#representation: racial

[icedsodapop]

I really need to stress how groundbreaking Martha Jones literally is. She made her mark as the first official onscreen Black Doctor Who companion, and quite literally paved the way for future Black and other companions of colour to star on the show, like Bill Potts, Yasmin Khan, and Ryan Sinclair. And these characters would also make Doctor Who history in their own ways with Bill being the first onscreen Black lesbian companion, Yasmin being the first onscreen South Asian companion, and Ryan being the first onscreen Black companion with a disability.

Marth Jones' power? Unparalleled.

[comparativetarot]

Knight of Pentacles. Art by Deirdre Beck, from Star Crossed: A Queer Tarot.

[zepskies]

Racial & Ethnic Representation in Fanfiction

[🎙️ Podcast Interview]

Hey, friends! Sandra and Kasey, the lovely hosts of @idlingintheimpalapodcast — the podcast for all things SPN and fanfiction — invited me back on the pod for an interview on a topic that's very close to my heart…

With @rubyvhs, we talked about the fun moments and challenges about reading and writing fanfiction that represents specific racial and ethnic cultures, being bicultural/multicultural, the immigrant experience, and much more.

I offered my own experience as a Latina POC writing in the fandom space, specifically Supernatural and The Boys (and adjacent Jackles fandoms).

Check it out here: ⤵️

Interview Timestamps –

(Plus fic recs, SPN writer/reader shoutouts, and more! Links to all the fics we mentioned are at each time stamp.)

2:54 – When did you start writing fanfiction, and when did you join SPN fandom?

⟡ You can check out my first author interview with Sandra and Kasey over here. We chatted about Dean Winchester and Jensen Ackles’ early roles, the best and worst seasons of SPN, the joys and pains of writing Soldier Boy, and much, much more. For all the timestamps of key moments, fic recs, and SPN writer shoutouts, see this post (you'll find the link to the video there too).

6:18 – What is your ethnic, racial, and cultural background? (And how me and Sandra bond over “food and family” ties between Hispanics/Latinos and Italians.)

13:05 – The immigrant experience in America, what you take with you from the “Motherland,” the struggles of bicultural identity, my personal experience being a second-generation child of an immigrant family, and Sandra’s experience as a first-generation child of Italian immigrants.

16:58 – What do you look for when you’re reading fanfiction? (Canon-compliant, AU, romance, etc.) Does the length of a story matter?

19:52 – Bonus: The merits of drabble writing vs. long-fic writing.

25:54 – Have you ever actively searched for fanfiction that represented your ethnicity? (Whenever I do, it’s like finding gold.) Plus, the challenge of writing reader characters, the “gray area” of writing reader characters like OCs.

32:38 – The inherent “bias” of reading and writing reader characters as White. The concept of diversity being “cool” in popular media, TV shows, and movies is still pretty new.

36:36 – Why I started writing reader characters that might have a specific body type, race, and/or ethnicity.

Examples:

⟡ Midnight Espresso – Dean Winchester x Plus-size Latina!Reader

⟡ If I Stay – Dean Winchester x Plus-size!Reader

⟡ 10 ‘Til Midnight – Professor!Dean Winchester x Plus-size Grad Student!Reader

⟡ Unravel Me – Soldier Boy x Afro-Latina!Reader

⟡ The Honorable Choice & Outlander – Cowboy!Dean Winchester x OFC

40:14 – The fun challenges: like giving Dean a partner who takes care of him as much as he takes care of others in Midnight Espresso.

45:28 – The BIG challenges: like writing Soldier Boy being himself with a “person of color” (POC) in this new series, Unravel Me. What even is a POC? Where do you start with Soldier Boy, the Sandra-proclaimed “bowl of fishhooks?"

51:38 – Is there ever an element of fear when you publicly post a story that represents your culture, which is something very personal to you? What happens when you get haters in the comments?

1:05:33 – When and how did you begin to break out of the “ingrained biases” in your writing? (AKA: Always assuming my own characters are White.)

1:08:04 – When did you decide to explore writing plus-size!readers?

1:13:20 – What has your experience been in writing a race/culture outside of your personal experience? The Honorable Choice and Outlander, a western AU where Dean Winchester falls in love with a Native American Lakota Indian. (Shoutout to @jacklesversebingo!)

Plus, the ethical responsibility to “do no harm” when you represent different cultures, and answering question of not only can I write this, but should I write this?

1:32:42 – What advice would you give a writer interested in writing about a culture outside of their own that they don’t have first-hand knowledge of? How can a writer avoid cultural appropriation if their goal is cultural appreciation? How important is a sensitivity reader/beta reader for this effort?

1:40:35 – Final thoughts on diversity and representation of culture in fanfiction, whether it’s your own or someone else’s:

“Write what you know. Write what you can research. Write what you’re interested in. Remember that words have power, so be careful how you use them.”

1:45:30 – Sandra and Kasey’s outro: The importance of representation and diversity in fandom.

