal, a prophecy, or perhaps a dark inheritance? This event should haunt them, driving their desire for revenge, power, or forbidden enlightenment.

Motivations, Desires, and Philosophy

Villains aren’t evil for the sake of it. Their motivations—whether it’s control, vengeance, or the pursuit of something beyond mortality—must be clear and compelling.

Primary Goal: What is their ultimate aim? Power, control, or maybe freedom from their own pain? If they’re driven by esoteric philosophies, perhaps they seek to transcend the mortal realm or unlock the universe's hidden truths.

Inner Desires: Beyond their surface goals, what do they truly long for? To become one with a cosmic force? To destroy the current reality and rebuild it in their own image?

Occult and Esoteric Motivations: Do they crave ancient knowledge? Are they obsessed with dark gods, lost magical practices, or the mysteries of existence? These deeper motivations give your villain texture, turning them into something more than just an antagonist.

Psychological and Emotional Depth

To make your villain fully realized, dig into their mind and emotions. They’re driven by traumas, fears, and warped worldviews—making them unpredictable and dangerous.

IQ and Emotional Intelligence: Is your villain a cold mastermind or someone who operates on gut emotion, manipulating others through fear or charisma? Are they emotionally detached or frighteningly intuitive about others’ desires and fears?

Philosophical Depth: Does your villain have a worldview rooted in esoteric thought? Perhaps they believe in alchemical transformation or view themselves as a chosen agent of cosmic order (or chaos).

Fear and Trauma: What do they fear most? Losing control? Facing an entity more powerful than them? How do their traumas influence their choices?

Powers, Strengths, and Weaknesses

Your villain’s abilities should reflect their inner self. Whether they dominate through sheer strength or subtle manipulation, their powers, and weaknesses make them memorable.

Unique Powers: Can they control dark forces or warp reality? Perhaps they’ve mastered necrotic magic or gained immortality at a great cost. Their powers should align with their motivations—reflecting their esoteric pursuits or thirst for control.

Weaknesses: Every great villain has a flaw. Are they vulnerable to their own hubris, bound by cosmic forces they can’t fully control, or haunted by their mortality? This flaw should not only humanize them but also create a vulnerability in their power.

Relationships and Rivalries

Villains thrive in their relationships with others—especially with the hero. Craft dynamic relationships to give your villain emotional stakes.

Relationship with the Hero: The best villain-hero dynamics are deeply personal. Maybe the hero represents a path the villain once rejected. Perhaps they’re old allies, or twisted reflections of one another.

Esoteric Mentors or Rivals: Who taught your villain their dark arts? Did a mentor pass on forbidden knowledge, or does a rival compete for the same cosmic power?

Arc and Transformation

Villains should evolve. Show how they became who they are, whether through corruption or a gradual descent into darkness.

Origin of Villainy: Were they once idealistic, only to be warped by ambition or dark forces? What pushed them from seeking enlightenment to seeking dominance? Their fall from grace should feel inevitable, tied to their deepest desires.

Villain’s Endgame: What do they ultimately want? Is their goal to transcend mortality or reshape reality? By the end of the story, their final form should feel like the culmination of everything they’ve sacrificed.

Visual and Symbolic Representation

Villains often have visual cues that represent their power or past. Their appearance should reflect their inner darkness and esoteric connections.

Appearance: Do they bear occult symbols, alchemical tattoos, or physical scars from dark rituals? Their look should reflect their journey into darkness.

Symbolism: Consider what motifs represent your villain—death, chaos, transformation. These should be woven into their appearance, powers, and actions.

Legacy and Role in the World

Even after your villain is defeated, their influence should remain. They might leave behind followers, secret societies, or prophecies that keep their legacy alive.

Impact on Society: How does your villain shape the world? Do they leave behind grimoires, magical artifacts, or a legacy of fear? Their reign should leave scars that ripple long after they’re gone.

Villain’s Endgame: Whether they succeed or fail, what was their ultimate goal? Were they trying to unravel reality itself, merge with cosmic forces, or create a utopia in their image?

Twists, Secrets, and Moral Complexity

Villains become iconic when they are morally complex. Add twists to make them more than just evil—they might believe they’re saving the world in their own way.

