#i mean not explicitly but its implied

[wish-i-were-heather]

i just made a spotify playlist abt yall

[alternishicons]

bisexual leo valdez and gay nico di angelo matching icons

artist links

🐟 / 🫧 / 🐟

🐚 / 🐋 / 🐚

🦈 / 🌊 / 🦈

[dkettchen]

Why you, yes you, should watch Unicorns (2023) on netflix right now:

single dad mechanic lad x drag queen rep

manchester rep lessgooooo

the lad has big tiddy & ass, and you WILL be seeing both

singlehandedly carrying the UK's south asian rep quota for the year and actually doing an amazing job at it due to being written & directed by relevant ingroup 👌

it is listed as a drama and some bad stuff does happen but it's got a good ending and noone dies!

I made a doesthedogdie account just so I could add to its empty trigger warning page on there bc I tried to look it up beforehand cause I'm tired of being disappointed by bummer lgbt+ dramas (which this one isn't!) and it had literally no votes on anything yet (it now does, you're welcome)

[abluescarfonwaston]

Hey... What do you think Mia called her Dad? Papa? Father? Daddy?

Because she must have been at least 9 or 10 when he died if not a little older. Like. She remembers him. Even if he was always outside the village for work she remembers him. Remembers Misty losing him. Had to explain to Maya, or maybe worse- never had to at all - why he wasn't there. How she got his sense of humor and his laugh and neither of them can be held tight by him anymore but she can hold Maya tight and maybe then he doesn't feel so far gone.

What did she call him? Did she love him? Did Maya ever get that chance?

[gay-baby-brig]

Ok so I need help. Besides Izzy struggling with his leg a little, what other disability representation was there on the show where it was actually a struggle and not just shown or hinted at. I need the episode numbers if you have them please 🥺🙏

[stardew-bajablast]

EVEN OBAMA IS SAYING IT NOW

[moonstandardtime]

i like to imagine that all my chatfics are in the same extended universe. what this implies im not sure

[junkissed]

oh thaaaat ask... yeah i recall now hehehe i'm weirdly honored that i have a brand.. also i think i sent u an ask or two that i didn't sign off cause i was worried you'd get tired of me shshfbf so i honestly have no idea what i've sent u... anyways i can't stop thinking of brutal mean brat tamer hao suddenly switching it up one day when you brat at him and he goes "oh, i'm not tying you up because i trust you to be well behaved ^_^ you're so good, baby, i love you so much ^_^" and it surprises u so much that you actually do behave ... and maybe also slip into subspace 💤

SCREAMS OH MY GOD... switch!hao but instead of switching roles or positions it's him switching from hard dom to soft dom. like the contrast is so stark from how he is normally that even though it could be the most vanilla missionary in the world, it feels just as intense as the nights where he's got you tied to the bed with a vibrator and nipple clamps on you. they're both extremes but they're so different from each other that they're both equally pleasurable. extremes in a good way yk 🫠 and both times you just get to sit there and let him take care of you, whether it's punishment for being a brat or praise for being oh so well behaved for him

[minuteminun]

nintendo and gamefreak treat your pokemon consistently challenge

like either they are sapient beings similar to humans to the point they can have conversations and be considered the same or they are hunter and farmed animals with powers making them both has weird implications

[arolesbianism]

If I had the freedom of not knowing there is going to be future new lore stuff added to oni I would do unspeakable things to so many of these guys. Or Id just make them normal guys who just sorta exist. Either or.

[mesetacadre]

how do you feel about a heavy portion of communists being ableist? sending disabled people to prison for being physically unable to work and then acting like that didn't happen doesn't make disabled people confident that communism won't hurt them just as bad as capitalism (I'm not saying billions of trillions dies from communism I'm just saying ''those who won't work won't eat'' is fucking evil especially when I see that rhetoric in modern day! You can say 'oh a wheelchair user can do teaching or archiving' but that ignores how many disabled people are bedbound or fully paralyzed!)

ARTICLE 12. In the U.S.S.R. work is a duty and a matter of honour for every able-bodied citizen, in accordance with the principle: "He who does not work, neither shall he eat."

The principle applied in the U.S.S.R. is that of socialism : "From each according to his ability, to each according to his work."

[...]

ARTICLE 120. Citizens of the U.S.S.R. have the right to maintenance in old age and also in the case of sickness or loss of capacity to work.

This right is ensured by the extensive development of social insurance of workers and employees at state expense, free medical service for the working people and the provision of a wide network of health resorts for the use of the working people.

