|Me:||Omg this is my favorite episode so far yes yes yes!|
|Me:||SIMMONS OMG BABY SHHHHHHH|
|Me:||Holy crap that's a lot of implants.|
|Me:||The May and Ward sexual teeeeensioooon daaaaaance|
|Me:||Noooooo Skyyyyye the reeeeeeseeeeaaaarrrrrrch!|
|Me:||GAAAAAAHHHH I CAN'T HANDLE THIS|
|Me:||Okay. I got this. Deep breaths.|
|Me:||Keep it cool.|
|Me:||WHY THE FUCK DO THEY WANT MY PHILLIP?!|
|Me:||GIVE HIM BACK YOU CREATONS!! GIVE! HIM! THE FUCK! BAAAAACK NOOOOOWWW!!!!|
|Me:||HE'S NOT FUCKING DEAD DAMMIT|
|Me:||GAT DAMMIT PHILLIP YOU HAVE NO IDEA WHAT YOU DO TO MY NERVES|
|Me:||WHAT THE FUCK WHEDON|
|Me:||*Patiently waits for January*|
Being gay is not a plot point. It’s not a token that you can say, “Look, we have a gay character! Isn’t that great? Aren’t we awesome?” It’s part of a person and therefore it should be treated as such. It should be one facet of a character rather than the defining description of that character. And I hope that we have, through the writing and the performance of it, we have kind of struck that balance, where the audience learns something more about Cecil and Carlos both, not dependent on their sexuality, but in addition to their sexuality.
Cecil Baldwin (via itsacrimescene)
i think this is the part where i become a monthly WTNV donor, because i can’t even express how much i needed to read this today, needed someone to *say* this today, after spending all day and all night wading through the SPN thing and writing my article.
Being queer is not something that “serves the story.” Being queer is something that characters simply *are.* And if you’re going to have a plot point, you *always* have the option to have that plot point happen to someone who’s gay, or queer, or in the process of coming out to themselves and the world.
When you ask that gay characters and gay relationships “serve the narrative,” instead of letting the narrative serve *characters who just happen to be gay,* you essentially further marginalize queer characters who already exist at the margins; because now, not only are you (almost always, though this is getting better) asking them to exist at the edges of the narrative, you’re asking for their identity to stop being about them. You’re asking them to serve a narrative that isn’t serving them back.
I’m so happy that Cecil and Joseph and the WTNV crew have internalized this knowledge and written a character whose sexuality is just one of many fascinating facets of a fascinating universe.
You know, Fraser, when they offered me this assignment, they made it sound kind of normal. They say, “Hey, Ray, here’s a chance to start over, ditch the past.” “What’s the catch?” I say. “Oh, your partner’s Canadian.” Canadian? I got nothing against Canadians, except for the time when they won the World Series. But at no time did they say, “you’ll be working with a Mountie who’s got a wolf that’s a florist”.