What We’re Watching

Our Top 10 Shows of 2019

Our Top 10 Shows of 2019

by Cristina Escobar

2019 was the first full year of latinamedia.co and we were blessed with a bounty of riches when it came to TV. So many great shows centered women, people of color, and even the oh-so-elusive women of color. Here we’ve ranked our top ten shows of the year. Our criteria? How much we liked it (duh), its overall quality (based on our scientific quality meter), and how smart it was when it came to matters of gender, race, sexuality, etc.

10. The Good Fight

The Good Fight is the perfect show for the Trump era. It tackles breaking news and longstanding conspiracy theories (the pee tape) with equal amounts of the sincerity and absurdity of this moment. This year’s season three saw the ever-wonderful Christine Baranski as Diane Lockhart join, lead, and eventually quit a #Resistance group, with her firm Reddick, Boseman at times supporting and at times detracting from that work. We also got more of Audra McDonald as Liz Lawrence (née Reddick) plus standout performances by Cush Jumbo as Lucca Quinn and Sarah Steele as Marissa Gold. Really, the only thing that would make this show better is a guest appearance by Alan Cumming, reprising his role from The Good Wife’s Eli Gold, aka Marissa’s scheming father. Well, that and broader distribution. Who pays for CBS?

9. Crazy Ex-Girlfriend

We were sad to see Crazy Ex-Girlfriend end this year but at least it ended on its own terms, pulling off a pitch-perfect ending. With original songs each episode, Crazy Ex-Girlfriend managed to be technically difficult without ever appearing overworked. We’re talking about the show with the most nuanced depiction of mental illness on television, thanks to numbers like “Anti-Depressants Are So Not a Big Deal.” The show was intentional about its feminism (the entire premise), anti-white supremacy (see the casting of Josh Chan, Valencia’s arc, when we learn Heather’s background), and even a nuanced discussion about being bisexual (Thanks Darryl). It’s also jammed packed with jokes about Southern California, the law, and musical theater. We’ll miss Rebecca and crew but are excited to see what show creator Rachel Bloom does next.

8. Undone

With eight episodes just over the 20-minute mark, Amazon’s Undone could have been a long movie. Instead, it’s a beautiful, short, serialized journey into the mind of one Chicana. Alma, portrayed by Rosa Salazar, is bored with her San Antonio life and sabotaging up her relationships as a result when she starts traveling through time. It’s more than disconcerting at first but her dead, white father played by (Better Call) Saul aka Bob Odenkirk serves as her guide, helping Alma learn to master her power with the hope of avenging his death. There’s only one problem — it may all be in her head, part of the schizophrenia that runs in her family. With a diverse cast each delivering standout performances and cutting-edge visual techniques, Undone is prestige television at its best, engaging with Latinx themes like mestizaje to weave a wonder-filled narrative.

7. Pose

Created by Afrolatino Steven Canals in partnership with Ryan Murphy and Brad Falchuk, Pose is the real deal. The first season set records for the number of trans actors featured on a TV show and this year’s second season got rid of the obligatory white characters (we love you though Evan Peters and Kate Mara), making it even better. Pose made stars of Black Latinxs like Mj Rodriguez (congrats on the Critic’s Choice nomination!) and Indya Moore, not to mention opening the red carpet for Billy Porter, the winner of every unofficial fashion contest and of course, even official acting ones like the Emmys. And its writers’ room features the likes of Janet Mock and Our Lady J, demonstrating for those in the back, just how great TV can be when you authentically tell underrepresented stories.

6. Fleabag

Fleabag is topping a lot of lists and we love it as much as the next critic. Pheobe Waller-Bridge is an amazing talent, her comedic timing is impeccable and her writing on Fleabag (not to mention on Killing Eve) manages to be cutting, insightful, and hilarious. This year’s season follows Fleabag’s pursuit of the hot priest (Andrew Scott who you may remember as Moriarity in Benedict Cumberbatch’s Sherlock). The priest manages to be the perfect match for Fleabag — he sees her when no one else does, noticing her asides to the camera and matching her self-destruction with his own. Our only issue is how this very funny British lady gets to tell the definitive story of sleeping with your priest when her whole country left the church some 500 years ago.

5. The Good Place

Who would have thought a sitcom that regularly namedrops Immanuel Kant could actually be funny? It turns out the big questions of philosophy can make for great television in the right hands (specifically, Michael Schur’s of Parks and Rec and Brooklyn 99 fame). The Good Place delivers laughs with the stumpers, helped by the outsized charisma of its diverse cast. With an even gender split and featuring as many non-white as white characters, the six principles are loveable and flawed. We want to name a stand out performance but really all six (Kristen Bell as Eleanor Shellstrop, William Jackson Harper as Chidi Anagonye, Jameela Jamil as Tahani Al-Jamil, Manny Jacinto as Jason Mendoza, D’Arcy Carden as Janet and Ted Danson as Michael) are all phenomenal and have fantastic team chemistry. We wish there was a Latinx in the mix but give The Good Place a pass as one of the only meaningful redemption arcs for women out there.

4. Russian Doll

We called it “perfect.” And indeed, Russian Doll functions as a neat little capsule of a show with eight short episodes filled with cool-girl aesthetics, rabbit holes, and memorable one-liners. One might think Russian Doll’s premise — a woman stuck repeating her 36th birthday and death shortly thereafter — could get tiring. Instead, the show allows so many ways to interpret Nadia’s plight (is she in a video game? A religious quandary? A cycle of trauma?) that we found ourselves constantly pondering new theories and eagerly waiting to hear, “Sweet birthday baby” just one more time. It helps that Natasha Lyonne appears to be playing a fantastical version of herself and is surrounded by people that actually look like New York — such as Charlie Barnett as Alan Zaveri and Greta Lee as Maxine A second season is forthcoming and we can’t wait to see how they expand on the perfectly closed and complex narrative of season one.

3. Schitt’s Creek

Schitt’s Creek has been getting a lot of attention since it migrated from Canada to the US via Netflix. We started off skeptical — rich-people-problems shows are not exactly our favorite. But after the first few episodes, Schitt’s Creek proves itself to be something greater and by this year’s third season, we’re seeing the Rose family in their most interesting iteration yet. They both have and haven’t changed — they’re still wearing their ridiculous avant-guard black-and-white outfits while still reconciling their worldly self-concepts to their new roles as citizens of Schitt’s Creek. But they’re also growing with David finding love and purpose in his store, Moira learning how to shine productively in the local theater scene, Johnny using his work ethic and experience in something worthwhile (the hotel), and Alexis learning how to value more than just status and appearance as evidenced by her getting an education and turning down that PR job. With the Roses, Schitt’s Creek has created fully fleshed out people who grow and change without betraying their problematic core. It’s a wonder to watch.

