#if the writers and everyone else working on the show

[piratecaptainscaptainpirates]

I'm just curious since I absolutely adore all your trans Ed fics, what made you read Ed as being trans? Is it more of a personal headcanon since we tend to see ourselves in fictional characters, or did you notice some tiny detail on the show that made you think so?

Oh my friend, I'm so glad you ask.

The cool thing about reading Ed as trans, I think, is that you do not even have to squint to do it. Literally you need to change exactly nothing, and this read suddenly adds a lot of nuance and additional juicy layers to his story and his journey with masculinity.

Ed's whole deal with masculinity, precisely exactly all of it, makes him feel so much like a trans guy who never outgrew the "I need to be hypermasculine so I pass" phase, fitting that read so precisely that given there are trans writers on the OFMD team I would be absolutely SHOCKED if at least some of it wasn't intentional. Every single trans guy I know has been through a version of this, where you come out and you know you're a man but you need everyone else to know, too, and so you lean very hard into masculinity to make damn sure you pass. And not just pass, but pass perfectly. Ed is forcing himself into such a heavy ideal of masculinity that it feels artificial; he needs to make sure everyone sees him as this perfect ideal of a masculine man that he cannot possibly live up to because no one could.

Certainly, parts of Ed's hyper-masculine presentation seem to be things that genuinely make him happy and bring him joy. That's important. Ed's happy to be a man, the problem is that he's trying to force himself into such a narrow idea of masculinity that it's stifling him. It's preventing him from enjoying more ""feminine"" things that he genuinely loves, because he's terrified of being seen as less of a man for it, and people like Izzy reinforce the idea that if Ed fucks up in his performance of masculinity, he's going to be in danger because of that. It's very real, and the added juiciness from reading Ed as trans adds so much to the great story that's already there, I think. There's this additional element of Ed knowing he's a man but needing to make sure everyone else could never doubt it, there's an additional perceived danger to slipping up, there's a sort of jealous admiration for guys like Stede who seem, at least on the surface, so much more comfortable with a different type of masculinity that Ed wishes he could have more of.

And on top of that, there's just a lot of other little additional things, like:

Ed making his beard his whole brand, it just screams beard dysphoria and "no one could ever claim I'm not a man because the beard is my whole THING."

Something about his relationship with his name, and how hard he has to try to get people like Izzy to call him by his name in front of others

The way Ed is dehumanized when he dares to step outside a very safe, masculine gender presentation - it's why Izzy saying "this thing you've become" when Ed is wearing a robe and painted nails hits so hard for me, I think

Okay. okay. listen. You know the scene where Ed makes CJ whip him in the balls. Listen. Ed baby. It just SCREAMS "people here don't know I'm trans and I don't know how much getting hit in the balls should ACTUALLY hurt so I'm gonna lay it on really really thick just to be safe"

There's a lot to be said about Ed and his clothing in a lot of directions, but I'm gonna leave it at how he's really figured out a safe set of clothing that works for him and consistently allows him to be read as this super masculine guy, and he's scared to step away from that. Also, I really like imagining the full-fingered gloves at the end of s1 as a way to cover up the nail polish on his fingernails until it wears off.

I think it's very sweet that Ed tends to be very private when talking about his personal and sex life with others, but a very, very easy explanation for how that got started is he just doesn't want to go around sharing personal details about his body with people!

Yeah. A trans read of Ed is so shockingly easy, fits so well, and adds so much to his journey, frankly I'm amazed it's not more common.

[harbingerofsoup]

oh so when any other iffy character choice gets made on supernatural it’s the writers fault and we can accept it, but when mary winchester—

[queer-reader-07]

queer characters are allowed to die in media. and it isn’t inherently A Problem or homophobic when they do.

i understand that it hurts seeing queer people die in shows and books and movies, especially if you’re queer and you saw yourself in those characters.

but the thing is, if you want better queer rep in media you have to be ok with queer characters being treated the same way cishet characters are treated. and that means letting them die sometimes.