Secret Past or Hidden Identity: Does your villain have a dark secret, perhaps a heroic past or a forbidden bloodline? These secrets add layers to their character, making them more unpredictable.

Moral Complexity: Does your villain believe their actions are necessary for balance? Are they more tragic than evil, motivated by a cosmic truth that others can’t see?

By incorporating esoteric philosophies and occult influences, your villain can become a driving force not just against the hero but against the very core of your world.

[lloydfrontera]

ok so you know how in china 'cut sleeve' was used as an euphemism for homosexuality. that but in lorasia they use 'lullaby singer'. or 'angel fighter'. lately 'knightly escort' is making the rounds. there's a lot of euphemisms for gay people actually.

[enbeemagical]

lemme try this again

Hey Tumblr! I'm writing a book. It's 102k words (and counting) of pure queer fantasy and a year's worth of emotions.

It's about a queer kid finding community and support, and then stepping up to defend the people they love. And it's about falling in love and finding yourself, and it's about trust, and connection, and responsibility, and trying to do good in the world. It is also about gay.

Blurb thing:

Destiny has always been alone, self-isolating so that no one will find out about her magic, the same power that she watched a little girl dragged away for nine years ago. Then she meets Vida, a beautiful fae whose kiss sparks something inside her, and Destiny chooses to follow her.

She's not expecting Vida's family to be a werewolf pack. Or that they'll be so welcoming— she was told werewolves are monsters, after all. She's definitely not expecting them to become her own family.

But when Destiny begins to change, it's the wolves who accept him for who he is. And it's the wolves who are the first to see Destiny's magic and swear to protect them, no matter what. And it's up to Destiny to decide what that looks like.

Even if it means changing the world.

(yes the pronoun shifts in the almost-last paragraph were intentional)

And now a quote:

“Don’t you ever want to do something you’re not supposed to? Love the wrong way, be the wrong person, want the wrong things?”

If this sounds like your cup of tea, rb and let me know! I'm not sure when I'll start posting it, there's still a few edits I need to get done, but encouragement will definitely make that happen sooner~

[elks-eye]

Jayce is with Mel because it's easier. A queer reading of his relationship with Mel and Viktor reveals this dynamic: Viktor's declining health serves as a painful reminder of Jayce's original HexTech goals, yet he's pulled into the politics and trade that he finds easier to navigate.

Jayce struggles between focusing on trade and his true purpose, easily swayed by what feels simpler. His personal relationships mirror this; he connects with Mel due to their similar social standings—both are affluent and politically involved—while Viktor, from the Under City, is different in background and is disabled.

Jayce frequently shifts between Mel and Viktor, exemplified when he leaves Mel after their fling to visit Viktor in the hospital. In the painting scene (heaven's forbade I ever remember what happens each specific episode) scene, while discussing Viktor's prognosis with Mel, she distracts him by sharing her own trauma. I'm not sure if I want to consider this morally unsound, because I understand why Mel would do that, but the point is she did distract Jayce from his own issue.

In that same scene Jayce claims that nothing feels impossible with Mel, highlighting his comfort in her presence. Although he, dare I say, is in love with Viktor, his anxiety about his condition prompt him to seek solace in Mel. And that's just because that's how Jayce's character is. He's self-serving, and making an effort to protect his emotional state.

[thewriteadviceforwriters]

Hii,

I am writing a story with a female lead. She is going to go through a self discovery arc in which she explores her sexuality. I want to jump back and forth in timeline to when she’s a teenager and doesn’t realize she is queer (and in love with her best friend) but i am having a hard time figuring out how to show she is queer without telling (bc it’s from her pov). Any advice or thoughts?

Showing Queer Identity: Tips for Writing Self-Discovery Arcs

Hey there, fellow writer! 💖✨

First off, I want to say how awesome it is that you're tackling such an important and nuanced topic in your story. Self-discovery arcs, especially those involving sexuality, can be incredibly powerful and relatable for so many readers. It's fantastic that you're putting thought into how to present this journey authentically!