2. Jane the Virgin

We love Jane the Virgin. Yes, it ticked all of our boxes by centering Latinas as we see ourselves, family-oriented with big dreams, trying to find love and happiness while navigating the intricacies of class, religion, race, etc.. We’re talking the human condition here and Jane had lots of that, resisting stereotypes even as it revealed in its telenovela cheesiness. We particularly loved Jaime Camil’s Rogelio De La Vega who managed to be hilarious, desirable, silly, and vain all at the same time. Jane ended this year with a heartbreaking opening arc (really, Michael coming back from the dead couldn’t be more devastating) and concluded by taking care of the Villanuevas with commercial and personal success all around (how can I get a book deal like that?). We’ll be rewatching this one for years to come.

1. Vida

Vida was the best show of the year. Sexy. Thought-provoking. And most importantly for us, Latinx. In season two, the Hernandez sisters (Mishel Prada as Emma and Melissa Barrera as Lyn) are back in Boyle Heights for good, determined to make the bar and building profitable as they figure out what it means to make a new life in the old neighborhood. This year continues the trajectory of the first, exploring gentrification, racial identity, and sexuality with complexity and nuance. Season two is our favorite so far, with visually stunning set pieces like the after-hours party and sex scene between Emma and Roberta Colindrez’s Nico. It also benefits from being able to complicate many of its characters, particularly Chelsea Rendon’s Marisol who struggles with her sexuality, beliefs, and ambitions that pits her both with and against the sisters. Luckily, Vida’s already been renewed who knows it may just top our 2020 list too.

FacebookTwitter
“Charmed” without Feminism is Terrible

I’m sad about Charmed or, to be more specific, season two of the Charmed reboot. Like the upcoming Party of Five update, this Charmed replaces the original white family with a brown one to create something new. I was excited and tore through the first season, telling everyone to watch it (not to say there weren’t problems — like only one of the three leads actually identifying as Latina). Despite my enthusiasm, ratings were not great and attention scarce. The powers that be at CW decided to reboot the reboot, replacing the showrunners and premise. I’ve been watching this season live and now that it’s a third of the way through, I’m ready to call it: it’s terrible.

The first season was billed as purposefully “feminist,” a slant that gave it much of its joy and depth. There were jokes about incels, manic pixie dream girls, and Roxane Gay’s twitter feed. There was also a withering look at rape culture, a re-writing of the Medusa myth, and thoughtful commentary on #MeToo. In the first season, feminism grounded both the show’s off-hand jokes and its larger themes. In the second season, the feminist point of view is gone. Yes, the premise is still three-sisters-must-save-the-world. But I’m trying to think of at least one joke from the last seven episodes and literally, nothing comes to mind. In contrast, I remember plenty of funny moments from the first season and I watched it months ago.

Part of the problem is the change of setting. Last season took place on a college campus. Universities are ripe landscapes, a mecca for youth to ponder “big” questions, debating what society should look like. The second season, in contrast, takes place in a co-working space. And while the show takes jabs at the “visionaries” who work there, the budding entrepreneurs don’t say a thing. Instead, the show focuses on those who serve them — the admin personnel, the guy who runs the boxing gym, the woman who owns the (witchy) boutique. Centering these folks could be an interesting class commentary but the show doesn’t go there. In fact, it doesn’t really go anywhere. Without the backdrop of campus politics, it doesn’t have a way to make its drama-of-the-week about anything more than the plot at hand.

And that plot is not particularly interesting. Without broader meaning, Charmed needs actually compelling characters, relationships, and mysteries and it doesn’t have any of that. Rupert Evans who plays Harry was crushworthy a la Giles of Buffy in season one but his taboo romance with Macy this season is hard to care about. They don’t have much chemistry and without his role as the antiquated department chair of Women’s Studies, his personality seems to have evaporated. He’s just an above-average-looking white guy. Nothing we haven’t seen before.

Moreover, one of the central tenets of Charmed is supposed to be the “power of three,” that it takes three people, our three sisters, working together to solve the world’s problems. This collectivism demonstrates a different type of power, not of the rugged masculine power of individualism but rather the feminine power of working together But in season two, only Macy has magical powers while her sisters have lost theirs. Mel and Maggie are figuring out ways to contribute but it’s Macy’s show now. She’s at the center of most of the adventures and while I like her character, I don’t like the dynamic — one hero, some sidekicks. It’s been done. On pretty much every show ever. Without the power of three, there’s nothing that separates Charmed from other supernaturally inclined teen shows

In fact, even the Latinx premise is largely gone. They didn’t do a lot with it in season one — mostly it was just the coquitos they served in the Christmas episode — but they did explore identity. Macy was raised by her black father and identifies as Black, having not known her mestiza, Latina mom. Maggie and Mel grew up with that mom and both identity as Latina when the show starts. Later, when Maggie learns she actually shares a father with Macy and not Mel, she begins to question her racial identity, joining a Black student group and trying to figure out her place there. In season two? We don’t even get the whiff of a coquito, let alone the bigger questions.

Watching this season, I keep waiting for some of the fun to come back. To see the jokes and social commentary and personality quirks that made the first season so much fun. But it’s just drudgery now, like the faux cheer of a co-working space. Season two is a spell that doesn’t work — incantations in accented Spanish, three actresses who don’t interact very much, romance without any sex appeal, demons who are not deliciously evil or even compellingly bad. Charmed has given up on what made it charming. The magic’s gone.

FacebookTwitter
“Grey’s Anatomy” Tackles Its Biggest Drama Yet: Motherhood

“For what it’s worth, I hated maternity leave, too. And I am an excellent mother.”

Dr. Miranda Bailey drops this line in the premiere of Grey’s Anatomy’s 16th season. She’s speaking to new-mom Teddy Altman who’s hanging out in the hospital with her newborn on her maternity leave. Dr. Altman’s both bored and overwhelmed, struggling to meet her baby’s needs (diapers are tricky, babies need to eat all the time, and you can forget about sleeping) and her own expectations (aren’t women supposed to naturally love the opportunity to take care of their babies full time?).