Bury Your Gays is a problem, I’m not going to pretend like it’s not. but Bury Your Gays isn’t synonymous with every death of a queer character that happens. you’re allowed to be hurt and devastated by a character death, but i don’t think it’s fair to act like that character death is part of some wider issue just because that character is part of a minority group.

not every queer story is sunshine and rainbows with a happily ever after. some queer stories are violent, some are devastating, and people die in some of them. and that is OK.

if we act like queer people can’t die in media we’re contributing to the othering of our community. it’s saying “queer people are this special group you can’t ever do a bad thing to in media because if you do it’s homophobic.” which is not a true statement.

we can’t act like every death of a queer character is homophobic or has capital I Implications about the writer’s opinions on queer people. if we keep pushing that specific narrative queer stories are going to be stifled. writers need to be able to tell the stories they want, even if that includes a queer person dying. and acting like they can’t is doing more harm than good.

you can dislike a writer’s decision, you can stop watching a show because of that decision. that is OK. but you don’t get to go around saying the writer is homophobic because they did something you didn’t like to a character you loved.

[box-dwelling]

As deeply normal as I am about season 10, Boom really has cemented in my mind that Moffat is a fucking incredible writer when he isn't having to also run the show

[theflyingfeeling]

...😵

tl;dr: I want to open fic requests for December but I'm scared 🤧

~

ugh I always feel so self-conscious about talking about my fics because I feel like I'm always talking about (my) fics or (my) fic ideas, and the mean part of my brain is constantly trying to convince me that everyone is sick of that already and think I'm an attention seeker (which I swear I'm not 😭 having said that, I want to clarify that I'm not implying I think anyone who talks about their fics is an attention seeker! it's more about me expecting everyone to hate me specifically for constantly talking about mine 🤡)

in addition, I'm scared of everyone getting bored of all the Olli/Allu talk on my blog as well (apart from the lovely people who send me Olli/Allu related asks almost daily, I love you all so much 🥺💕) and that people think I'm incapable of talking about anything else (which is not the case, even if I do spend a worryingly lot of time thinking about these two nerds 😂)

oof, so now that I've gotten all that mandatory self-depracating talk out of the way: I really want to try and create an Olli/Allu prompt fic challenge for myself for December 😭

yes I knooooowwww there are already at least two fandom events for December and I could just participate in those and I'm sorry for being greedy and attention-seeky but...I kinda want to make my own 🥺 because I'd like to make it prompt-based, because I think that would be fun 🥺 a word-prompt maybe, or a situation-prompt, perhaps from a list of prompts I've compiled myself to make sure I can handle it, because I'm still traumatized by how horribly I failed with the super adorable Valentine's Day prompts last winter, because my brain just wasn't braining the way I needed it to brain 😭 for this reason I'm also considering just coming up with my own prompts, because I swear I could come up with 24 different fic ideas in one sitting with little to no problem, but on the other hand, getting requests is also super fun... 😩

also, if I was to open requests, I feel like I'd have to do more than Olli/Allu, because I understand it's not everyone's OTP (actually I don't but you do you lol (jk)), and I do want to write other pairings as well, but some pairings inspire me more than others, and recently I've felt like I've been inspired by Olli/Allu only, and maybe Joel/Joonas occasionally

another two-bladed issue is that while I feel like requests would perhaps make me more motivated to write, there's also a very likely chance they might start to feel like a chore, because when I'm not motivated, I simply can't force myself to write for the sake of fulfilling a request 🥲 that's just not how I work, no matter how much I wish I could. and I absolutely don't want to go through all the guilt and crying buckets for not fulfilling requests like I did earlier this year. I know I'm not quite as miserable now as I was then, so maybe I could bribe my brain to brain the way I need it to brain this time around, but the risk I'd be taking is just too terrifying 😭

so anyone who writes a ton of fics on request: you guys are my fucking heroes and I don't understand how you do it, can you spare a tip or two for a poor brainless fic-writer who's only able to write when the stars are in the exact right position? 🥺 and no, saying stuff like "you don't have to fulfil every request you get, that's completely alright and your readers will understand" will NOT do, because hellooooooooo of course I'll feel unnecessarily guilty about not fulfilling prompts even if there's no good reason for me to do so, don't you know me at all?! 😭😭😭😭😭 of course I know that my sweet, amazing, loving, world-deserving readers will be unreasonably understanding and not hold it against me if I did end up failing to fulfil their requests, but I'd still feel terrible about it, and there's nothing anyone could say or do about it I'm afraid 🤧

(I'd also be more than happy to collaborate with other content-creators for this but 1) there are already two fandom events for December, 2) I'm sort of only interested in writing Olli/Allu myself and making the whole challenge just about them would seem a tad circle-jerky and I'd hate to exclude anyone, and 3) not enough braincells to carry out a whole entire fandom event by myself)

so if anyone has any suggestions or ideas or tips regarding what kind of (perhaps) prompt-based fic challenge I could do without scaring myself shitless, I'd like to hear from you, totally alright if not though < feel free to ignore I promise I understand 🥺

[pikadidi]

Fuck it, poll for theater people that aren't into being actors cause fuck actors.