Now, let me dive into the meat of your question: how to show your character's queerness without explicitly telling, especially when she doesn't yet realize it herself. This is a challenge many writers face, and I'm excited to share some thoughts and techniques that might help you navigate this delicate balance.

Showing vs. Telling in Sexuality Representation

The age-old writing advice of "show, don't tell" becomes particularly crucial when dealing with a character's sexuality, especially in a coming-of-age or self-discovery narrative. It's about creating a tapestry of moments, feelings, and interactions that hint at the character's true nature without spelling it out for the reader (or the character herself).

(I have an entire post on Prose Tips with Show, Don't Tell. And another one where Telling Is Better Used Instead of Showing)

Here are some ways you can subtly show your character's queerness:

Physical Reactions: Pay attention to how your character's body responds to her best friend or other girls. Does her heart race? Do her palms get sweaty? Does she blush or feel a flutter in her stomach? These physical reactions can be powerful indicators of attraction, even if the character doesn't recognize them as such.

Lingering Gazes: Describe how your character looks at her best friend or other girls. Does she notice small details about them? Does her gaze linger on lips, hands, or other features? This can be a subtle way to show attraction.

Comparisons and Contrasts: Have your character compare her feelings for her best friend to her feelings for boys. She might notice that she feels more comfortable, excited, or "herself" around her friend than with male love interests.

Dreams and Daydreams: Use your character's subconscious to hint at her true feelings. She might have dreams about her best friend that leave her feeling confused or flustered upon waking.

Jealousy: Show your character feeling inexplicably upset when her best friend spends time with others, especially potential romantic interests.

Admiration vs. Attraction: Your character might think she's just admiring other girls' appearances or personalities, not realizing it's actually attraction.

Discomfort with Heteronormative Expectations: Show her feeling uncomfortable or out of place in typical heterosexual dating scenarios or discussions about boys.

Intense Emotional Connections: Highlight the depth of her emotional bond with her best friend, showing how it goes beyond typical friendship.

Personal Thoughts and Advice

As someone who's written queer characters and explored sexuality in my own work, I can't stress enough how important it is to approach this topic with sensitivity and authenticity. It's not just about representing sexuality; it's about capturing the complex emotions, confusion, and eventual self-realization that come with discovering one's identity.

One technique I've found particularly effective is to focus on the emotional journey rather than the physical aspects of sexuality. Especially for a young character who hasn't yet realized she's queer, the emphasis should be on her feelings, her confusions, and her gradual understanding of herself.

Remember, sexuality is a spectrum, and coming out to oneself is often a process, not a sudden realization. Your character might go through phases of denial, curiosity, experimentation, and finally acceptance. Each of these stages provides rich opportunities for character development and storytelling.

Unique Tips for Showing Sexuality in Writing

Use Metaphors and Symbolism: Incorporate imagery that subtly reflects your character's emerging sexuality. For example, use blooming flowers or changing seasons to mirror her personal growth.

Contrast with Heterosexual Experiences: If your character dates boys, show how these experiences feel different (and perhaps less fulfilling) compared to her interactions with girls.

Pop Culture References: Have your character relate strongly to queer characters in movies or books without fully understanding why.

Physical Proximity: Describe how your character seeks out physical closeness with her best friend - sitting close together, finding excuses to touch, etc.

Internal Monologue: Use your character's thoughts to show her confusion. She might question why she feels so strongly about her friend or why she's not interested in boys like her other friends are.

Microexpressions: Describe tiny facial expressions or body language cues that betray your character's true feelings, even if she's not aware of them.

Avoidance Behavior: Show your character avoiding situations that might force her to confront her sexuality, like setting up her friend with boys or talking about crushes.

Mirror Scenes: Create parallel scenes in different timelines to show how your character's understanding of herself has evolved.

Navigating the Timeline Jumps

Your idea of jumping back and forth in the timeline is brilliant for this kind of story. It allows you to contrast your character's oblivious teenage self with her more self-aware adult version. Here are some tips for making the most of this structure:

Echoes and Parallels: Create situations in the past that echo or parallel events in the present, highlighting how your character's understanding has changed.

Dramatic Irony: Use the reader's knowledge of the character's future to create tension and poignancy in the past scenes.

