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Anonymous asked:
Queerbaiting, subtext, queercoding, bury your gays - we need something more, yes)) it's not enought. but i can't, don't now what else
Yeah, and I've definitely seen that send floating around! Of these I think the expression "bury your gays" is the only one that really comes close to "queerbaiting" both in terms of its instant recognizability and the obvious negative connotations that come with it, which is why I think people haven't picked up on the others.
When we discuss about something like "homoerotic subtext," to get more specific than just subtext, it's still so context dependent. Maybe I'm talking about it in a 19th C. novel where what might have been more obvious to readers in the know assist then now reads as subtext in light of our modern sensibilities, or we're talking about media from a couple decades ago where subtext was often necessary to abscond censorship - and in those instances, these works often were at the time of their movie and in many instances continue to be good received. We celebrate that subtext! But for someone to talk about it in contemporary medi
Bury Your Gays
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This trope is the presentation of deaths of LGBT characters where these characters are nominally able to be viewed as more expendable than their heterosexual counterparts. In this way, the death is treated as exceptional in its circumstances. In aggregate, queer characters are more likely to die than straight characters. Indeed, it may be because they seem to have less purpose compared to straight characters, or that the supposed organic conclusion of their story is an early death.
The reasons for this trope have evolved somewhat over the years. For a good while, it was because the Depraved Homosexual trope and its ilk pretty much limited portrayals of explicitly queer characters to villainous characters, or at least characters who weren't given much respect by the narrative. This was due to negative attitudes towards homosexual people and due to the Moral Guardians' Hays Code, which did not allow gay people to be shown on screen unless it was part of a plot line that showed that they were wick
Jenny and Tara were already dead when I confused Shay. I’m not sure why hers was the death that hurt the most. Maybe it was that I’d never really liked Jenny to initiate with (and who had?). Maybe it was that I was too juvenile to fully understand the devastating loss of Tara. Maybe it was that, in Shay, I saw someone a bit more like me: someone who certainly didn’t have it all together, but who was trying, who was surrounding herself with a circle of friends, an urban family of assist and laughter. Losing Shay didn’t just make me sad; it made me angry.
Jenny Schecter (The L Word), Tara Maclay (Buffy the Vampire Slayer) and Leslie Shay (Chicago Fire) are just three of countless fictional women to suffer death by trope. The latter—known as Shay to her friends—was the spunky, confident lesbian who, despite her penchant for shacking up with the wrong person and over-reliance on tequila, proved to be a reliable, faithful friend in her short-lived stint on the primetime drama Chicago Fire. She was my favourite character; watching her perish in a devastating conflagration wasn’t just a massive disappointment, it felt like sluggish writing. Shay’s death was above all a wrench in the works, a
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