[bylertruther]

"there's no basis or case to be made for will having powers" okay then genuinely please explain any of the following now after watching season four:

why does the upside down look like hawkins and is presumably stuck on the day will arrived despite the fact that vecna was there first and has been residing there this whole time? if vecna was capable of reshaping the world, as he's stated he wants to do, why hasn't he done it in his own world? why is he so intent on seeking out the person for whom time apparently stopped if it's all just coincidence? if will didn't do that and he doesn't have powers, then why didn't time progress or the setting change once the teenagers got there? why was time only influenced by will and will alone if he has no powers whatsoever?

how was will able to call joyce multiple times? the only person we've seen so far be able to do something similar is eleven when she would channel what she heard through the radio. electricity doesn't work in the upside down, so how did will do that? why did it cause a shock and ruin the phone, the same way that the radio went up in flames when eleven did it, if he doesn't have powers?

how did he manage to wake joyce up at one point? (it could've been her imagination, but the show made it pretty clear that joyce had been right about everything the entire time even though everyone thought she was crazy, and will was wearing the same outfit but he looked and sounded distressed + exhausted like he may have been while hiding in his upside down version of the house.)

how was will able to see his mother and guide her with the lights to the place he was hiding?

how was will able to see the letters she wrote on the wall?

how was will able to light up the lights that fast and sometimes simultaneously? especially with the lights that were on the ceiling? the way he communicated with joyce isn't totally similar to the way the teens communicated with the party in season four. he's too short to reach the ceiling and he doesn't have elasti-arms or super speed, so he couldn't have been touching that many lights that fast all by himself with his own hands. if anything, it's more similar to the training exercise brenner had the lab kids do, because they didn't need to touch the lights (obviously) to control them. so, how do you explain that if he has no powers?

how did he acquire true sight before his possession? the doctors thought it was ptsd and all in his head, but just like with joyce, we come to learn that will had been right the entire time. the mind flayer was real and it was coming for them all and eventually it did. how did he know that? how could he have had such knowledge before it ever melded minds and bodies with him? no other powerless human could do that, so how do you explain it?

if will is truly a powerless human being, why did vecna hunt him down? we know that vecna stalks his prey before he strikes. we know that "the monster" followed will from mike's house all the way to the shed where they vanished without a trace. we then saw it stalk will again and eventually possess him. will said that vecna wanted to kill everyone else, but not him. why? we know that vecna doesn't care about people. so what did will have that he wanted so bad? what was it about will that made him more valuable to vecna—a self-perceived god among useless, pitiful, and brutish men—alive than dead? what was it about will, a supposed powerless and normal human boy, that made vecna want to spare him and use him? if he wanted access to the lab, weapons, or tools that could bring down entire nations and rendered millions around the globe defenseless to his attack, then he wouldn't have picked a sweet twelve year old boy who lives a tiny little life in a tiny little town who just wants to hang with his friends and play games. unless... he was the key to achieving his plans? but according to this argument that will is just a normal boy, why is it then that vecna did all of that if will isn't capable of anything?

additionally, we know that gates are opened with a psychic connection. when the psychic connection was made in that shed, will entered the upside down. there, he was hunted for a week. why did the demogorgons kill and eat everyone else, but never will? why did they only carry him to the library aka the source of it all? why didn't they treat him roughly or eat him like they did all of the others? will didn't suffer any serious damage from the upside down, so he couldn't have been "dead" for long when his parents found him. why was it different with him? why did he get special treatment even in hell if he's just a boy?

why does will still sense the creatures of the upside down even after he's been exorcised? how is it that the psychic connection is still there? how is he still able to know what vecna is feeling, the kind of state that he's in, and what it is that he's planned? how does he have this connection still even though he shouldn't if he's Just Some Guy?

if will was just a normal, powerless boy... then why did a self-proclaimed god try so hard to recruit him more than once? why did it hunt only him? why did this god want to kill everyone but him? why did this god deem him more worthy and useful in life and at his side than in death? why did it seek him out and not eleven, a girl who actually has powers, powers that were once stronger than his own even and that he clearly wanted as we saw in s3? why is the upside down stuck on the day will went missing, despite it clearly being inhabited by other creatures that we assume to be more powerful than him? why is will going to be central to season five, the season where it will all come to a close and we'll be learning about the upside down and more, if... he's Just Some Guy that had to brave it for a week and that's it? why did season four (and the show overall, but said outright and explicitly here in 4x09) reiterate that it has always been vecna and that will has always been his victim/in his sights/connected to him? why did vecna choose will byers, who some of you claim to be Just Some Boy, of literally all people on planet fucking earth to achieve his plans?