This episode premiered just a few weeks after I’d given birth to my second child. Watching it on my own leave, I couldn’t help but relate to Altman. She acknowledges her privilege, saying “There are women the world over who would kill for the privilege of being able to stay at home with their newborn baby and know that they have a job to come back to.” And then she adds, “I know that I should be grateful, but I hate it… I have a brilliant mind with no opportunity to use it.”

Early motherhood is so physical — it’s about feeding, cuddling, worrying, and diaper changing. I’d describe these tasks as somehow hard and boring. I’d forgotten what it’s like to spend all your energy caring for a little creature who can’t so much as smile for six+ weeks. And that’s not counting the physical roller coaster that is life in the weeks after giving birth. It’s not for the faint of heart. It’s also not something that most professional experiences prepare you for. Mine certainly didn’t. Writing, working in an office, running my own business — none of those things gave me a leg up. You can’t set goals or project manage or write a beautiful phrase to nurture a newborn. You just have to be physically there and let concepts like “return on investment” leave your brain or you’ll go crazy.

Since this was my second, I knew some things about baby care. I’m a skilled swaddler and diaper changer. I know all the breastfeeding tricks. I even know, in my body and mind, that this phase will pass. That the baby will turn into a toddler and then a kid. I know the specific sweetness, the sorriness, and the joy of childrearing. And yet, I still felt overwhelmed, exhausted, bored, and helpless, all combining to give me the distinct impression that I was failing. Watching this episode, I marveled at Bailey’s confidence. I longed for the day where I too can say “I’m an excellent mother” and believe it.

Bailey’s been a force from day one. She might no longer be “The Nazi” but she’s still the hardass I root for even when she’s wrong (see the episode this season where she originally refuses to help Meredith keep her medical license — I was with her the whole way). Bailey’s son is also in high school. She’s had some time to grow into her maternal role. When she was a pregnant resident or divorcing her husband, she was noticeably less confident. Nonetheless, there she was, in season 16, loudly declaring her skill as a mother. It was classic Bailey — from a different character it could read as arrogance, but from her, it was just a statement of fact, a reminder of who she is.

A few episodes later, Bailey learns that she’s pregnant again and the doubts start to creep in. The pregnancy hormones make even the chief of surgery burst into tears. Her feet are swollen, her body tired. She wonders if she’s crazy to be doing this again. Our hyper-competent heroine seeks out also-pregnant Dr. Amelia Sheppard for advice. The pairing is telling. Sheppard often feels lost and out of control — she’s the opposite of Bailey. But she imparts some tricks (like pressing your tongue to the roof of your mouth to stop the tears) that Bailey desperately needs. Pregnancy is the great equalizer. It turns out that a new baby is enough to rattle even the most self-assured women and mothers.

This season of Grey’s has zeroed in on motherhood like never before. Grey, Sheppard, Altman, and Bailey, four of the show’s six leading ladies, have all had plot points about motherhood. In a show with this many seasons and this many couples, we’ve seen pregnancies and babies, miscarriages and abortions, but something feels different now. It’s not just the sheer number of mothers, it’s also the show’s willingness to dive into the realities and nuances of what it looks like to be a high-achieving, working mom.

You see in seasons past, we’ve generally had one pregnant doctor at a time, first with Bailey and later with Callie Torres (miss you!), Meredith (she’s three kids in), and April Kepner (pregnant twice). But when more than one character is pregnant/caring for a newborn at a time, you get to see the diversity in (professional) women’s experience. You get to see how their personal strengths and weaknesses play out in the context of motherhood.

Watching these admirable women struggle, I am comforted. They may be world-class surgeons but their mothering is not Instagram-perfect or an all-fulfilling, sappy, emotional quest. It’s a meaningful part of who they are but it alone doesn’t define them. It’s a rare and nuanced depiction. It’s also one of the only portrayals of motherhood that makes me feel both seen and hopeful.

I find Bailey aspirational in so many ways, including the way she claims motherhood and the way she’s redefining it for herself. Watching this season, I’m not just rooting for her, I’m rooting for myself and all the moms out there (both in and out of Seattle Grace). Let us all be able to declare, truthfully, that we are “excellent mothers.”

FacebookTwitter
Making Peace and Rooting for Love: the End of “The Good Place”

There’s a certain “cool girl” factor in saying I watch The Good Place for the Big Ideas and not the relationships. “I don’t care about Eleanor and ChidiI’m team Jane (not Rafael or Michael), I’m so glad Rachel Bloom ended up alone.” And while I’d argue feminism is the reason for this (women are more than their romantic entanglements), there’s still a whiff of “I’m not like other women” condescension to it.

So I’d like to come clean and admit I’m rooting for Eleanor and Chidi in this, the final season of The Good Place. Yes, there are plenty of shows that frustrate their romantic leads, pulling them apart and then back together again. And yes, what makes The Good Place different is how it explores philosophical ideas from Kant to Aquinas. But that doesn’t mean I can’t enjoy both the cliche sitcom trappings and the larger questions about the meaning of life. The combination is what makes The Good Place so genius after all.

This is a show that’s reset itself every season (if not more often) and has managed to do it well, creating believable obstacles for its main pairing. The first season we didn’t know our lovers were really in hell, the second we knew but they didn’t, on the third they were down on Earth having a second go at life, and now in the fourth and final season Eleanor is running “the good place” and Chidi, memories wiped, is just one of four humans who don’t know what’s going on. Throughout it all, Eleanor and Chidi are pulled to each other, falling in love despite their many differences and even greater obstacles.

Watching Eleanor keep her feelings for Chidi secret this season finally got me. Before this, I found their romance somewhat annoying, even rooting for Simone as a better match. This may seem cruel to Eleanor and Chidi shippers, but you have to understand, I have a complicated relationship with Eleanor Shellstrop. You see, I too, am “just a girl from Arizona.” I love all the jokes about my home state and its vapid inhabitants. But while no one’s ever called me a dirtbag (at least not to my face), Eleanor’s failings hit a little too close. Certainly, her sins are exaggerated but that doesn’t mean I can’t find a kernel of self-truth in them. For example, in high school my friends and I made T-shirts shaming a rival girl at another school. It wasn’t quite Eleanor selling the “dress bitch” T-shirts to humiliate her roommate but it wasn’t too far off either (we were both wrong).