This is the USSR's 1936 consistution, emphasis mine. Not a perfect constitution by any means, but this is very clearly antithetical to what you believe happened. Disabled people in my own country today have less rights and even less guarantees of those rights being respected. Again, the USSR was not perfect and I'm not saying it was. But you're ascribing willful malice that is embedded in marxism to circumstances that were not easily circumvented. The USSR was an imperfect state lacking in sufficient social protections, which came from times of feudalism without any kind of protection in any aspects save for the nobility, and whose collapse led to unparalleled misery and war. "He who does not work shall not eat" never included disabled people. It's a slogan, and slogans are not nuanced. What the USSR never did was enshrine that slogan into law literally, it always explicitly addressed able-bodied people.

Let's also look at a more modern constitution, Cuba's, from 2019

ARTICLE 42. All people are equal before the law, recieve the same protection and treatment from authorities and enjoy the same rights, freedoms and opportunities, without discrimination on the basis of sex, gender, sexual orientation, gender identity, age, ethnic origin, skin color, religious faith, disability, national or territorial origin, or any other condition or personal circumstance that implies a harmful distinction before human dignity.

All have the right to enjoy the same public spaces and establishments.

Likewise, receive the same salary for the same work, without any discrimination.

The violation of the principle of equality is outlawed and is sanctioned by law.

[...]

ARTICLE 64. The right to work is recognized. The person in condition to work has a right to obtain dignified employment, corresponding to their selection, qualification, aptitude, and economic and societal requirements.

ARTICLE 65. Every person has a right for their work to be compensated as a function of its quality and quantity, expression of the socialist principle "from each according to their capacity, to each according to their work".

[...]

ARTICLE 68. The person who works has a right to social security. The State, through the system of social security, guarantees their adequate protection when they are unable to work because of age, maternity, paternity, disability, or illness.

[...]

ARTICLE 70. The State, through social assistance, protects the people without resources or refuge, not capable of working, who lack family members able to bring them help; and to families who, due to the insufficient income they recieve, if they so choose, in accordance with the law

I don't see anywhere a part that says all disabled people are jailed. Cuba definitely does have effective and real protections for all kinds of disabled people, and just like the USSR, the principle of the duty to work is not applied directly to disabled people. It's hard still to find information on the practical application of disability protection that's not funded by Radio Free Whatever, but here's an article about Cuba's:

[horse-girl-anthy]

Revolutionary Girl Utena: Gender in Context

beneath the cut, I discuss the RGU's portrayal of gender in the context of 1990s Japan.

in Ikuhara's interview with Mari Kotani, he stated that in traditional Japanese society, "prince" meant "patriarch." the same is true in Western societies--there was a time when a prince would be an heir to a royal line. by 1997, this meaning had died out of large parts of the world. even the association between princes and traditional masculinity was fading. Saionji, the weakest, most pathetic man in the show, is a parody of historical Japanese masculinity, with his kendo and his blatantly regressive beliefs about women.

in RGU, prince may still mean patriarch, but in a far more subtle fashion. Ikuhara and Kotani discussed the changing expectations for men in the latter half of the 20th century--it became gauche to fight over a woman with one's brawn, so instead, power struggles were played out in the arena of looks and sex appeal. one can see this reflected in the character Akio, whose power as a prince arises from his ability to turn "easy sensual pleasure based on dependency" "into a selling point with which to control people."

Akio has his moments of showboating masculinity, but when preying on Utena, he operates by making himself seem non-threatening and soft.

not only that, but he purports to want to allow students to express their individuality and thus approves of Utena's masculine form of dress. this is a front--by the end of the show, he's telling Utena that girls shouldn't wield swords. thus, through Akio's character, the show argues that traditionalist patriarchy in Japan isn't gone, but instead has only been papered over with false progressivism.

with all that said, there seems to be more to the character. he's taken the family name of his fiance, Kanae, and whatever material power he has in the school is dependent upon her family. in Japanese society, this is considered a humiliating position to be in, something that only a shameless man would do. the show never gives the audience any insight into how Akio feels about this--is he unbothered entirely, or are his actions against the Ohtori family an expression of his repressed anger? does he harm the children under his care to compensate for his humiliation?

this aspect of Akio's character may seem irrelevant in light of the larger, immaterial social forces at work in the show. however, I would argue that it was included for a reason. Akio, despite his status as ultimate patriarch of Ohtori, is in fact a highly emasculated character, to the point where lead writer Enokido even said that he is driven by an infantile mother complex.