vecna stalked will. he hunted him. and when his plans were foiled, he tried again. when he couldn't do it his way, he sought to kill eleven so that he could absorb her powers (s3). and now, they're back in each other's heads. the silver cat fed when blue met yellow in the west, but they're back now and we've been told that this is only the beginning. if will is just another powerless human, then what is the point of any of that? how do you explain everything that we've seen? how do you explain the choices these characters have made and continue to make? how do you explain away the connection that they keep drawing our eyes to? the connection that shocked the duffers and made them ask jamie if he'd seen the scripts when he brought it up (that it all goes back to will, how everything and everyone is connected to will)? the connection that they themselves are saying we'll see clearly in season five?

that isn't even scratching the surface of all the obvious instances where they make it clear that will is vecna's narrative foil, because that would make this already gargantuan post thirty miles longer.

they wouldn't have done everything that they've done over the span of multiple seasons now if it was just for nothing.

it doesn't make sense if will is just some normal kid and a random fluke in the master plan. the writers could've had vecna pick anyone. they could have made it so that will's connection was severed or lessened, but they didn't. they could've admitted that will was just a meaningless casualty, but they didn't because he wasn't. it wasn't a random animal that took will, he wasn't possessed for shits and giggles, and he doesn't continue to have that psychic connection for no reason. they don't tell us that nothing is a coincidence and they don't have the characters themselves remind us that they need will just for it to be... nothing.

will knows what's coming, what's happening, and the condition of the person who will do it all. why have him experience all of that, and even be able to in the first place, if he's... powerless? how do you even explain the connection in the first place? no other character, not even the ones cursed by vecna, are able to do what he's done. how is that not considered a power? and how do you write off the hours of content that you've witnessed as nothing?

clearly, at some point you have to realize that something is going on, no? like, you don't even have to take my (one-too-many) word(s) for it. jamie and the duffers themselves have been saying it over and over again. so... honestly, what's not clicking?

[lavenderteacat]

honestly at this point. it feels like the difference between s1 and s2 of link click is that Everyone Mattered in s1 and s2 is just. determined to be some kind of cop show. like what the hell

[the-travelling-witch]

i can tell you guys aren’t as fond of the entertainment industry which is a shame bc idol! childe, model! kaeya and club owner! diluc are very tasty :(

[autumnrory]

“time’s up ruined chardee” y’all are letting bad writing ruin ships for you?

[imabiscuitinthousandworlds]

wish i could post my paintings of theatre stuff here bc i'm really proud of those (my theatre keeps making amazing adaptations with SUPER COOL costume and lighting and setting and colour and visual symbolism choices) but alas. the chance is low but very definitely above zero that i'd doxx myself HARDCORE. but maaaan. trust me when i say that stage is just plain amazing. i need to live in the theatre

[sainamoonshine]

A note to all creatives:

Right now, you have to be a team player. You cannot complain about AI being used to fuck over your industry and then turn around and use it on somebody else’s industry.

No AI book covers. No making funny little videos using deepfakes to make an actor say stuff they never did. No AI translation of your book. No AI audiobooks. No AI generated moodboards or fancasts or any of that shit. No feeding someone else’s unfinished work into Chat GPT “because you just want to know how it ends*” (what the fuck is wrong with you?). No playing around with AI generated 3D assets you can’t ascertain the origin of. None of it. And stop using AI filters on your selfies or ESPECIALLY using AI on somebody else’s photo or artwork.

We are at a crossroad and at a time of historically shitty conditions for working artists across ALL creative fields, and we gotta stick together. And you know what? Not only is standing up for other artists against exploitation and theft the morally correct thing to do, it’s also the professionally smartest thing to do, too. Because the corporations will fuck you over too, and then they do it’s your peers that will hold you up. And we have a long memory.

Don’t make the mistake of thinking “your peers” are only the people in your own industry. Writers can’t succeed without artists, editors, translators, etc making their books a reality. Illustrators depend on writers and editors for work. Video creators co-exist with voice actors and animators and people who do 3D rendering etc. If you piss off everyone else but the ones who do the exact same job you do, congratulations! You’ve just sunk your career.