So it’s a bit hard-won, this rooting for Eleanor’s happiness and growth. Chidi represents both and seeing her doing the work without him finally got me in her corner. It helps that in this final season we’re less exploring Big Ideas and more plot-focused. The big question of the season is, ostensibly, can humans improve? But we already know the answer having seen our four original insufferables (plus demon Ted Danson) change for the better. This new set of humans may offer some interesting test cases, particularly in Brent Norwalk, the embodiment of white male privilege. How do you goad someone to improve who thinks they’re perfect? Is there redemption for racist misogynists?

But overall we’re free to focus on the plot — how to rescue Janet, Tahani’s quest for growth, Eleanor’s heartbreak, etc. And with this new focus, I can’t help but root for Eleanor and Chidi to end up together. Simone doesn’t need him, she’s doing fine. And maybe Eleanor doesn’t either. She’s growing into her leadership role, rising to the occasion of saving all of humanity. But just because she doesn’t need him, doesn’t mean she can’t still want him.

And I want them to end up together. I’m predicting a happy ending to The Good Place with humans having access to heaven again and love finding a way. It’s the reward us girls from Arizona deserve for leaving behind our dirtbag ways.

v

FacebookTwitter
The Latinidad of Veronica Lodge

I like Riverdale. Yes, it’s a weird show. Both in tone and emphasis, it pretends that solving murder mysteries is a normal part of high school. It’s unsure of what decade it’s in, waffling between 50s-era nostalgia (Betty may not actually wear a hoop skirt, but it’s close) to modern-day plot points(see the episode where Veronica was slut-shamed online or the one on gay-conversion therapy). It is terrible at product placement with characters naming brands from lipstick to dating apps in a way that’s clearly trying to sell you something.

But these quirks give Riverdale a unique style. You know you’re in the Archie-But-Make-It-Sexy universe when you see that terribly died red hair, applique leather jackets, and high school girls at home, alone, in silk lingerie and heels. Everything is both earnest and ridiculous on Riverdale and the same is true of Veronica Lodge’s ethnicity.

Riverdale’s Veronica represents a major break from the source material — she’s not a vapid rich girl who’s biggest challenge is her shoe selection. Instead, she’s a savvy businesswoman, trying to do right despite being raised in a mob family and her former life as a mean girl. She also happens to be Latina.

Camila Mendes, who plays Veronica with charm and verve, is Brazillian-American and her TV parents Hermoine (Marisol Nichols) and Hiram (Mark Consuelos) are both played by actors with Mexican heritage. As far as I can tell, the Lodges are some sort of generic Latinx with no particular place of origin. Their Latinidad shows up in their Catholicism, their mestizo appearance, and their propensity to say “mija” as many times as possible.

Latinx/Catholic plotlines include Veronica’s confirmation and her parents getting their marriage annulled rather than divorcing. Spanglish crosses their family dining table, alternating between silly and cloying. At one point Veronica tells boyfriend Archie that her Dad doesn’t like him because Archie doesn’t speak Spanish — even though we don’t actually see her family speaking Spanish to each other, outside of you guessed it “mija.” Presumably, Veronica’s remark is actually just a coded way to say her dad would prefer her to date inside her race, which she has no chance of doing as there no eligible Latino boys on the show.

In fact, the only Latinx people we meet (and who we’re sure are Latinx) are Veronica, Hiram, and Hermoine. There are no primos, tias, or abuelas swooping in. When we meet Hiram’s mob family, they’re all white. Perhaps some of the Southside Serpents (hi Sweetpea, hi Toni, hi Fangs) are Latinx but we don’t know for sure as they don’t have the backstories (and the actors are not).

Riverdale is one of those one-of-each shows with representation from every group while still remaining white overall. There are Black and Asian and Latinx characters and maybe even Native Americans although whether an indigenous grandparent counts is unclear (just ask Elizabeth Warren). But the show’s main characters, three of the four central group, are lily white and Josie and the Pussycats aside, so is the show’s aesthetic.

I’m not saying Veronica’s latinidad is inconsequential. Certainly, I’m glad she’s in there and holding her own. It’s fun that she’s the rich out-of-towner rather than a salt-of-the-earth or girl-next-door type. That said, I’d prefer the sole Latinxs not being criminals, even in a show where nearly everyone is tainted.

I mean Betty’s Dad is a serial killer and Jughead’s is an accomplice to murder but white people (somehow) get to sin without it reflecting on their entire race. After all, Betty and Jughead’s dads are countered by Archie’s parents (RIP Luke Perry) who are 100% good and other, more ambivalent figures in the town like Sherrif Keller, not to mention the kids themselves. But the Lodges are alone. They’re the only Latinx people in Riverdale and so their story becomes the single story of an entire ethnicity. That’s why we need more than one, not just a single girl and her parents, but rather a multitude.

It’s not too late for Riverdale to deliver a more nuanced understanding of latinidad. Mishel Prada of Vida fame is set to play Veronica’s sister in the current season and I’m excited to see what she’ll bring. Perhaps some new students or visitors from New York could brown the place up. Maybe now dead Joaquin DeSantos (played by Italian Canadian Rob Raco) will have not just the pint-sized brother Ricky (played by Nico Bustamante) but more relatives, this time played by Latinx actors and with more central plotlines. Certainly, if Riverdale’s creators can set their show simultaneously in the fifties and today, they can figure out how to fit in more Latinx people.

FacebookTwitter
Motherhood and Morality: Catching Up with “Workin’ Moms”

The protagonist of Workin’ Moms is not a good person. There’s nothing particularly groundbreaking about that. Plenty of shows are about bad people and Kate’s sins are relatively minor. She’s not killing people, dealing drugs, or running a criminal enterprise. Yet, most antiheroes (and heroes to be honest) remain men and Kate’s misdeeds are particularly interesting because of the premise of her show — motherhood.

Or more precisely, working, regular motherhood. Kate and her friends may be privileged (no plotlines yet about the expense of childcare) but they’re also supposed to be relatable. The zany “other” characters sit at the show’s periphery, uttering just a few lines in the mother’s group to signal that the show’s creators know that black and brown and older mothers exist. But these women are outside the central group, not as relatable or flushed out as Kate and her friends.

The main group, of which Kate is the lead, is comprised of working, upper-class white people, struggling to be good parents, professionals, and people. It’s the last one that Kate fails at through acts big and small. She teases a toddler boy for his long hair, showing her propensity to punch down (not to mention her lack of feminist bona fides). Though technically consensual, she starts sleeping with her much younger assistant in a plotline that if the genders were reversed would have people calling for her head. She even serves as the go-to PR person for the local men’s right chapter (before eventually quitting this vile gig).

