Colin Fitzgerald, the novel’s second protagonist, is a dynamic and round character defined by the tension between his external persona and his hidden inner world. On the surface, Fitz is a star hockey player, fitting into Briar’s jock-centric social hierarchy. However, he is fundamentally an introvert and an artist, a “nerd masquerading as a god” (15) who prefers video games and his sketchbook to parties. This internal conflict between his public role and private self is symbolized by his tattoos and artwork, which represent the creative and emotional depth he keeps carefully guarded. His primary motivation is to maintain this emotional distance, a defense mechanism he developed in response to his parents’ toxic divorce, during which his feelings were weaponized by both sides. He dealt with this trauma “by becoming invisible” (264) and avoiding conflict, which manifests in his initial tendency to run from any emotionally charged situation, particularly his attraction to Summer.

Fitz’s character arc is driven by his relationship with Summer, which forces him to confront his prejudices and emotional reticence. Initially, he dismisses her as “fluff” and “surface level” (27), a judgment based on stereotypes associated with her interest in fashion and sorority life. He uses these labels to create distance and convince himself not to get involved with someone so overtly his opposite. As he spends more time with her, he is compelled to see beyond his own biases and recognize her intelligence, loyalty, and vulnerability. Summer effectively becomes his muse, not just for the character in his video game, but as the catalyst for his own emotional growth. She challenges his withdrawn nature, pulling him into the kind of drama he loathes but which ultimately forces him to engage with the world and his own feelings more directly.

His transformation is marked by a shift from avoidance to active engagement. In the beginning, he physically distances himself from Summer. By the end, he is defending her honor by physically confronting both Davey at the bar and the condescending billionaire Kamal Jain at the fundraiser. These moments of public confrontation, while uncomfortable for him, signify his willingness to step out of the shadows for her. His most significant development is verbal. After a lifetime of being “bad at expressing myself” (234), he learns to articulate his feelings, culminating in his confession of love. This verbal vulnerability is the final step in breaking the emotional habits of his childhood, showing that he is willing to risk the emotional exposure he once feared in order to be with Summer.

Hunter is a key secondary character and a classic foil to Fitz. As a fellow hockey player and roommate, he possesses many of the same external markers of status as Fitz, but his personality is markedly different. Hunter is direct, confident, and sexually forward, comfortable with the attention that comes with being a Briar athlete. Where Fitz is hesitant and emotionally guarded, Hunter is decisive and transparent about his desires, telling Fitz directly, “I’m into her” (171) when discussing Summer. This straightforwardness provides a stark contrast to Fitz’s internal conflict and avoidance, showing Fitz’s insecurities and making the central romantic conflict more acute.

Initially, Hunter shows a viable, less complicated romantic option for Summer. He appreciates her for who she is without judgment and engages with her in easy, flirtatious banter. His role in the love triangle is essential, as Summer’s decision to accept a date with him forces the climactic emotional confrontation between her and Fitz. While his development is largely static, his character is not flat; his reaction to being rejected for Fitz reveals a layer of genuine hurt beneath his playboy exterior. His drunken, passive-aggressive confrontation with Fitz and his subsequent coldness demonstrate that his feelings for Summer were more than superficial. His eventual, grudging acceptance of the situation—“Don’t worry, Fitz, I’ll get over it” (278)—serves to resolve his role in the conflict, laying the groundwork for his turn as the protagonist of Kennedy’s third novel in the Briar U series, The Play.

Brenna Jensen functions as Summer’s primary confidante and a mentor figure within the social landscape of Briar University. As the daughter of the head hockey coach, she possesses an insider’s knowledge and a cynical, world-weary perspective that complements and grounds Summer’s more effervescent personality. Brenna is characterized by her sharp wit, fierce loyalty, and a confrontational nature that refuses to tolerate disrespect. From their first meeting, she establishes herself as a pragmatic and unfiltered source of advice for Summer, validating her feelings of hurt over Fitz’s comments while also pushing her to face her problems head-on.

Her role is important in providing both emotional support and plot exposition. Through her, Summer (and the reader) gains insight into the hockey team’s dynamics and the reputations of players like Jake Connelly. Brenna’s staunch defense of Summer and her feminist takedown of men who shame women for their sexuality, as seen during the confrontation at Malone’s, reinforces the novel’s critique of gendered double standards. Although she is a static character, her unwavering support and blunt honesty make her an essential ally for Summer, representing a model of female friendship based on unconditional acceptance rather than the conditional, judgmental sisterhood offered by the Kappa sorority.

Mike Hollis is a flat, static character who serves almost exclusively as comic relief. As the third roommate in the townhouse, he embodies the stereotypical “bro” archetype: goofy, perpetually horny, and endearingly obnoxious. His dialogue is filled with crass one-liners and malapropisms, providing levity during moments of tension between the other characters. His unrequited and frequently rebuffed crush on Brenna Jensen is a running gag that further establishes his role as the lovable buffoon.

Despite his immaturity, Hollis demonstrates a core of loyalty to his friends. It is his idea to celebrate Fitz’s job interview, and he often attempts to mediate, albeit ineffectively, the arguments between Fitz and Hunter or Fitz and Summer. His instigation of the Spin the Bottle game is a key plot device, creating the forced proximity that leads to Summer and Fitz’s first kiss. While he does not undergo any significant personal development, his consistent presence helps to flesh out the group dynamic and adds a necessary layer of humor to the household.

Erik Laurie is a primary antagonist and a flat, static character whose role in the narrative illustrates Institutional Protection of Harmful Behavior. As a celebrated former fashion editor teaching at Briar, his high status and charismatic persona initially mask his predatory nature. He uses his authority to create an imbalance of power with his female students, engaging in behavior that is ‘a little too friendly,’ including inappropriate touching and constant winking. When Summer rejects his sexual advance, his vanity is wounded, and he immediately retaliates by abusing his professorial power.

Laurie’s decision to publicly humiliate Summer by dissecting her D-minus midterm in front of the class is a calculated act of revenge, designed to punish her for her rejection and reassert his dominance. His subsequent sexual assault on Nora Ridgeway demonstrates a clear pattern of predatory behavior and an escalation of his sense of entitlement. His character is a critique of powerful men in academia who exploit their positions for personal and sexual gratification, confident that their reputation will protect them from consequences.