Always remember: the artists who succeed in this career path, the ones who get hired or are sought after for commissions or collaboration, they aren’t the super talented “fuck you I got mine” types. They’re the one who show up to do the work and are easy to get along with.

And they especially are not scabs.

*that’s not even how it ends that’s a statistically likely and creatively boring way for it to end. Why would you even want to read that.

[jonnywaistcoat]

I'm really glad to see that everyone seems to be having a good time with The Magnus Protocol, and my heart is very full with all the wonderful comments people are making, but I do need to flag something up.

For some of these episodes, a lot of folks are giving me credit for stuff I did not actually write. The cases for episodes 3 and 4 were both by guest writers, Graeme Patrick and Cole Weavers respectively, and they really deserve some love thrown their way.

That's not to minimise my own part: me and Alex certainly do editing work on them, and add in a few bits here and there to make sure everything cohesively fits in with the overall story and tone of the show, but if you enjoyed these episodes, then Graeme and Cole are the ones to thank for it.

And for that matter, Alex wrote episode 2 and deserves more of the accolades for how good that one was than I think he got (my edits just made it a bit... squishier).

Protocol is much more of a team effort than Archives was and so while, in a broad sense, you can still lay most of the blame for bad things happening to characters you love squarely at my feet, it's genuinely important to pay attention to the "written by" section of the credits this time around, 'cause often it's not gonna be my name there, and someone else deserves the thanks for giving you a horrible treat.

[friendshiptothemax]

I was on a plane this weekend, and I was chatting with the woman sitting next to me about an upcoming writer’s strike. “Do you really think you’re mistreated?” she asked me.

That’s not the issue at stake here. Let me tell you a little something about “minirooms.”

Minirooms are a way of television writing that is becoming more common. Basically, the studio will hire a small group of writers, 3-6 or so, and employ them for just a few weeks. In those few weeks (six weeks seem to be common), they have to hurriedly figure out as much about the show as they can -- characters, plots, outlines for episodes. Then at the end of the six weeks, all the writers are fired except for the showrunner, who has to write the entire series themselves based on the outlines.

This is not a widespread practice, but it has become more common over the past couple of years. Studios like it because instead of paying for a full room for the full length of the show, they just pay a handful of writers for a fraction of the show. It’s not a huge problem now, but the WGA only gets the chance to make rules every three years -- if we let this go for another three years and it becomes the norm? That would be DEVASTATING for the tv writing profession.

Do I feel like I’m mistreated? No. I LOVE my job! But in a world of minirooms, there is no place for someone like me -- a mid-level writer who makes a decent living working on someone else’s show (I’d like to be a showrunner someday, but for now I feel like I still have a lot to learn, and my husband and I are trying to start a family so I like not being support rather than the leader for now). In a miniroom, there are only two levels -- the handful of glorified idea people who are already scrambling to find their next show because you can’t make a decent living off of one six-week job (and since there are fewer people per room, there are fewer jobs overall, even at the six-week amount), and the overworked, stressed as fuck showrunner who is going to have to write the entire thing themselves. Besides being bad for me making a living, I also just think it’s plain bad for television as an art form -- what I like about TV is how adaptable it is, how a whole group of people come together to tell a story better than what any of them could do on their own. Plus the showrunner can’t do their best work under all of that pressure, episode after episode, back to back. Minirooms just...fucking suck.

The WGA is proposing two things to fix this -- a rule that writers have to be employed for the entire show, and a rule tying the number of writers in the room to the number of episodes you have per season. I don’t think it’s unreasonable. It’s the way shows have run since the advent of television. It’s only in the last couple of years that this has become a new thing. It’s exploitative. It squeezes out everyone except showrunners and people who have the financial means to work only a few months a year. It makes television worse. And that is the issue in this strike that means everything to me, and that is why I voted yes on the strike authorization vote.

[giveamadeuschohisownmovie]

Deadpool and Wolverine might actually be the best love letter to Marvel that I’ve seen.

On a meta level, the movie feels like it was written in response to people dismissing the Marvel properties that aren’t the MCU. The MCU is the “Sacred Timeline” while everyone else gets thrown into the trash aka the Void. Wade even tried to become an Avenger because he feels that his life doesn’t matter. Then, Wade gets a chance to join the MCU. Of course, he’s thrilled, but is then told that the rest of his universe is getting destroyed since they lost its “anchor” (aka it lost its relevance). So, Wade decides to fight for his universe.