You see Kate’s ease with moral missteps are all light enough, small enough that we’re meant to forgive her, to understand. It’s the type of empathy that asks you to briefly cross ethical lines. And in Kate’s universe, most everyone crosses it with her. Her assistant comes back after the men’s rights clients are gone, seeing Kate’s willingness to work for them as a momentary lapse. Her (estranged, having cheated) husband doesn’t see a problem in Kate sleeping with her assistant — he goes so far as to support his wife, acting as her attorney when the young man sues.

The only time Kate is held accountable is for teasing the boy about his hair. The boy’s mother takes offense and uses her power as a journalist to smudge Kate’s reputation. It’s clear this transgression is different from the others — it reflects not just on Kate as a person, but her as a mother. And that distinction, that Kate can be a good mother while not being a good person is what makes Workin’ Moms so distinct.

Usually, TV moms are good or bad and their personality outside of motherhood matches nicely. There are the good moms of yore (from June Cleaver to Claire Huxtable) and their modern variations (Pose’s BlancaFriday Night Lights’ Tami Taylor), all good people through and through. There are selfish bad moms (like Betty Draper and Lucille Bluth) and criminally abusive moms (from Mommy Dearest to Carrie). But the bad person/good mom is hard to find (and the good person/bad mom seems entirely absent, while men get this characterization all the time).

Now some may argue that Kate’s not a good mom. She consistently prioritizes her career over her family. In season one, she takes an out-of-town job despite having a newborn at home. Later when she’s on a forced-leave, she hates staying home with her baby and takes a second job just to have something else to do. But Workin’ Moms doesn’t demonize her for those choices. Instead, it contextualizes them as part of how Kate struggles to be a good mother. Yes, her husband cheats on her, blaming, in part, how she puts herself (and her career) first. But not only does that not stick (he wants Kate back as soon as he’s found out), it doesn’t affect Kate’s parenting. You can be a good mother and bad partner.

Kate’s mothering may not look like June Cleaver’s but it clearly falls into the “good enough” category. In season one, we see her struggling to get her baby to latch, fighting the good fight to breastfeed, even when it’s clearly not working. Later, she’s figuring out how to co-parent after separating from her cheating husband, first denying him the ability to see his kids and then eventually granting it. By the end of season three, she’s making her toddler’s Halloween costume in a hotel bathroom, sneaking away from her sexy new lover to make sure her kid has something to wear. None of these parenting moments shows a perfect mom. But they each show a woman struggling to do right by herself and her kid.

Kate has to work at mothering, not because she’s a bad person but because she’s human. So much of the portrayal of parenthood omits these day-to-day difficulties. Instead, it’s how best to guide your kid — not how to deal with the constant pressure to subsume yourself to the cult of good motherhood.

In the second season of Workin’ Moms, we see a lot of younger Kate, learning how she met her husband, what she was like before kids. And like everyone I know in real life, Kate is the same before and after having kids. She doesn’t become a different person. Instead, she remains the funny, morally-flexible person who quips to defend herself but can’t predict when she’s about to take a joke too far.

I sympathize with Kate not for her lack of conventions but rather for her flawed nature. She’s not evil or saintly. Simply she’s imperfect and women, particularly mothers, are rarely given the chance to tell that story.

FacebookTwitter
Teen Gang Members on TV: “On My Block” and “Riverdale”

I don’t normally watch, let alone recommend, shows about gang members. Characters like that are over-represented, giving the false impression that people of color are all cholos. Yet, I found Netflix’s On My Block to be the rare show that manages to depict gangs without romanticizing or pathologizing them. And I particularly like how the show contrasts with the CW’s Riverdale, a similarly structured teen drama, where the main character who joins a gang is white.

Both shows feature a mixed group of four high school friends, navigating coming of age in their troubled communities. On My Block’s main characters are all people of color with the Afro-Latina Monse as the group’s lone girl, Cesar and Ruby representing diverse Latino experiences, and Black Jamal rounding out the group. They’re in Freeridge, a fictional South Central neighborhood of Los Angeles plagued by gang violence. In Riverdale, the central group is much paler with White Archie, Jughead, and Betty getting a bit of color with Latina Veronica. These four inhabit the titular small, picturesque town losing its innocence.

These shows have A LOT in common

On both shows, one member of the central quartet joins a gang — with vastly different results. On On My Block, Cesar’s gang membership is an obstacle, a blatant tragedy. His friends’ attempts to save him propels much of the plot. By the end of season two, he’s negotiating with his brother and gang leader Spooky to be excused from the gang’s violent duties. Meanwhile, on Riverdale, being a Southside Serpent gives Jughead power and purpose. He ends up the leader of the group, keeping his fellow gang members from dealing drugs and protecting them from gentrifiers along the way.

Take for example the initiation process. We learn that Cesar has joined the Santos gang by seeing the bruises on his abdomen, an ugly, painful sign of getting jumped in. He’s not proud of his wounds and the show doesn’t dramatize the process, letting the injury speak for itself. Meanwhile, we see each step of Jughead’s initiation, some of it silly (taking care of a cute dog, being stung by a venom-less snake), some reminiscent of joining a frat (reciting memorized group rules), and some classic hypermasculine “heroics” (surviving a punching line of fellow Snakes). In Jughead’s initiation, he stands defiant and strong, taking his punches while looking his peers in the eyes. This portrayal glamorizes the process, making the violence a chance for Jughead to show his strength of character.

Against all likelihood, Jughead becomes the leader of the Southside Serpents

In fact, violence generally is a way for the teens of Riverdale to prove themselves. They solve the murder of their classmate Jason Blossom and expose a drug kingpin in the process. They catch not one but two suspected serial killers. They cover up murders, attack people, and still run for student council. They may grapple with their “darkness” but the show portrays all this violence with the same seriousness as it does wrestling tryouts, keeping us from having to consider what it’s like to be a teenager facing violence.

On My Block has no such delusions. Its black and brown characters inhabit a place much closer to reality, where murder is not something a normal teen should have to think about. After Cesar and Monse are rolled up on by rival gang member Latrelle, Spooky tasks Cesar with killing this new threat. Cesar attempts it but in the end, balks. You see Latrelle may be a rival gang member but it wasn’t too long ago that they were classmates, peers. Not wanting to become a killer, Cesar tells Latrelle to leave Freeridge and never come back. The threat works for a while but (spoiler) Latrelle returns in the season one finale, shooting two of our principal characters, killing one.