Evolving Language: Show how the language your character uses to describe her feelings changes over time, reflecting her growing self-awareness.

Physical Changes: Use descriptions of physical changes (hairstyles, fashion choices, etc.) to quickly orientate the reader in different time periods.

Pivotal Moments: Identify key moments in your character's journey and use these as anchors for your timeline jumps.

The Importance of Authenticity

When writing about sexuality, especially from a perspective different from your own, research and sensitivity are crucial. Consider reaching out to LGBTQ+ organizations or individuals who are willing to share their experiences. Reading coming out stories and queer literature can also provide valuable insights.

Remember, every person's journey with their sexuality is unique. While there are common experiences, avoid falling into stereotypes or oversimplification. Your character's story should feel genuine and personal.

Balancing Subtlety and Clarity

One of the biggest challenges in showing rather than telling sexuality is finding the right balance between subtlety and clarity. You want to drop enough hints for the reader to pick up on, but not so many that it becomes obvious to everyone except your character.

A good rule of thumb is to make the signs clear enough that a queer reader or someone familiar with the coming out experience would pick up on them, but subtle enough that someone without that perspective might miss them – much like how your character is missing them herself.

The Power of Supporting Characters

Don't forget the role that supporting characters can play in showing your main character's sexuality. Friends, family members, or even strangers might notice things about your character that she doesn't see in herself. Their reactions, comments, or questions can be powerful tools for indicating to the reader what's going on, even if the main character remains oblivious.

Addressing Internalized Homophobia

Depending on your character's background and the setting of your story, you might want to explore themes of internalized homophobia. This can manifest as your character actively pushing away thoughts or feelings that don't align with heteronormative expectations. Showing this internal struggle can add depth to your character's journey and make her eventual self-discovery even more powerful.

The Journey of Self-Discovery

Remember that realizing one's sexuality is often a gradual process. Your character might have moments of almost-realization followed by retreat into denial. These back-and-forth moments can create tension and keep the reader engaged in your character's journey.

As your character grows and changes, you can show her becoming more comfortable with herself in subtle ways – perhaps she becomes more confident, more authentic in her interactions, or more willing to stand up for herself and others.

——————————————————————————————————

Writing about sexuality, especially from the perspective of a character who hasn't yet realized their own identity, is a delicate but rewarding challenge.

Remember, the key is to weave these elements naturally into your narrative. Don't force it – let your character's experiences and emotions guide the story. Trust your readers to pick up on the subtle cues you're laying down.

I hope these ideas and tips help you in crafting your story. Remember, every writer's approach is different, and what works for one story might not work for another. Trust your instincts, stay true to your character, and don't be afraid to revise and refine as you go.

Writing about sexuality and self-discovery is not just about representation – it's about creating stories that can help readers understand themselves and others better. Your story has the potential to be a light for someone struggling with their own identity, or a window for others to understand experiences different from their own.

As you write, keep in mind the impact your words might have. Approach the topic with sensitivity, respect, and an open heart. Your character's journey of self-discovery is a beautiful and important story to tell.

Final Thoughts and Encouragement

Writing about sexuality, especially in a coming-of-age context, can be challenging but incredibly rewarding. Here are some final thoughts to keep in mind as you work on your story:

Authenticity is Key: Stay true to your character's voice and experiences. Even if you're writing from a perspective different from your own, strive for authenticity in emotions and reactions.

Embrace Complexity: Sexuality is complex and often fluid. Don't be afraid to show the messy, confusing aspects of your character's journey.

Avoid Stereotypes: While some common experiences exist in the queer community, try to avoid relying on stereotypes. Make your character unique and three-dimensional.

Consider Intersectionality: Your character's sexuality doesn't exist in a vacuum. Consider how it intersects with other aspects of her identity, such as race, class, or religion.

Show Growth: As your character becomes more aware of her sexuality, show how this knowledge impacts other areas of her life and relationships.

Be Patient: Writing about such personal topics can be emotionally demanding. Be patient with yourself and take breaks when needed.

Seek Feedback: If possible, get feedback from sensitivity readers or members of the LGBTQ+ community to ensure your portrayal is respectful and accurate.