I hope you enjoy the ride!~ 💜

💗💗💗 Shoutouts to some of my beautiful friends and lovely readers who've supported my attempts to explore ethnic and cultural diversity in my writing:

@luci-in-trenchcoats @lamentationsofalonelypotato @waynes-multiverse @rizlowwritessortof @roseblue373

@tofics @deanwinchesterswitch @deanbrainrotwritings @deansbbyx @waywardlatina

@supernotnatural2005 @wayward-dreamer @spnwoman @waywardxwords @mostlymarvelgirl

@chevroletdean (shoutout to your 500 follower fic challenge at around 19:52 😘) @siampie @bettystonewell @wvffles

@iprobablyshipit91 @my-stories-vault @littlesoulshine @thatonewriter15 @jessjad

@deans-spinster-witch @winchestergirl2 @kazsrm67 @chernayawidow @jackles010378

@jollyhunter @leigh70 @foxyjwls007 @beakaleak32 @alwaystiredandconfused

[lithiumwitchcraft]

I actually have so much to say about sinners (2025). the struggle between cultural preservation and cultural assimilation, the way that’s represented through the comparison between black vs irish american culture, american christianity historically being a tool of that assimilation, the use of vampires as symbolism for all of that, the love of music and the way it brings people together, the way it perfectly balances being an entertaining popcorn movie and actually saying something artistic & deep

[rhetoricsofraceandidentity]

[hazycola]

Yet another banger episode of doctor who. They put so much soul into it, as they have been doing for this entire season.

They recruited a Nigerian writer for this episode too which should be an obvious choice, but it still makes me happy to see that this story is full of REAL heart and traditions from African culture.

As a disclaimer, I am a white american so I don't have the same perspective as black people who have lived with and experienced African culture their whole lives. This, however, means that whatever my happiness feels like in seeing this episode... I can only imagine that it's that much more meaningful for those people.

This isn't the only thing- they've pushed towards inclusion for disabled characters. They're sprinkling in metaphors for what everyone is struggling with on a day to day basis. They're grabbing our hearts, and telling us that we're not crazy, and that even an alien with two hearts and essential immortality could see the problem.

Thank you, new Doctor Who, for handling real topics about real people with such truth. This season is an obvious representation of what has changed in the world, along with the problems and cruelty we have faced as of late, and I'm glad.

[grecoromanyaoi]

btw i will always advocate for writing a fantasy setting thats (at least also) inspired by nonwestern cultures over simply putting black n brown ppl in a setting thats based entirely on europe

[intothestacks]

Whenever I hear people complain about there being "forced" racial diversity in shows (eg. Encanto) I always think of my family.

My cousin looks Middle Eastern, my nephew looks Black, I look white, and I have some second cousins that look Indigenous.

We're all blood-related.

Pretty much the only look we're missing in my family is Asian.

[comparativetarot]

The Empress. Art by Gay Little Izzet.

[triple-pupil]

"Lowpoly whitewashed Esmeralda isn't real, she can't hurt you"

Lowpoly whitewashed Esmeralda:

Ironic since the Game actually has the character and it seems they did her skin tone right, if not a bit darker.

[defsiarte]

So. Just a heads up for people who don’t know the history— it is a racist dog whistle to depict black people as monkeys in art or literature. Be mindful of the animals you associate with certain groups of people.

For me, this imagery ties back to theories propagated by the eugenicist, rapist, and slave owner Thomas Jefferson in his writings to justify the institution of slavery and why black people were considered “inferior”.

Full text

[scoobydoofenshmirtz]

I guess my crazy radical opinion that I'm low key surprised isn't more common on tumblr is that I don't actually believe it's possible to have a 100% canonically straight character.

[oh-hush-its-perfect]

I once said this on Twitter and got a LOT of backlash for it, but I think it's worth saying. Piper McLean is not hyper-femme. She's not even femme. Piper McLean is a butch sapphic woman. Though there's no problem with portraying her in pink or doing "girly" things every once in a while, if everyone is doing it all of the time, it creates a fandom misinterpretation of the character. It erases her identity as butch. Yes, she improved her internalized misogyny. No, that does not mean that she has become femme or "feminine." Part of feminism and eliminating internalized misogyny is the realization that women have the choice of how they want to present. Piper presents in a more androgynous/masc way. That's how she is, and I don't think all fanart of her should misrepresent her in such a way.

[azzg]

Transformers: EarthSpark — Misaligned Struggles, Suppressed Voices, and the Illusion of Liberation

EarthSpark presents itself as a story about family, identity, and the echoes of real-world racial struggle. But when examined closely, the series unravels into something far more troubling — and far more revealing.

The Maltos are positioned as a symbol of inclusion, a mixed-race family meant to reflect the complexities of postcolonial identity and generational trauma. But this image collapses under scrutiny.

Mandroid, a disabled man destroyed by war, betrayal, and the failure of interspecies cooperation, is portrayed as the villain. And yet, he is the one systematically abandoned — by Cybertronians, by humanity, by institutions. He is disfigured, dismissed, and depersonalized, while the Maltos live in a beautiful house, have access to advanced technology, and are led by a mother who holds the rank of Lieutenant — a position of significant privilege. There is no indication the Maltos ever faced systemic hardship comparable to Mandroid’s descent. The intended racial allegory stumbles into inversion: the "white" villain is more disenfranchised than the "minority-coded" protagonists.

