#represenation

-Crossdressing

-So many m/m kisses

-Ship tension

-Leslie was heavily implied as gay

-The thing with Rob

-Hot Dog Guy

-M/M proposals

It didn’t take off but I’m a little excited to see some people also enjoy my bits of happiness from this movie. So I will make more. 

11). Camilo coming in at number one again but this time because of his singing. During We Don’t Talk About Bruno he sings a creepy description of Bruno. The way his voice scratches and he sings these lyrics scratch my brain. If I could ask Rhenzy Feliz to cover the whole song with the same energy I would. Brain scratches for daaaayz. 

12). Dolores covering her ears and her squeak. The squeak is a noise made about gossip or secrets. From what I’ve seen it can mean either or both. Whether it depends on generation or area I don’t know. However many people are smart or from from these areas could probably tell though. I relate to the ear covering. I have autism. The type where I’m too normal for autistic people and too autistic for normal people (help). If something is terribly loud, I’ll do a similar flinch in reaction and cover to lessen the pain. 

13). Antonio’s south American jaguar! A giant cat turns obedient housecat for a special little boy. It’s adorable to me. I love animals and I have some qualifications with working with animals too. In my country you can see rescued big cats in the zoos. (The zoos here are built like sanctuaries, you are trapped in your car driving through their land). Jaguar’s live in areas like rainforests around the Amazon, the Svanna or grasslands in Colombia. 

14). Speaking of Jaguars I love it when Antonio gives his Tio Bruno his special plushie “for the nerves”. The bewilderment on Bruno’s face is cute. He is a pretty man. 

15). The triplets being mixed in appearance! I am mixed. It is not Latin but it is from three countries. The genetics with me and my siblings are similar. I’m more like Pepa who is the whitest one born, youngest is like Bruno who is somewhere in between and our eldest is like Julieta who has a stronger resemblance than the previous two. 

16). Still with the triplets I love the hug. Look at that seven foot framed beast of a rat man being lifted up for a group hug. I honestly thought he was slouching until I watched the full movie. No he’s standing, he’s just short. 

Bonus, Julieta’s espando joining in on a group hug. 

17). Espadrilles! Many people may actually know this by a different name as they are a common summer shoe in other countries. 

18). I love Luisa. We do not see many tall nor thick muscled women in media. At the same time as being strong and big, she is also this sensitive and elegante woman. The validation she receives when she admits to crying or lets herself break briefly to hug Mirabel for comfort is wonderful. Not every big strong woman has to be cold or scary. They can be Luisa! Look at the hip sway. 

19). Arepas con Queso. I love cheese. I love cooking. Finding out new recipes is fun. I’m not sure how these slipped mind considering the amount of documents I read and documentaries I watched. Brain too full? Overflowing?  Bonus is Julieta flipping things by hand. I’m not sure why this isn’t as common where I live. My family from one side do it but that’s probably because they’ve got the fingers to. I somewhat do with light cooking but I can’t do what they do. SOME DIP THEIR FINGERS IN HOT OIL. 

20). The butterflies. Colombia is home to over thousands of species of butterfly and the colours have meanings to people. The yellow butterfly for example is a butterfly we see frequently throughout the film. They signify hope, love and peace. Fun fact: the meaning of the yellow butterfly extends throughout different places, some places see them as symbols of happiness and other places see them as symbols of rebirth. 

Yes, I successfully found gifs for each other my numbers in this post! Each has an example now! I have so much more to share so please, let me know if you are interested in another part. 

Series like Orange is the New Black and The L Word pioneered the contemporary lesbian revolution on television by introducing us to entire casts of queer characters and relationships. Characters like Shane and Piper were beloved and revolutionary to an audience that could relate to the experience of being white and queer, but for a BIPOC audience, the portrayals were often tragic, unrealistic, or insignificant. Although these shows exist in the LGTBQ+ television canon, having predominantly white producers and writers leads to myopic portrayals of BIPOC characters. Orange is the New Black was praised for its range of representation but where that diversity ended--and was needed--was the Writer’s Room.