Remember, your story has the power to touch lives, open minds, and maybe even help someone on their own journey of self-discovery. It's a beautiful responsibility, and I'm excited for you to embark on this writing adventure!

Keep writing, keep exploring, and most importantly, keep being true to your characters and your story. You've got this! 💖🌈✨

If you have any more questions or need further advice as you write, don't hesitate to reach out.

Happy writing!📝🎉- Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[byoldervine]

The Trick To Writing Filler

(TL;DR at the bottom)

Filler is when you spend a chapter padding the length of your story between plot-related events. Filler chapters have little to no impact on the overarching plot and can be self-contained, and thus in TV shows filler episodes are often reran the most as people unfamiliar with the show can casually watch without being confused without the knowledge of prior plot beats

So with the chapter being largely self-contained and acting outside of the plot, what do you use to make the filler chapter engaging? I’m going to use filler episodes from Avatar: The Last Airbender to provide examples

1. Worldbuilding. Zuko Alone depicts Zuko’s travels taking him through an Earth Kingdom village and becoming acquainted to the family that allows him to stay with them, especially their young son. He learns about what the Fire Nation’s impact on this village has been; destroyed houses, families torn apart, constant robbery and other abuses of power and injustices. And even after Zuko defends the villagers and his new friend, he’s venomously cast out from the village by even the little boy because he outed himself as a firebender. This episode explored the impact of the war on the people of the Earth Kingdom, the victims of war that have no involvement in it and no way of defending themselves from it

2. Character exploration. In The Beach, we learn more about Mai, Ty Lee, Azula and Zuko and how their own traumas and personal upbringings have impacted their personalities. For Zuko this is part of a turning point for him, but for the girls it’s more to understand why they are the people we’ve gotten to know over the seasons, especially Ty Lee and Mai. The episode also serves to showcase how Azula and Zuko are so out of place being just normal teenagers; Azula has no idea how to talk to her peers and no identity outside being Princess Azula of the Fire Nation, while Zuko’s hotheadedness and jealousy issues lead him to lash out and be far too confrontational and controlling for his own good. This episode isn’t really used to develop these characters, or at least not the girls, but instead explains and showcases their behaviours and the reasons behind them

3. Character development. Going back to The Beach, Zuko does indeed receive development rather than just character exploration like the girls do; he comes to understand that he’s not just angry at the world or angry in general, but angry with himself. This is a notable turning point for Zuko’s redemption arc, because he now understands fully that he truly regrets betraying Iroh and sacrificing his new start in life in favour of returning to the Fire Nation. He might not yet be fully decided on turning his back on Ozai, but without this moment I don’t know if he’d have gotten there, or at least not as quickly as he did

4. Relationship development. Sokka’s Master has a C plot of Aang, Katara and Toph all being rather bored and lost without Sokka’s presence. The A plot exploring Sokka’s feelings of inadequacy and uselessness in comparison to such powerful and formidable bending masters being contrasted with the Gaang unable to function without him already speaks volumes about their dynamics, but looking deeper into the C plot also shows how much value Sokka really does bring to the team; structure, planning, humour, a quick wit, strategic moves. The Gaang always supported Sokka and never seemed to view him as expendable outside of the occasional teasing, but having it acknowledged so clearly and plainly that they can feel a little aimless and flat without Sokka and being so delighted when he returns really shows us the kind of value Sokka brings to this team and brings us and the characters to further appreciate it

5. Downtime. The Ember Island Players depicts the characters taking a break to watch a comedic play based on their wacky adventures, only to be largely underwhelmed and displeased by how they’re portrayed. There are no stakes to this episode and barely any plot, just the Gaang taking a breather as they react to a bad play. This chance to relax and watch something inconsequential is just as important to the viewers as we’ve got the show’s finale in the next four episodes, which will be very plot-driven and intense. The Ember Island Players also has the additional viewer bonus of recapping the events of the show right before it all ends, giving the viewers time to reflect on the journey they’ve gone on with these characters. In order for the stakes to feel high and the tension to rise, there has to be downtime where there are low stakes and low tension; if things are intense all the time, the moments that are supposed to feel super intense will just feel average in comparison. Resetting that intensity right before such a big event while still acknowledging the looming threat coming soon will feel like the calm before the storm and allow your audience to soak it all up like the characters are

