#queer female characters

[who-canceled-roger-rabbit]

Some spins on the "mostly male team with a token woman" trope:

The woman is trans and stayed in her old circle of bros even after transition

The woman is the only one in her circle of "girls" who didn't turn out to be a trans man

[bebs-art-gallery]

© Breed My Darkness

[idolomantises]

If Monsters and Girls ever gets a tv show my only request is that it doesn’t become that kind of show where a male character with a small role somehow overshadows the female cast.

And you WILL draw Yuri

[hum-tittle]

Am I aroace: Yes

Am I a lesbian: Also yes

Are all my fictional crushes nonhuman men???: For some reason also, yes??

Do I need help: Probably?

[mirrorcatcreditcard]

I know that the fandom is mostly female because it's an otome game, but are there any queers in the fandom? And Obey Me is comforting to you?

I started the game before I knew about my identity and while I was still a minor trying to deal with the whole repressed, Christian BS + religious trauma, and Obey Me really helped me accept myself and feel alive. I mean, they're just some demons (+ plus non-demoms) who do not have any care for sexuality or a gender presentation and are so unhinged themselves that they would accept any type of MC that's thrown their way. They might be written for a "female gaze," but the fandom is completely accepting and very nice to people regardless of how you present or identify.

So, I'm curious if any queers (yes, it can be gender, sexuality, romantic preference, or a mixture of the above) find comfort in this game too?

[epiphainie]

honestly every time i remember buck is canonically bi and is dating a man now i get so 😳😳😳 about it. like in our fandom sphere it's easy to say he's been bi-coded for years and joke with all the "wbk"s but i genuinely think people are missing what a gamble it was for ABC to pick up a show from another network and go this route with a main character that the majority of the audiences wasn't as percipient about.

buck's case is so singular imo because there are still certain - silent - rules to queer rep in mainstream media. the audiences are almost always clued-in on a character being queer early, for example. it's either shown immediately or mentioned in conversation in those first few scenes/eps the characters are established. if a character is not out, then they are not out to the rest of the characters, not the audience. if a character doesn't know they're queer yet - or ready to accept it - again, the audience knows, the story/foreshadowing is clear about it.

i can't think of a single other example where a main character - who's been nominally straight for multiple seasons - realizes they're queer later in life like this. where it wasn't planned beforehand, wasn't an explicitly or intentionally threaded storyline, wasn't just a one-liner saying "oh yeah ofc he kissed men before" ofc i didn't watch all television ever created in the history of television but i genuinely think this was such a pioneering writing choice mainstream tv hasn't done before. i wish we could all have been more happy with it instead of *gestures* all this.

[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

[bitter69uk]

“She had a tough life. She said to me once, “I wouldn't have minded if I’d gone to jail. I think that would be a nice place to retire.” And she wasn't kidding. They would take care of her. Wow, Edie – aim higher! But she was in jail – she wasn't someone you’d ever imagine had been in jail, because if there was ever a person without a mean bone in her body, it was Edith. Except when she drank: then she’d turn completely and get mean. “I hate eggs!” I only saw her drunk a couple of times. She knew it wasn't a good idea.” / John Waters reminiscing about Edith Massey in my epic 2010 interview with him for Nude magazine /

Snaggle-toothed punk granny, thrift shop proprietress and “outsider actress” Edith “Edie” Massey (28 May 1918 - 24 October 1984) – perhaps the most beloved of all John Waters’ freaky repertory troupe of actors – died on this day forty years ago. Massey made her film debut in Waters’ early “gutter film” Multiple Maniacs (1970). Her final appearance (for Waters) was as cleaning lady-turned-debutante Cuddles Kovinsky in Polyester (1981). Massey’s most treasured performances – as Mama Edie the Egg Lady in Pink Flamingos (1972), Aunt Ida in Female Trouble (1974) and Queen Carlotta in Desperate Living (1977) – will live forever. Massey and Divine onscreen together is probably my all-time favourite comedy double act (like Lucy Ricardo and Ethel Mertz for freaks and punks). Crank up “Punks Get off the Grass” (or her covers of “Fever” or “Big Girls Don’t Cry”), eat a hard-boiled egg and use “rah sha sha” in a sentence today in Massey’s honour.

[emthejedichic]

You will pry my "Bilbo Baggins is gay" headcanon out of my cold, dead hands. This motherfucker is one of the richest Hobbits in the Shire, certainly the richest in Hobbiton, and he needs an heir. But did he marry and have children? No, no he did not. He adopted Frodo, the other "weird" Baggins and I cannot unsee the inherent queerness of this. Chosen family, even though they're already related. Bilbo is NOT Frodo's biological uncle, Frodo just calls him that. But they chose each other. And I think Frodo is gay too, and that's part of what Bilbo saw in him. He knows the queers need to stick together.

[a-confused-spoon]

So about Caitvi...

I'm no one to judge whether or not caitvi is good representation. As far as I'm concerned, I'm happy if the lesbians watching the show are happy.