to explain why Akio was portrayed this way, we have to discuss Japanese history. the nation suffered a major defeat in WWII and was forced to accept whatever terms the United States laid out for it. for an examination of how the Japanese have never truly processed those events and have plunged into modernity with reckless abandon, I recommend Satoshi Kon's Paranoia Agent. to sum it up briefly, in a very short period, the nation regained its economic footing, and by the 1980s had the largest gross national product in the world. this economic boom may have allowed Japan to maintain a sense of sovereignty, dignity, and power, but it was inherently fragile.

the infamous "bubble economy" lasted from 1986 to 1991. during this time, anything seemed possible; financial struggles appeared to be a thing of the past, and capitalist excess reached new heights. the ghosts of this period can be felt across Japanese media; for instance, think of the final shot of Grave of the Fireflies (1998), where the two dead children look down on Kobe, glowing an eerie green to imply its impermanence. the abandoned theme park from Spirited Away (2001) is explicitly referred to as a leftover from the previous century, when many attractions were built and then tossed aside in a few short years.

the bubble popped in 1992, leaving an entire generation feeling cheated. the bright futures they'd been promised, which had actually materialized for their parents and older siblings, had been lost to them overnight. economic crises are often accompanied by gender panics. to quote from Masculinities in Japan, "The recession brought with itself worsening employment conditions, undermining the system of lifelong employment and men’s status of breadwinners in general. The unemployment rate was rising, and although it never reached crisis levels, men could no longer feel safe in their salaryman status. Their situation was further complicated by the rising number of (married) women entering the workforce."

with this in mind, Akio's character can be taken as a representation of masculinity in crisis in 90s Japan. he's forced to rely on women for his position in life and has failed to save his only relative, Anthy. he tries to escape his misery through hedonism, perhaps an allegorical representation of how men tried to maintain their old standard of living after the economic bubble burst.

but of course, Akio is not the main character of RGU--the story is about girls. mangaka Yamada Reiji discussed the series in the context of the 90s, stating the following:

while I opened this essay by discussing the prince, the same points could be made about the princess. despite the increasing irrelevance of royalty, princess is still an important concept. how does it relate to the socioeconomic landscape of the 90s?

in Yamada's view, RGU is full of relics of the 80s; for instance, the figure of the ojou-sama, an entitled young woman who never lifts a finger for herself. during the economic bubble, it was increasingly common for women to be entirely taken care of by the men in their lives. Yamada names Nanami as a clear ojou-sama type character: she weaponizes her femininity, demanding to be rescued, doted on, and served.

however, by 1997, the ojou-sama could no longer expect to get what she wanted. from the 80s to the 90s, the percentage of women in the workforce increased around 15%; it was no longer viable for most women to be "kept" by their families. as the men experienced the humiliation of not being able to provide for their wives and children, women were undergoing a disillusionment of their own.

Yamada blames Disney for creating the ideological structure which led women astray. obviously, the company is known for its films about princes rescuing princesses. in Yamada's recounting, during the 80s, the company was infiltrating Japan through its theme parks as well; across the country, Disneylands were opening up, and people were buying into the escapism the corporation offered. Japan, as America, became a country of eternal children. its people were waiting for a prince to appear and save them.

but fairy tales can't stave off reality forever. Yamada claims that RGU embodies the rage of young women who woke up one day and realized that they had been raised on a lie. this anger pervades the work from beginning to end.

though RGU was created in a particular social context, its lessons can be extrapolated to any time and place. as the first ending tells us:

I hope this essay helped provide more context for the series. thanks for reading!

[linkcharacter]

Oh I have so many thoughts on aroace Curly, I think it brings so much on the table when analyzing the game's story.

Amanormativity ties in with the reoccurring mentions of the nuclear family, from Wrong Organ making 1950s mock advert posters, to Swansea talking about how getting a wife and kids didn't bring him any fulfillment in life.

In the cake cutting nightmare sequence, where Jimmy talks with Dream Curly about the mediocre cake, Dream Curly begins to talk about how sometimes you can only get the subpar stuff in live. Sometimes he'll get promoted, buy a house, fall in love. But other times he'll just have some awful fucking cake with his friend.

I think there is that subtle implication that Jimmy does buy into Amanormativity, with him projecting his beliefs on Dream Curly that a platonic relationship is lesser then a romantic one. But we never see Curly suggesting that he wants such a thing in the pre-crash.