While the show struggled to portray its BIPOC characters with dignity, Piper, the protagonist, profited from the system in a way her BIPOC counterparts did not. Criticism grew louder with the death of beloved character, Poussey, and continued for its treatment, of the remaining BIPOC women and queer-identifying characters. Similarly, The L Word has been criticized for its treatment of BIPOC characters (the few they had were either killed or reduced to stereotypes), and specifically the show’s handling of bisexual and transgender characters.

The television industry tried to answer the criticism by introducing new BIPOC queer characters to its larger casts. Rosa Diaz from Brooklyn 99 came out as bisexual in the fifth season of the show, with an entire episode centered around her coming out to her Hispanic parents---highlighting a culture where homosexuality is often not accepted. Kat from The Bold Type came out as queer---a pivot from the standard formula we’ve seen of shows that star women navigating a big city like New York. After her first relationship with a woman, she further explores her sexuality within an open relationship. Then there’s Eric Effiong, the bestfriend of the straight protagonist, Otis Millburn from Sex Education. His sexuality is never troped but instead, is a facet of a charming and complex teenager. While this is a step in the right direction, the problem remains that BIPOC characters are often minimized in favor of their heteronormative, white counterparts. We see this in shows like Shrill, a comedy series that offers a variety of BIPOC queer characters, but reduces them to stereotypes to play off of the complexities of the protagonist, a heterosexual white woman.

Characters often lack authenticity, a problem that stems in part from the lack of representation in producer and writer roles. A significant moment, in which Kat is arrested for trying to stand up for Adena, is lost as writers fail to acknowledge what a situation like that could realistically look like for someone like Kat. Love, Victor which attempts to show the struggles of Latin protagonist, Victor, by giving him a traditional Latinx family to come out to, falls short at portraying an authentic experience. Both producers of Love, Victor are white, but contrast that with One Day at a Time, a series co-produced by Gloria Calderòn Kellet, who is Cuban. The series, about a Cuban American family--one member being the queer daughter, Elena--is rich with cultural authenticity. This is showcased in the way the Alvarez family, especially the younger generation, interacts with cultural traditions, like Elena’s resistance to a traditional Quinceañera because of its misogynistic history. Kellet also made sure to have a predominantly Latinx writing staff for the show. 

There are a few series who have taken the lead in portraying nuanced queer relationships and identities with a BIPOC protagonist. High Fidelity stars Zoë Kravitz as Rob, a biracial Black queer woman, who keeps a list of her “Top 5 Heartbreaks,” including a woman. While the show explores Rob’s relationships with men more thoroughly, that doesn’t negate Rob’s queer identity. In Vida, Emma is a queer Chicana, kicked out of her home as a teenager by her mother for her identity and she later returns to her old neighborhood to help run the family bar after her mother’s death to reconcile with the emotional damage her mother left behind. Emma’s identity is fluid and she finds herself having to defend her queerness at a table full of fellow queer women. Known as “identity policing,” this moment shines a light on the complexities within LGBTQ+ communities. Twenties is another series we see with a BIPOC, queer protagonist. Hattie, a character based on show writer Lena Waithe, boldly navigates the entertainment industry by defying the norms of what it means to create good work as a Black creator while also navigating within a community of straight friends and unhealthy relationships. Jonica “JoJo” Gibs, the actor playing Hattie, said, “Having Hattie on TV as a masculine-presenting queer person — female — I think it’s revolutionary.” A nuanced portrayal of queer love is explored thoroughly in Euphoria with Rue and Jules.  The show’s portrayal of a relationship on television between a cis woman and transwoman, especially one that is interracial, is not a dynamic we see often. Each of the above-mentioned characters are multifaceted and rooted in their cultural and queer identity. But being a revolutionary character in television can isolate them as the example for what it means to have a certain identity or a certain experience. Emma’s story is not the epitome of what it’s like to be queer Chicana woman living in Los Angeles. Kat’s is not the only story for a biracial Black queer woman in New York. 

