2015, we don’t mean to blame these tropes on you—we’ve seen them so many times before—but with all of the really great television being written for LGBT women these days, it’s time that these lazy plotlines are a thing of the past. All we want for Christmas is to move beyond these ideas of how to implement queer characters, especially from repeat offenders like Empire, American Horror Story and Gotham.
The bisexual twist. If a character should be queer, it’s best not to keep that fact a secret until useful in some kind of surprising turn of plot. It implies that we’re the opposite of out and proud, and that our bisexuality is something we hide until it benefits us.
The womanizing lesbian. Just because we love women does not mean we love every single one of them at the same time. Note: Lesbians are not the female versions of self-centered men.
The predatory woman boss. If we’re in a position of power, that doesn’t automatically indicate we’re going to exert our authority over your body. It’s not only gross but totally illegal.
The dead queer woman. Lesbian and bisexual characters are consistently killed off in order to give heterosexual characters a chance to emote or seek revenge. Thanks but no thanks.
The pregnant ex. Not that we don’t love Shiri Appleby, but it’d be OK with us to never see another knocked up ex-girlfriend on network TV ever again. Sure, women get pregnant, but oftentimes writers don’t know how to create drama between two women unless it has to do with an unborn baby. The poor kid!
Only femmes allowed. Queer women come in all shapes, sizes, colors and styles. The same goes for who we’re attracted to.
The bisexual love triangle. Contrary to what TV writers seem to believe, it is completely possible for bisexual people to have one love interest at a time and be monogamous without feeling like they have to make a choice between a man or a woman. (Usually, it ends up being the man.)