This violence — the death of an innocent fifteen-year-old and near-death of another — does not take a single episode or arc to resolve. The horror of it gives Ruby PTSD and leaves all of our characters in mourning for the entire second season. Meanwhile, Cesar is further punished for his good deed, exiled from the gang and forced to sleep on the street between staying with friends. The adults here respond not by being impressed by the young teen’s action (like they are with Jughead’s) but rather dismayed by the circumstance. For a few episodes there, it felt like everyone was just repeating the sentiment that “no child should be in this situation.”

Cesar is literally the smallest member of the Santos

On My Block illustrates a fact — gang violence hurts the children in its wake. It does not lift them up a la Jughead becoming the leader of the Serpents. And the violence is shown for what it is — ugly, irreversible, and de-humanizing. It’s not the mystery of the week. And it’s not the defining characteristic for any of our young heroines. Monse, Cesar, Ruby, and Jamal may live in a violent world but they’re typical teens, as worried about their latest crush and parent problems as they are about the state of their neighborhood. You see in addition to gang violence, On My Block portrays a slapstick treasure hunt (with gnomes no less), the double standard around hooking up (boys get points, girls a reputation), and an on-going bit about masturbation (socks figure in heavily).

Cesar is not “The Gang Member” to his friends or the audience and neither is Jughead (whose whiteness makes this trick much easier). In fact, they’re both the only gang members in their group of friends, ensuring we see other parts of their identity. With its brown and black point of view, On My Block takes the responsibility of righting the traditional gang narrative. Meanwhile, Riverdale hyper sensationalizes and promotes harmful myths but avoids any major offenses, mostly by keeping its of-color characters out of the Serpents and positioning the group as a response to Riverdale’s classist Northside/Southside conflict. Together, these shows ask viewers to see gangs not as brown or black menaces but rather the result of structural inequality. And for that, I commend them.

FacebookTwitter
10 Netflix Shows to Watch for Hispanic Heritage Month

It’s Hispanic Heritage Month, the time the federal government has designated to celebrate latinidad. So we’re taking a moment (really September 15-October 15) to shout out our fellow Latinxs for all they do, commemorate the independence days of seven Latin American countries, and watch some Latinx folks on TV.

Yes, you are still about as likely to see an alien on screen as a Latina but that doesn’t mean there aren’t great shows out there featuring “Hispanics.” Just to make it easy, we’ve compiled a list of ten of our favorites from Netflix. After all, one subscription is all should need, right? Enjoy!

Charmed

Brujeria is in our blood, so it makes sense that Latinxs are finally getting our own TV witches. Shows like CW’s Charmed may not get as much attention as our white counterparts but that doesn’t mean they’re not just as good.

The latest Charmed is packed with feminist in-jokes and reminiscent of cult-favorite, Buffy the Vampire Slayer. The show premiered to controversy when it turned out that despite its Latinx premise, only one of the three sisters identifies as Latina (the other two are black) but don’t let that stop you. There’s plenty to enjoy in the first season now on Netflix before the second season starts October 11.

Grey’s Anatomy: Seasons 2–12

I admit it — I miss Callie Torres. The big-hearted orthopedic surgeon was an inspiration on Grey’s Anatomy, breaking bones and dancing in her underwear in seasons two through twelve. She spoke Spanish, dated (and married!) both genders, and did the most singing on the musical episode.

Actress Sara Ramirez is now doing great work over on Madame Secretaryas the butch Kat Sandoval, yet this Hispanic Heritage Month, we’re finding refuge from Trump’s America in re-visiting Callie Torres.

Jane the Virgin

Jane the Virgin recently wrapped its final season and now all five seasons are available on Netflix. If you haven’t hung out with the Villanueva family yet or you’ve simply missed the latest installment, you’re in for a treat.

The show manages to represent a type of Latinx family we all know (hard-working, women-led, multi-generational) and deal with hot button issues (immigration, Catholicism, sexuality) while never getting preachy or tired. Instead, Jane the Virgin entertains with telenovela plot twists, an epic love triangle, and a hell of a lot of empathy. I miss it already.

On My Block

A Netflix original, On My Block’s second season came out earlier this year and we love how it centers brown and black teens. Whether it’s crushing on your no-blood-relation prima or dealing with the intricacies of gang violence, the show positions our coming-of-age stories as important, funny, and valuable. The young stars run the gamut of skin tones and hair textures and their antics speak to what we all know about the pitfalls of growing up: it’s hard/awkward/ridiculous.

Now, if only Netflix would take note and make more content for and by US-born Latinxs…

One Day At A Time

One Day At A Time made headlines earlier this year when Netflix declined to renew it despite rave reviews (and perhaps strong viewing numbers). Luckily, CBS’ Pop TV has picked up the Justina Machado-helmed comedy and all the past seasons are still available to stream on Netflix.

Featuring a stand-out performance from living legend and original EGOT winner Rita Moreno, One Day At A Timegives the Latinx experience the sitcom treatment, only more brown than you’re used to.

Orange Is the New Black

Orange Is the New Black may have changed TV as we know it, ushering in the streaming era with a show elevating incarcerated women of color. It certainly catapulted the careers of Latina talent ranging from Jackie Cruz to Laura Gómez from Diane Guerrero to Selenis Leyva from Dascha Polanco to Elizabeth Rodriguez. It’s rare for any show to feature this many women of color, let alone give meaty parts to so many Latinas, and OITNB did it all while appealing to the “mainstream.”

You can binge all seven seasons now and relive the tragedy and beauty of the women of Litchfield.

Pose

Featuring a Latinx cast (MJ Rodriguez as Bianca, Indya Moore as Angel, Angel Bismark Curiel as Papi) and helmed by Latinx creator Steven Canals, Pose is making history in more ways than one. It depicts the New York ballroom scene of the early ’90s showing a community plagued by the AIDS epidemic and continuously under threat by discrimination.

Yet, Pose finds a lot of hope and beauty in its cast, helmed by the fearless do-gooder Bianca who exemplifies how a community can step up for each other. The LGBTQ drama raked in the Emmys and hopefully is just getting started.

Riverdale

The fourth season of Riverdale is set to premiere October 9 (in time for #HispanicHeritageMonth!) and in the meantime, you can catch up on the last three seasons on Netflix. The show explores the darker side of the Archie comics universe with plotlines around murder, drugs, and slut-shaming.