With Jimmy thinking that Curly has everything in life, except for the desire (although I think Jimmy would view it as Curly not having the skills for it) to get a romantic partner, he would heavily lean into getting the one thing that Curly couldn't get in life to one up him.

THATS EXACTLY WHAT IM THINKING!!! AMATONORMATIVITY BE DAMNED!!!!

Looking at Mouthwashing through an aroace lens is interesting

"Jimmy thinking that Curly has everything in life, except for the desire", well said, well said! And references to the nuclear family fit in very cleanly thematically for Mouthwashing.

Jimmy leaning into amatonormativity is a smart observation. Jim internalizes all the social norms and standards on what you have to do to have a normal and desirable life, who sees everything Curly has and what Jimmy wishes he had, and is offended that Curly isn't satisfied, that he has the "audacity" to be unhappy. Curly meanwhile only wishes for his life to be something he doesn't have to run from, because by all means, he has already reached a point where he should feel accomplished, but isn't. Curly doesn't want to be a freighter captain his whole life, he doesn't want to settle with his sustainable position, he just wants to be happy. Like Swansea who has reached the "ideal" outcome of his life, having a wife, kids and a good career, it will never feel as good as embracing all what society deems undesirable yet right for you.

Jimmy does imply to seeing himself as lesser as a friend, "fall in love" being a goal and a "cake with a friend" being something he "has to settle for", it's all in the subtleties with underlying themes of "what you're "supposed to want" by society's expectations" against "what feels right for you". Jimmy is frustrated that Curly is going to "leave the dirt behind him", when in actuality, letting the crew and him go is the last thing Curly wants. Curly wants to be with his friends, he deeply cares about his crew, and about his close friend.

Mouthwashing as a whole reads to me as platonic through and through. Swansea and Daisuke having such a meaningful familial bond, Curly and Anya being sweet, playful and caring without romance, Anya and Daisuke having something of a siblings dynamic are dear to me. Also it's really rare to get to see representations of "toxic friendship" in media. Its always toxic romance this, toxic yaoi that, toxic family there, however in reality, friendships aren't excluded from being as rotten and abusive as the others, yet they're often overlooked. Jim and Curly are especially unique in this way. It's very impressive how they managed to showcase Jimmy's mistreatment of Curly in such a platonic way (at least that how I read it). Jim too, like Curly, in general avoids hints at romance and attraction explicitly related to him during his gameplay, not with Curly, nor with Anya (dear god thanks for that at least). It's all spite, annoyance and parasitizing off of these two. (That man's dry and lowkey hates everyone and everything) No attraction attached, no desires except hoping it hurts.

Curly to me is very much aroace, or at least on the spectrum. Like, the trivia fact that one of Curly's fondest memories is that of his friends putting in effort to make a shitty awful cake, tells us all we need to know on how dear his friends are to him. Platonic relationships mean so much to Curly, even when it's Jimmy fucking Mouthwashing, the worst friend ever imaginable.

[squiddy-god]

hsr men manhandling pt2

(Blade, sampo, loucha)

Once again here we are, lust in my heart. The other one is quite popular so here we go with a part two<3 i really liked the way the last one turned out so i decided to do more characters, i think the next one i'm doing is gonna be female characters. Maybe a little sampo slander (i love him i promise) 

♥︎REQUESTS ARE OPEN♥︎

Cw: smut, suggestive content to nsfw, manhandling, top! Characters, dom characters, no pronouns, gn! Reader, fem/ftm/masc/mtf friendly, established relationship, implied chubby reader, rough sex, penetration, oral (you and character receiving), fuzzy handcuffs (sampo), marking (blade), stupid/silly petnames (sampo), dare i say…a bit of switch sampo??face fucking,  as always everything is consensual (very sexy) and aftercare is always given even if not explicitly mentioned 

Blade 

AUGH 

Bladie is legitimately strong as hell, but the thing is that whether he's doing it on purpose or accident depends on the situation 

Blade manhandles you a lot, he tends to be a man of few words so if he needs you moved he is moving you, if he wants affection he is moving you

Sitting next to him and he wants you sat in his lap where you should be? Hes grabbing you, hands gripping your waist as he pulls you against him

Speaking of that his kisses are quite similar, grabbing your jaw and turning your face so he can kiss you

Or a hand on the back of your head that pushes your face together, 

Blade likes having you lay on top of him and he will actually drag you on top of him 

These are things he does unintentionally that end with you getting man handled 

But let's not forget that dear bladie is a bit (read: very) feral

He is the king of manhandling, im talking he throws you on the bed type manhandling

Picking you up and pinning you to the wall while holding the backs of your knees to keep you good and folded in half.