Wow, did I just go through all that without talking about Tales of Ba Sing Se? I’ll save that for another post if people are interested in more

TL;DR - filler provides a moment to breathe, reset the intensity levels the audience are experiencing and take a chance to step away from the external conflict (the overarching plot) in favour of worldbuilding and the characters within your setting. Small moments can amount to something big, and can help make large scale decisions or plot twists feel more build-up and in-character

[lenodrysalad]

"Eddie said he's straight! Buck said Eddie was straight! Buck said he's not in love with his best friend! They shut down Buddie in the show it isn't happening ya'll are delusional! Queerbait! Queerbait! Blah blah blah"

I feel like I'm going insane. I'm sure we're all tired of people shouting "media literacy" every five seconds, but like... Yeah, develop some media literacy, please.

I'm saying this as someone who doesn't usually like romance, despite being subjected to it in basically every piece of media. As someone who doesn't generally look for love stories. As someone who loved Buddie but didn't consider any serious possibility of it becoming canon before season 7/8, who refused to believe Buddie was truly happening until I couldn't deny it anymore: this episode is loud.

Please understand how narrative arcs work. How character arcs work. How character development works. How serial broadcast television works. Understand how writing works. Consider context; take the whole episode, the whole season, and the whole series into account instead of treating things like they exist in isolation.

I'm too tired to go through the step-by-step details of the episode to prove why these, "they said it on screen, therefore..." takes are shortsighted and ignorant; plenty of people have done that already.

But that episode, even if we do take it in isolation, is textbook. Do people really take everything characters say at face value? Do people not watch other character's reactions? Listen to what else is being said? Watch what is being shown? Consider the implications? Themes? Narrative devices?

Consider that maybe, just maybe, characters can be unreliable narrators, or believe something to be true only for that belief to change later. These things don't happen in one episode. There's such a thing as set-up, foreshadowing, the starting point of a plot. 911 is a serial drama, therefore it is going to have A) long-form story and character arcs, and B) drama.

Characters are not going to move in straight lines, or talk in therapy speak, or solve every problem in an hour. They are not always going to be right, or self-aware, or truthful, or rational. Direct dialogue does not equate to honest dialogue.

Also, saying, "well in real life, people do this, I do that, their feelings would be this, yadda yadda yadda" means nothing. Your experiences are not universal, and more importantly, this is a work of fiction. Realism is whatever the story says it is; it's going to do whatever creates the most dramatic, interesting, developmentally beneficial, or emotionally satisfying story. Whether you like that story or not is irrelevant to the fact that stories are not going to cater to all your expectations or real-world experiences.

To people pointing to Tim or the actor's interviews as "proof" they're shutting down Buddie: again, please understand how broadcast television works. They are not going to tell us everything that's going to happen before it happens. They are going to play the neutral zone, the "wait and see," the "will they/won't they." They are going to lie. That is television production 101. You can compare what they've said in the past with canon and list all the contradictions, misdirection, and twists you didn't see coming because they didn't spoil it for you. Watch the show. That is the canon.

They're also not catering to fandom--people they already know are devoted to the show, familiar with Buddie, and consistently tuning in. They're introducing the idea of Buddie to the general audience, people who likely haven't considered the possibility before. The GA has to see that Buddie is an option, so the show needs to manifest it as if it's a brand new concept. This episode pulled the pin on that grenade in a very obvious way; the idea that Buck could be in love with Eddie and that Eddie could not be straight has been planted. The next seed will be Eddie's feelings. Now the show needs to water it and let it grow.

One last thing. Been seeing a fair amount of hand-wringing and condescension over people interpreting this episode differently. As if this is some sort of "gotcha" for bad writing, baiting, or people being stupid. Listen, genuine complaints about this show's writing aside, different interpretations or inferences are completely normal. This isn't unique. That is how people interact with stories, through personal biases, experiences, emotions, and expectations. That isn't inherently a bad thing. It's totally fine to have your own views; media is all about interpretation.