On a surface level, you can read this movie as a criticism of the MCU in that it’s treating the only stories worth a damn as the ones coming from that universe. But I don’t think that’s the case. I mean, first off, this was made by Marvel Studios. Feige and Co had to sign off on this and a great deal of the plot stems from the Loki show. Second, the movie felt more like it was trying to say that ALL Marvel stories matter. It’s not really criticizing the MCU, it’s criticizing how audiences view the Marvel movies/shows that aren’t the MCU. The “why should I care about this movie if it doesn’t lead to the next Avengers movie” attitude.

That’s why I say this was the best love letter to Marvel I’ve seen. It’s a celebration of the company’s works, both MCU and non-MCU. You can see that from the Easter eggs, the cameos, the nods to the fandom, and the emphasis on forgotten characters getting a chance at redemption. Even the jabs at the company and fanbase feel like they come from a place of love.

But what really sold me on this movie being a love letter to Marvel was the ending. Instead of a tease to a potential De4dpool movie, it was a montage of the development of the Fox Marvel movies (I can’t say X-Men since clips of the Fantastic Four were there). On one side, it’s a touching send-off to the Fox X-Men franchise. On the other side, it felt like a reminder of why people love Marvel to begin with. It’s these people - actors, writers, directors, producers - coming together to make these entertaining stories for us, to bring the comics to life on the big screen. It’s like Ryan Reynolds was telling us to take a step back from all the conspiracy theorizing, nitpicking, and fanbase drama for a couple of hours, that we should just enjoy this Marvel movie as it is.

And it worked. It was genuinely just a fun, awesome movie to watch. If we’re using the MCU-as-a-TV-show-analogy that people love using, Deadpool and Wolverine is the 100th episode that is made dedicated to the fans and celebrating the show as a whole. It’s a fanservice movie done right, one that goes beyond just references and cameos.

[heywriters]

Details That Convey Intimacy

Developing fictional relationships that feel authentic takes more than dialogue and grand gestures. Every detail below can be used to show platonic, familial, agape, or romantic love depending on context.

cooking a meal for someone, bringing them food, or spontaneously sharing a snack

sharing body heat/warming someone with outerwear like jackets and scarves

fanning them with something if overheated

getting a cold/hot drink for them

offering to carry something, whether it's heavy or just a jacket, to lighten someone's load or free up their hands

more below the click!

changing the subject of a group conversation that will be personally discomforting to someone in the group

making sure to include someone in a group conversation, especially if it's a topic they have special knowledge of

waiting for someone to catch up when the rest of the group has walked ahead

remembering preferences/allergies ahead of time when preparing/ordering food

planning trips, whether in a pair or as a group, that provide something positive for every individual to enjoy

procuring personal healthcare items like sunscreen, moisturizer, lip balm, pain relievers, or a snack and keeping them on hand for that friend who frequently needs them

making room for someone in a crowded vehicle or on public transit

making room for someone under an awning or in another limited space to help them avoid bad weather

warning or wordlessly covering for someone with a wardrobe/cosmetic malfunction

remembering a small luxury someone mentioned they enjoy, and getting it for them the next time it's convenient

running an errand for someone to make their day easier ('importance of errand : depth of relationship' ratio should be explored)

escorting someone to safety in a sudden unsettling event

escorting someone who is drunk, sick, infirm, injured, or emotionally compromised

asking if light, noise, or other sensory factors are bothering someone and taking steps to make them more comfortable

getting gag gifts for someone to show you reciprocate their sense of humor or quirky self-expression (not everyone does this, not everyone appreciates it, and some people predominantly express love through humor and gag gifts; works well with some characters more than others)

holding someone's hand or arm as reassurance, especially when they are afraid*

using their body to block someone from wind, rain, or heat

picking up a dropped item, or carrying a train or other dragging garment for someone else

returning a recognizable possession to someone who may have lost it

This is an inexhaustible list as humans have many ways of showing love for each other. If you are writing spec fic with non-human characters, you can play with variations on these by remembering three core values the "lover" has to consider:

physical comfort of others

emotional comfort of others

social reputation of others

I'd add "sensory comfort" though I think it's tied to physical and emotional comfort.

Please do not try and force any of these into the mold of the misogyny-based "Love Language" trend. Human emotions and expressions of love are diverse and endless.

*While hand holding can be construed as romantic, in reality it varies. Some cultures do not see this as romantic, and some individuals only mean it as a sign of support or compassion. Same goes for long embraces and kissing, both can be done platonically and of course naturally between close family members or friends.

---

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