His lower body pressed against you so you can feel how hard he his while he grinds into you 

And he KNOWS HE KNOWS what he's doing when he squishes handfuls of your soft fletch in his hands while he folds you however he likes, he knows how much it turns you on 

He's rough, rough hands and rough chipped edges that used to be smooth. Blade as a whole is a rough man and his bedroom habits are no different- his every touch and movement carries a strength and sort of force behind it 

There's a part of him that revels in the fact that his roughness turns you on, the little shudder that runs through your body when you feel his finger dig into your hips and waist 

I feel like marking plays a huge role in the manhandling actually because blade wants to see you so covered in his marks that they resemble the scars on his body 

He is covered in them, not an inch spared- and so neither will yours

Pinning you face down with his hips rutting against yours while he sucks hickeys and bites between your shoulder blades (im hilarious) and neck. 

Sampo

Him 

He is fully aware and it's on purpose 2000% 

He teases you about it relentlessly the second that he finds out, honestly he probably found out either by accident or because he was teasing you 

He runs up to you, picking you up while he kisses your stomach face buried it its softness- and when he looks up seeing how flustered you are hes already working overtime 

“Ohhhh ho ho! Now sweetcheeks don't tell me you like when ol’ sampo’s rough with ya” 

He's so mean! He bullies you honestly and he doesn't even feel bad! 

SHOVES HIS COLD HANDS UNDER YOUR SHIRT AND JUST HOLDS YOU THERE SO YOU CAN'T ESCAPE! The meanie! And it never lasts being cute either because it turns into him grabbing your tummy and waist, then hes going for your chest and oops his hands are in your pants and he's using you to the nearest secluded spot 

a lot of his manhandling comes from squishing and squeezing you 

He's a tummy and thigh man and i won't be taking criticism because im right- aha told me themselves 

He loves and adores your tummy and thighs, squeezing, groping, he really can't get enough and that leads to him manhandling you

Like i said lust in my heart- so im gonna need you to hear me out on this one guys i need, and i mean NEED sampo in one of those sexy cop costumes 

See it's funny because he is a criminal- 

But like he's pinning you down, the sound of clicking as he cuffs you with the fuzzy handcuffs before he is jerking your his back to slot oh so perfectly against his 

I feel like sampo kinda likes when you man handle him a bit too (i wanna grab his bewbs) and he wouldn't mind if YOU were the one in the sexy cop costume, the short shorts showing off the thighs he loves so much as he lets you pin and cuff him~ 

Sampo likes face fucking and its one of the ways he manhandles you. moving your head up and down on his length while he has the nerve to coo at you 

You can feel his hands cradle your head and you already know what's coming (him lmao) “come on love-bug wanna give poor sampo a treat?” and its the way he sounds almost desperate that has you always nodding your head as you feel his fingers tighten before he's pushing you all the way down 

I hate him <3 (i'm a big liar)

Loucha 

Now here me out this man is a gentleman

Wouldn't dream of manhandling you because he is oh so gentle, so sweet to you its almost- almost suspicious

That being said when he does it's on purpose

For all his gentlemanly acts there is something writhing just below the surface, the most miniscule glint in his eyes and the slight amount of extra pressure in his hand as he guides you with him through the streets 

But he is a man with seemingly infinite self control 

But thats only what it seems like

Even one with an abundance (haha) of patience can sometimes have said patience grow thin, its times like this that loucha takes it upon himself to remind you that things are often not as they appear

 Fear not however, most of his “frustration” comes when you try to squirm away or hide- loucha loves to see and hear you, watch your face twitch and your body write at the onslaught (abundance hahahaha) of pleasure that his hands bestow 

He keeps your hands pinned nicely above your head to make sure there is no hiding your lovely face from him, and it shows his slight sadistic streak because the way he looks down at you?