However, it is also true that just because you have an interpretation, that doesn't make it true. Not all interpretations are equal in their validity, evidence, or warrants. The show has an intention, it has a story in mind. If you don't see it, sure, that could be a failure of the writing, but it could also very well be a failure of your analysis, especially when the show hasn't finished telling the story. Looking at one thing in isolation and forming your whole conclusion based around that makes for poor critique.

I guess we'll just have to wait and see who's right.

[jammatown919]

I've said to a few people that my ratio of blame for the argument that broke the camel's back is about 80% Yaz and 20% Sammy due to Yaz's attitude about her and Sammy's disagreement over Brooklynn (both sides had completely fair points and valid feelings but Yaz was very unfair in the way she spoke), but I think for their problems in general it's more of an even split where they both have several bad communication habits they need to work on to avoid something like this happening to them again. Yaz

Isn't always honest about how she feels

Decides what she's going to do and just does it with little to no discussion even if it's not what's best for the unit

Can get too stubborn about thinking she's right to the point she trivializes and dismisses feelings she doesn't agree with instead of trying to understand them

Has shown at least two instances of resorting to name-calling and/or other rude remarks when she firmly believes she's right and the other person is wrong (I believe this was largely due to a highly stressed out state of mind in which she was concerned for Brooklynn's safety and lashed out because she was worried the others' reluctance to help her might get her hurt, but it still happened)

Sammy

Isn't always honest about how she feels

Bottles up emotions until she's really, really upset and can't control them

Can be passive aggressive when upset

Doesn't completely respect Yaz's need for space during arguments (gets mad at her for suggesting taking a beat in season one) but expects hers to be respected (gets mad at her for continuing to pursue the conversation in season three)

This is something that, as far as we know as the audience, has been slowly building up over the course of several months to a year, primarily due to a severe delay in honest communication. From what I can gather, ever since Yaz has started trying to recover from her PTSD on her own without Sammy's help, they have stopped telling each other when they have a problem. Yaz most likely did not try to have a real conversation with Sammy about feeling coddled (according to Sammy, there was little to no communication about her moving at all). Sammy most likely did not try to directly tell Yaz how lonely she was after the move (I simply cannot believe that Yaz would not have made more attempts to reach out if it had been plainly laid out for her).

By the time they tell each other their grievances, they're upset and defensive because they've been sitting on their problems for months. They both feel that they have completely valid reasons for what they're doing and they both feel that the other has done something wrong, and they're both right. The lack of honest communication is a mutual problem and the foundation of the majority of their issues. Without this background, I do not believe that they would have broken up over the Brooklynn argument, nor do I think Sammy would have felt as strongly about it because a lot of her feelings toward Brooklynn right now parallel her feelings toward Yaz.

But they have to realize this now. Maybe they could ignore it when they were back to being fine soon after every argument because some threat caused them to come back together without talking about anything. But now it's caused them to break up. They have to know now that something has to change if they're going to make this work again. They're so, so obviously still in love, and with the two groups heading to the same place and them inevitably coming back into proximity with each other, I don't know how long they're going to be able to hold themselves back from approaching each other. They both clearly want to talk. Yaz kept asking for Sammy before leaving Italy. Sammy watched her through the door like she was considering coming outside to say something.

Dysfunctional communication over a long period of time can completely drain a person emotionally, and I completely understand the decision to just walk away from it. But these are two people who love each other deeply, and even at the worst of their problems, want to connect and be together and are devastated by the idea of losing each other. They need to sit with this for a bit. Come to terms with what really caused it to get this bad. And once they do, they'll come back to each other, because they love each other too much to not fight for this relationship. They both have work to do, but they love each other too much not to do it.

[starcurtain]

So with Phaidei being basically married what are your overall thoughts on them?

Give me a little bit; I'M COOKING.

[musicalmoritz]

Very interesting to me that someone decided to critique me for offhandedly calling Mitsukou canon in the notes of a post about Mitsuba’s mischaracterization. It’s always those same exact people who accuse Mitsukou shippers of reducing Mitsuba to the ship. And yet when someone wants to talk about his actual character, they choose to ignore everything except the part that briefly mentions Mitsukou. But sure, Mitsukou shippers are the ones who don’t care about him