...you know what does piss me off though? A teeny tiny bit more than just "a little"?

Seeing some people defend the absence of a conversation between Caitlyn and Vi with "actions matter more than words".

Like...okay, first thing first, season 2 makes it pretty clear that's bullshit given how every other pairing previously at odds resolved things through the almighty power of talking things out: Vander wrote a letter to Silco and they became gay dads in the au, Ekko went through all possible combinations of words to convince Jinx not to blow herself up, and whatever the fuck Viktor and Jayce had going on in the finale... So yeah, crazy thing to say about this season;

Secondly, when we say "actions matter more than words", are we just not counting the verbal promise of not changing followed by abuse/ pain caused by the very much action of hitting a victim of police brutality who has utterly betrayed herself and her people for the sake of helping the same exact person who hit her because she pointed out "hey, maybe don't risk shooting a child"?

GRANTED this and most of what I'll say next is applicable to most of season 2 imo- we barely get to sit with the seriousness of a situation we just have to skip to the next one, so I wouldn't say it's a caitvi thing alone... nevertheless it's present there too, so back to the main conversation-

We know Caitlyn regrets it, but does she ever understand why it's so fucked up that she did that? Vi has a rush of emotions after realizing what Cait has done and is happy to stay with her, but once they... finish in that prison, does Vi really respect herself as an individual who has gone through some tough shit or is it a passive "fuck it we ball" attitude all the way to the finale where she wears once again the enforcer badge?

Caitlyn's personal character development (one that has to do with seemingly grief alone and nothing to do with classism and power dynamics which are a massive part of the problem both on a micro and macro level) shouldn't be something that "makes up" for what she did to Vi in episode 3, and because Vi's character was criminally neglected we never really get to see her actually give a shit about herself beyond, allegedly, her relationship with Cait- which is fucked, considering Vi always ever only sees herself in relation to others (Cait or Jinx for the most part) and never as a stand alone person.

That's why that conversation was pretty much needed here.

Aside from the fact that having a conversation with a partner isn't just saying "sorry", it's about being vulnerable, letting them know you see them, telling them where you stand, being just openly honest with one another etc. (aka is an integral part of the relationship itself), it also would've been an excellent way to let all the development they couldn't show for a lack of time still shine through dialogue.

No, it's not a "wanting things spelled out", it's a "they quite literally did that a bunch of times already in this very season, so they might as well do it for the main romance too since a conversation would also be fitting for the current situation"; examples might include that one scene with Silco and Ekko in episode 7 about forgiveness, or that one scene of Isha and Jinx where Jinx literally spells out "hey you remind me of Powder, meaning myself when I was younger, the younger self I thought I left behind-" (insert that one clip of Kronk from The Emperor's New Groove).

And before anyone puts words in my mouth, this isn't coming from a place of hate for either Caitlyn and Vi or Caitvi as a ship; engaging in criticism isn't hate for what's being critiqued, so please don't assume that some conversations don't come from a place of love for the show and the characters just because they don't openly praise every bit of what we got.

edit: ...tell you what, the more I think about it the more it seems that the issues I have with how this ship comes to be aren't even super specific to these characters and their relationship, but are actually the same exact things I don't love about the general writing of season 2 on a bigger scale (lack of commentary on class oppression, character arcs that feel unfinished or cut short, the theme of love and forgiveness ending up undermining the seriousness of some situations- I'm not complaining about the theme itself nor I'm saying it comes out of nowhere, I'm saying that probably due to the pacing/lack of time we can't sit with how fucked up some stuff is before getting to the point of "love > anything else"... which isn't a wrong sentiment, I'm just talking about the journey to get there)

[holyblanchett]

I stand by my canceled wife Lydia Tár

[barb-l]

"Vaggie doesn't have a life outside of Charlie and the Hotel"

Of course she doesn't. She's an angel living in a realm filled with literal god damned Sinners. You really expect her to easily make friends there? 💀💀💀💀💀💀

And people always overlook, but Charlie doesn't have friends either for the same reasons. One of the reasons why they fell for each other is because they were both kinder than what's expected of Hell, and they are ostracized for ittttttttt

There's also more about her past in heaven that we haven't uncovered. She has a budding relationship with Carmilla. She has a rivalry with Lute. Just because the show is very explicit in how dedicated she is to her girlfriend doesn't mean she doesn't have arcs or dynamics that don't revolve around her girlfriend.

[ripmyfictionalfriends]

i was thinking this morning about how many depictions i have seen of arthurian female characters are quite feminine. we headcanon many of these characters as girl kissers and of course not all queer women are masculine but there's so little masc rep out there...

so i am wondering what female characters in the arthurian legend yall headcanon as butch/masc?

do you write about them? make art/crafts about them? do you have any face headcanons for them?

please share!

[hacash]

ok new game - if your current writing project (original or fic or whatever) was published tomorrow, what about it would make booktok denounce you as problematic? rb with answers in the tags

[weird-gay-fan-frog]

Granny vs Granma

Alt colors bellow