can i just say— todd chavez has an amazing role as an asexual charcter? during the third season where he’s reunited with emily he feels confused and doesn’t want to be intimate even though it’s obvious he’s happy to see her.

even when he didn’t know what being asexual was he showed it trough escaping/cringing at the thought of intimacy.

he reminds me of when i was in sophmore year of high school. i never thought i could feel things especially the thought of intimacy not being in my range. i thought i was aro and ace until i got to a sense of longing and wanted to be loved. but the intimacy part still scared me.

Passion in ethics

‘Take an action allow’d to be vicious . . . Wilful murder, for instance. Examine it in all lights, and see if you can find that matter of fact, or real existence, which you call vice. In whichever way you take it, you find only certain passions, motives, volitions and thoughts. There is no other matter of fact in the case. The vice entirely escapes you, as long as you consider the object . . . You never can find it, till you turn your reflexion into your own breast, and find a sentiment of disapprobation, which arises in you, towards this action. Here is a matter of fact; but ‘tis the object of feeling, not of reason. It lies in yourself, not in the object.’ — David Hume, A Treatise of Human Nature

(Pictured: David Hume’s statue sits in front of St Giles Cathedral, Edinburgh. Apparently, touching the toe will bring you good luck.)

With all this talk about justice and rationality in ethics, what should we say about the role of passion?

David Hume, a moral sentimentalist, firmly believed morality couldn’t be defined without it. Morality, he said, can’t be boiled down to external or objective facts, discoverable through reason or other modes of representation. Instead, morality is something found within us, whereby our moral sense—our response to our perception of things—allows us to define right and wrong, not empty legalities.

Why did Hume think this? To understand his position we first need to consider his ‘science of man’, which focused on our perceptions of things and their relations. To him our perceptions come in two forms: impressions (sensations, desires, passions, emotions) and ideas (copies and combinations of impressions). And with this philosophy-of-mind strategy, Hume built a desire-based theory of ethics, wherein the foundations of moral beliefs are born in impressions.

Reason alone, he thought, cannot determine a moral action but our passions can. While it’s unreasonable of me to prefer the destruction of the whole world to the scratching of my finger, it’s only immoral if I assign value to human life. Hence what we value defines the morality of our actions.

Chapters: 1/1 Fandom: Supernatural Rating: Explicit Warnings: No Archive Warnings Apply Relationships: Castiel/Dean Winchester, Castiel & Dean Winchester, Dean Winchester/Other(s) Characters: Endverse Castiel (Supernatural), Dean Winchester Additional Tags: Cas is an esthetician, Electrician Dean, Openly Bisexual Dean Winchester, Openly Gay Castiel (Supernatural), This is overly relatable, Explicit Language, Explicit Sexual Content, Dean Winchester Wears Panties, POV Dean Winchester, Dean discovers himself, Top Castiel/Bottom Dean Winchester, Don't seduce your service providers, Dean likes being smooth, unlikely friends, Friends to Lovers, Dean is a disaster, Really he is a mess, This may not be for everyone, Anal Sex, Anal Fingering, Talks about prep, Brief Dean with other people, Brief Dean with Aaron, Fluff, No Angst, Complete, Ficlet, Satin Seduction Winchester Style, Rimming, bjs, Sex in a waxing salon, Panty Kink Summary:

Dean's been out of the closet for two years now. He's a happy and open bisexual. Not wanting to assume when he gets asked out for his date with a man, Dean decides to go get a wax. The experience is a life-changing one from the man doing the wax to the end result. An unlikely friendship is hatched between the two when Dean calls the only man he knows who he can ask an odd favor. After months of texts, waxes, and grabbings beers a couple of nights a week, their friendship begins to change. Will Dean fall for the beautiful esthetician named Cas the same way he does his smooth skin?