With Camila Mendes as Veronica, Riverdale gives us a Latina character we are not used to seeing — the richest girl in town. So friendly reminder, there’s not one Latinx experience! And the CW’s Latina characters — whether it’s Riverdale’s Veronica, Jane the Virgin’s Villanuevas, or Crazy Ex-Girlfriend’s Valencia — are here to remind you.

The West Wing: the Final Two Seasons

Remember when Jimmy Smits played Obama before Obama played Obama? No? Just me? Well, the year was 2005 and The West Wing needed an inspirational candidate to succeed President Bartlet. They chose Smits as Congressman Matt Santos, a principled, tall man of color with a relatively short resume.

Watching The West Wing (and Santos’ campaign) was always like going to an alternate universe where the people in power belonged there both because of their excellence and because they had the best interest of the country at heart. Today it feels even further from reality but it’s still nice to visit a universe where someone who looks like Julian Castro becomes President.

When They See Us

In 1989, the Central Park Jogger case captivated the nation and sent five wrongfully accused black and brown boys to prison. The narrative around the case — teenage boys of color roaming wild and attacking innocent/white folks — captured racists’ imaginations including one named Donald Trump who took out a full-page ad in the New York Times, arguing the boys should be put to death.

Ava Duvernay’s “When They See Us,” a Netflix miniseries depicting the events, sets the record straight, even getting prosecutor Elizabeth Lederer to finally face consequences for her role in the injustice (no word on the repercussions for Donald Trump). The four-part series is devastating and compelling, earning half of the four Emmy nominations afforded to Latinos this year.

Bonus: This Episode of Queer Eye

Sometimes you just want to relax and see a hard-working, activist Chicana get a great makeover. Enter the season finale of Queer Eye with protagonist Deanna Munoz. She’s the founder of the Latino Arts Festival in Kansas City and watching her journey gives us all the feels. Happy #HispanicHeritageMonth!

FacebookTwitter
“Los Espookys” is the Perfect Show for this Ironic, Faux Start of Fall

It may not be officially fall, but unofficially, “Hot Girl Summer” has ended and everyone is looking for the next track. In honor of the changing season, let me recommend HBO’s Los Espookys. It came out in June and while it takes place in Los Angeles and some sunny, Pan Latin American country, it’s the perfect show for the ironic faux start of fall.

Created by Fred Armisen and Ana Fabrega, Los Espookys follows a group of friends who are trying to turn their love of horror into a business by staging spooks, like a monster-sighting and an exorcism, for hire. The show is delightfully odd with absurdist gags ranging from the random (a demon demanding to see The King’s Speech before cooperating) to the insightful (a group of LA-based valets doesn’t understand what “to snowball” means, having never seen snow).

It also happens to be very Latinx. In case you forgot, there’s not a lot of media featuring or made by Latinxs (did you see that Annenberg study? Its findings were dismal). And when Latinxs do make it on the screen, we’re generally gang members and drug runners — just like what the man currently occupying the White House thinks.

Fred Armisen is one of ours and a co-creator of the very Latinx Los Espookys

To have a show like Los Espookys on HBO is a pretty big deal. It’s in English and Spanish. The Latinx cast are different generations, skin tones, social classes, and personalities. It’s created by Latinxs (did you know Fred Armisen was one of ours? I didn’t! But it turns out his mother is Venezuelan). And it’s really good.

It’s also not about being Latinx, in the way, say Vida (the other prestige show we’ve got) is. The characters on Vida are dealing with identity in heavy ways, trying to figure out how race and class and color intersect within and outside their communities.

Not so on Los Espookys. Renaldo, Úrsula, Andrés, Tati, and Tico are just living their lives, figuring out who they are and how to get by without questions of racial identity playing a major role. That’s not to say Los Espookys is racially or ethnically agnostic. It’s not. It’s very Latinx. It just portrays our identities as the default, refusing to contrast our experiences with Anglo ones.

This centering of the Latinx experience starts with subtle nods. The series opens with an elaborate quinceañera. There’s a whole bit about how Renaldo spells his name, which while explained, works much better if you’re familiar with actual Reynaldos. The Catholic church makes appearances in the form of nun and priest characters but instead of being saints or pedophiles, these clergy members are regular, petty people motivated not by good or evil but rather by jealousy or simply the desire to finish their favorite telenovela. It’s the stuff of Latinx life, told with HBO dollars and a silly, experimental point of view.

In Los Espookys, the US government is ignorant, superficial, and ridiculous — like Latinx have known it to be for generations

This centering of the Latinx experience is not just in the details of the show but the politics too. Take the one white American character: US Ambassador Gibbons. She’s a sort of evil Elle Woods with platinum blond hair, pink everything, and a blasé colonist attitude. Superficial and willfully ignorant, she couldn’t care less about her powerful job as evidenced by her disdain for the language (she gets an invitation and declares that it’s in “code” before her one Latinx aid tells her it’s in Spanish) to deciding randomly who gets a visa and who does not. This understanding of Los Estados Unidos as irrational, mercurial, and careless is about as Latinx as it gets. And it’s particularly funny and cutting in the Trump era.

Which is not to say Los Espookys takes itself seriously or leans in politically (although it does take pains to hilariously decimate the Herbalife pyramid schemes that prey on our communities). No, the show is all about the laughs, the absurd, and the spooks, using the Latinx point of view as its building blocks.

On HBO, series are divided into “All,” “Latino,” “International,” and “Family” but don’t let that “All” fool you — most of the “Latino” programs are not listed there. Los Espookys is. The show is claiming space in the mainstream HBO platform and I love it. The idea that a bilingual, silly, fun Latinx show is as much for everyone as Insecure and Sex and the City is just powerful. So before the days get too short and your TV options too vast, spend a few hours enjoying Los Espookys.

FacebookTwitter
What “Pose” Taught Me About Womanhood

“God may have blessed you with Barbies, a backyard with a pony, a boyfriend named Jake, and an unwanted pregnancy that your father paid to terminate so you could go to college and major in being a basic bitch. None of these things make you a woman.”

Elektra Abundance

“One is not born, but rather becomes, a woman.”