Those lovely olive green eyes looking down at you laced with something akin to condescension- as if you were so silly to attempt to hide away from his gaze,  

I think loucha is a big fan of you riding him, his hands able to grip fistfull of your plush hips and thighs when your legs start to burn and he can manhandle you up and down his length to his heart's content  

And he just coos up at you, voice rumbling as he holds you tight again him and all but slams his hips forward, the languid movement of his hips has stopped and been replaced with the deep bruising movements that have you clawing at his back and the sheets 

“Ah ah my sweet, my mercy has a limit when you have denied me the pleasure of seeing you like this” and you realize through the way his hands roughly grasp at every soft inch of you that it was indeed mercy, but the way he all but moans out his desire to simply see you writhe like this beneath him makes it all the sweeter to test the limits of said mercy 

[teefigotem]

sorry i'm on a Murderbot Diaries kick again so y'all are getting meta. thinking about that one scene in Network Effect that everyone talks about. you know, the “who the fuck are you” “this is nonstandard communication” aka the one where Three discovers the concept of eldritch horror for the first time. beautiful scene 10/10 no notes.

that being said i’m also thinking about a take i’ve seen a few times saying that ART was way scarier to Three than it was to Murderbot and like. I don’t think that’s completely true. not to say that ART wasn’t mean or scary to Three — being told that someone might peel away your organic parts piece by piece will in fact be terrifying any way you spin in.

but like. okay. ART and Three come to an understanding very quickly in NE, arguably quicker than Murderbot and ART in AC. and some of that is due to the difference in Murderbot and Three’s personalities, but i think a lot of that is due to how ART approaches each situation.

(more under the cut)

so like okay. when ART and Murderbot first meet, Murderbot is entirely a wildcard coming aboard ART, and ART responds the way you would to an unknown, unpredictable threat, i.e. with a blatant but somewhat ambiguous show of force. by dropping its walls ART is doing the equivalent of like. brandishing a powerful weapon in your face. it doesn't explicitly tell Murderbot that it will hurt it. in fact, the only things it says to Murderbot are to tell it that it knows that it's a rogue SecUnit and to warn Murderbot not to hack it. this is the type of approach you'd take with someone who you aren't sure even has the capacity to be reasoned with - it demonstrates that it could crush Murderbot like a bug, because this is the only thing it's confident Murderbot will respond to.

the problem with this, from Murderbot's POV, is that, because the threat is implied rather than explicitly stated, there's no reassurance that if Murderbot doesn't try to hack ART then ART will leave it alone in turn. in fact, it spends the moments after this interaction spiraling about what ART wants with it and whether ART specifically let it on board to torture or kill it. i don't think that was ART's intention with the threat, i think it genuinely did not have the context to realize that Murderbot would take the show of force more as a threat of imminent violence than as a warning against attacking it. but, since it didn't have that context, it approached that interaction like one would approach someone with whom you don't see as an equal and don't have any interest in reasoning with.

contrast that to how ART interacts with Three. on the surface, what it says is scarier. its threats are certainly more violent. but they are also explicitly stated if/then statements: if you hurt these humans, then i will do xyz to you. i do know that in mathematical logic there's still no guarantee made in if/then statements that the then won't come to pass regardless, but the specificity of both the threat and the guidelines provides Three with parameters to follow, and implies that if it does then no harm will come to it.

this was notable to me because ART speaks to Three like a person to be negotiated with from the beginning, and that's. well. because it knows enough by now to know that Three is a person, in a way that i'm not sure it knew about Murderbot before seeing Murderbot's memory files of the governor module. it knows before speaking to them that both Murderbot and Three are rogue SecUnits, but its understanding of what a rogue SecUnit is, what it is capable of, and what it might do has profoundly changed between two interactions. even in their first interaction ART treats Three like a person who may be capable of being dangerous, rather than like a loose cannon who could mindlessly commit violence at any minute.

[roomwithavoid]

one of my favorite things about bob’s burgers is how realistically diverse it is. not only are there lots of characters in the background of different races, but even characters of the same race have different undertones to their skin. plus a lot of the main characters have it casually brought up that they’re some sort of minority. bob says he’s “*mostly* straight.” tammy is jewish. mort is presumably jewish. marshmallow is trans. nat is a lesbian. jimmy jr has a speech impediment. one of the members of the beta frat has a droopy eyelid. gayle is heavily implied to have severe ocd, and linda is incredibly loving and patient with her about it. the belcher family often says things that imply they’re queer. gene interchangeably refers to himself as both a boy and a girl. louise doesn’t connect with girlhood. even personal headcanons in the community such as tina being a trans girl are supported by the official accounts retweeting fanart of the belchers with pride flags.

i just love how real it is about its diversity. because you will just meet a bunch of different people with these traits in your life! and they’re only occasionally explicitly called attention to, because in real life you don’t usually call attention to these things! idk it just makes me so happy. i’m happy there’s not an episode where the belchers have to learn what a gay person is, and instead they just have gay people who exist in their lives, yknow what i mean?