Simone De Beauvoir

As a straight, cis woman, I don’t do too much thinking about my womanhood. No one misgenders me. I’ve never been clocked. Yes, I joke about how terrible I am at stereotypical lady stuff. My hair/make up/nail game leaves much to be desired. This is not a source of pride for me, but rather mild embarrassment. I’m 35 — shouldn’t I be able to blow dry my hair by now? Yet my lack of both inclination and skill in this department doesn’t make me less of a “real” woman. I’m not endangered because of it, the consequences are minimal. In fact, the only one joking about my inability to perform these aspects of femininity is me.

In addition to being dedicated to looking a certain way, society also expects women to be naturally nurturing. We’re the mothers, the people-people, the ones with emotions. But I’m not what you’d call a “warm, fuzzy.” I always get analytical instead of emotional on those personality tests. My husband once insinuated that I let our baby cry too long before picking her up. I wouldn’t describe myself as cruel by any means but quick-to-the-hug, I am not. Yet again, no one doubts the actual fact of my womanhood, even if I sometimes get comments about acting “more like a man.”

So if I don’t meet the expectations around looks or personality, I have to wonder, why is my womanhood never questioned? Is it the fact that I have a vagina? That seems highly unlikely. Everywhere I go, people treat me as a woman and 99.9% of them have no knowledge of my reproductive organs. They couldn’t vouch for my vagina’s existence. I certainly don’t go around imagining strangers’ genitalia. Do you?

So, the question remains: what makes a person a woman?

. . .

 
The women of Pose: Judge them not, lest you be judged!

Watching Pose, I never doubted the femaleness of Blanca, Elektra, Angel, Lulu, Candy, and crew. Sometimes, I got confused when other characters would perceive them as male — what were they seeing that I wasn’t? It’s like when other shows pretend someone is regular looking (say because they’re wearing glasses and a cardigan) and we’re not supposed to notice that there’s a weirdly attractive person under there.

The thing is, the women of Pose are so skilled at performing womanhood. The clothes. The nails. The hair. The makeup. The shoes. They understand the trappings of femaleness and are committed to executing it each and every day. I imagine for them, as activist and show writer/producer/director Janet Mock wrote, “Femininity was more than just adornments; they were extensions of me, enabling me to express myself and my identity. My body, my clothes, and my makeup are on purpose, just as I am on purpose.” And this purposefulness is key — it is not enough to simply dress a part, that part has to be integral to your identity.

Think of the season two finale — in it, we see the male characters walk the ball in drag. They’ve practiced strutting (or stumbling) in heels. They’ve got on wigs and dresses and jewelry. But as Elektra says, “Don’t get it twisted. These men are not trying to be women. These linebackers are tapping into their inner femininity and letting their inner queen come out to play.” In Pose and in real life, dressing up as a woman (whether you “pass” or not) does not make you a woman, no matter how feminine.

. . .

 
There’s more than one way to mother on Pose

There’s this idea that “masculine” and “feminine” are polls, two complementary forces that a person is between. We all know this script — the “masculine” is rationale, stoic, violent even while the “feminine” is emotional, nurturing, expressive. In this framework, to be “feminine” is to be vulnerable, less than. We see this play out in Pose as characters are continually punished for showing “feminine” traits, gay and trans kids kicked out of their homes, beaten, or worse. The consequences for being outside the norm are real from women who wear less makeup getting paid less all the way to the extreme violence perpetrated against the trans community. It’s a culture of violence, of regulation, of suppression.

As a feminist, I don’t believe there’s a correlation between someone’s sex and how “masculine” or “feminine” they are. Yes, women are socialized to be “feminine” and men, “masculine.” But people are primarily people and the expectations we put on them around gender are extremely limiting and unhealthy. As activist and author Jacob Tobia told Paper Magazine, “there’s this idea that there’s only cis people and trans people, and trans people have the complicated genders and cis people have the simple genders. That could not be further from the truth — gender is simple for nobody. Even people who think that they’ve experienced gender ‘simply’ have a nuanced, complicated, and multidimensional gender experience.” None of us are just or even primarily our gender.

Pose demonstrates this complexity so well. Think of how different the women’s personalities are, how each of them is a complex mix of traits. I particularly like how the show portrays motherhood in Blanca and Elektra. Blanca is the good, “feminine” mother we are used to seeing — she loves her children, nurtures them, and fights for them. She’s descended from Clair Huxtable and Tami Taylor, strong women who use both tough and unconditional love to raise their children. Elektra, on the other hand, could be seen as the “bad” mother — she starts the show putting down her family members in an attempt to make herself feel more superior. And while she grows over the two seasons (think of the beach trip as an example of how she takes care of her daughters), she’s not who you’d go to for a self-esteem boost. No, Elektra mostly provides for her children monetarily — her house is swanky, her ball costumes and props luxurious. This may be the more “masculine” way to care for people, but it never threatens Elektra’s womanhood. Indeed, it’s Blanca who worries more about getting clocked while Elektra passes with greater ease. Where their personalities fall on the socially-constructed spectrum of “masculine” and “feminine” does not determine their womanhood, either for themselves or the society that judges them.

. . .

 
The dress doesn’t make the woman on Pose or IRL

Gender is also not defined genitalia. That’s just silly. We categorize every person we meet quickly and easily into a gendered category with no knowledge of what’s between their legs. And it’s not about hormones or other biological processes either (see the backlash against women’s running for trying to define womanhood by testosterone level). We just don’t know those things about other people (or ourselves) and yet we’re all out here using gendered pronouns as a matter of course.

. . .

 
On Pose, the women must assert their womanhood over and over again

So, again, what does make a woman? If it’s not how you look, not who you are, not your biology, what’s left? Part of me wants to say it’s a performance. It’s certainly something I do every day, consciously or not. It’s in how I dress, how I walk, even how I speak. But you choose to perform and I never chose to be a woman, I never chose to be straight, and no one else does either.

Being a woman is more like a role that chooses you. It comes with impossible expectations, the pressure to live up to an unattainable ideal of womanhood. Sometimes as women we mold ourselves to match an ideal, trying to get as close as possible. Think of Pose’s Angel — she succeeds at portraying feminine beauty to such an extent that she gets big contracts in the modeling industry (only to see her success stalled thanks to the rumor mill). Sometimes, we rebel against those expectations, going in an opposite or third direction. Like Candy always ready to pull out her hammer, ready to defend herself physically whenever the situation called for it.

Regardless, when you’re a woman, you’re identity is in relationship to the feminine ideal in a way that a man’s or genderqueer person’s is not. Maybe that’s what makes a woman.

FacebookTwitter
Newer Posts