But this family is not under threat — at least not until the final arc of Season 1. For most of the show, they do not hide.

One of the strangest narrative inconsistencies in EarthSpark is the idea that the Malto family and the Terrans are in hiding — while simultaneously being extremely careless about their behavior and visibility.

If EarthSpark took place in a real-world sociopolitical context, their cover would’ve been blown within days. Not only are they highly visible, they also frequently interact with the public, both physically and digitally.

📌 Evidence from Canon:

1. Nightshade meets Sam early in Season 1. They is/are a stranger. They is/are not part of the Malto family. Nightshade also introduces themselves and even discusses identity in a public setting — in full robot mode.

2. The Terrans are seen in Philadelphia. Twitch and Thrash are seen moving freely in urban spaces, including on rooftops and even streets — without proper alt-modes early on. Robbie’s friend in Philadelphia sees the Terrans. In Season 1, Robbie’s human friend from Philadelphia clearly interacts with or witnesses the Terrans. There is no consequence, no cover-up, and no attempt to erase memory or contain the incident. It’s played casually, even though a group of alien robots should trigger a major federal response — or at least viral media attention.

3. Hashtag transmits livestreams online. At one point, Hashtag streams to the world from a Cybertronian-sized broadcast chair. She names names and spreads confidential data. There is no consequence in the show.

4. Their alt-modes are inconsistent or flashy. Nightshade flies as an owl drone, but is clearly not a drone. Hashtag’s alt-mode is a massive news van. Thrash is a custom motorcycle with sidecar — driven by a child. These are not low-profile forms.

5. The Maltos frequently yell orders and use Cybertronian names in public. Whether in cities or open road, they openly call out names like "Twitch!" or "Nightshade!" — there is no code-switching or safety discipline.

6. No one questions how the Maltos moved from one state to another. They live in a big farm home, have a military mother and a stay-at-home dad, and no one seems to monitor their activity. Dot carries firearms, the kids go missing often, and no one ever reports them.

7. The Terrans have no official documentation. No birth certificates. No school attendance. No health care. No ID. The government would know.

8. Hashtag possible talks to other people online, but not offline

🧍‍♂️9. Human Endearment Toward the Terrans

Many human characters, even outside the core Malto family, show no fear or shock when meeting the Terrans. They accept them with minimal questioning — this includes Mo and Robby’s friends and even Sam. This sort of casual endearment contradicts the idea of secrecy or the need for deep disguise.

10. Seen in the City of Philadelphia

Multiple Terrans are seen in the streets of Philadelphia, including near populated areas and with bystanders nearby. No attempt is made to mask their presence or disguise their robotic forms.The Terrans frequently walk around in open areas during both day and night — often with children or adults accompanying them — without cloaking devices or real disguises. They are seen openly in the forests surrounding Witwicky and in the town itself. In several scenes, they walk right down roads and interact in semi-public spaces without alarms or panic from locals.

⚔️11. Scale of Battles

Many Terran-involved battles (especially late in Season 1) happen in broad daylight, with massive visual and auditory cues, including explosions, Decepticons, and human vehicles. The scale of these events would be impossible to hide from even a small town — let alone the internet age.

The show tries to balance allegory about oppression, marginalization, and systemic violence — but doesn’t follow through in worldbuilding.

If the Terrans and Maltos were truly oppressed or hunted, they would behave differently. They would hide, code-switch, restrain emotion, avoid livestreams, and fear law enforcement. None of this is shown.

Instead, their “hiding” is a loose premise used to give them freedom from accountability. In reality, any non-privileged family acting this way would have faced police, state surveillance, social services, or worse. Their freedom and comfort exposes the privilege the show gives them — and undermines its own themes.

They live on a large rural property that resembles a self-sufficient farm. They relocate from one country to another without difficulty. Dot Malto — a Lieutenant, not a low-ranking officer — openly carries a firearm, possibly without civilian registration, and the narrative never questions it. They display strong emotional reactions to government agents — without consequences. Their children pilot giant robots. Their house is filled with alien tech. Still, no one intervenes.

Where does their wealth come from? Alex works on the farm. Dot works as a forest ranger or with G.H.O.S.T., depending on the episode. Somehow, they possess the capital to live comfortably, relocate freely, and never face scrutiny. Their economic security and social freedom starkly contrast real-world oppressed families who endure constant surveillance, job insecurity, and state violence for far less.

In real racial struggles, emotional openness with authority figures is dangerous. The oppressive class reads visible emotion as threat. But the Maltos express anger, grief, and defiance without ever risking their safety — a fantasy of liberation, not the truth of it.

Mandroid, a disabled scientist, is framed as a genocidal maniac. But context reveals something else: a broken man abandoned by Cybertronians and humanity alike. He loses his body, his mind, and his mission — not because of hatred, but because he was sacrificed in a war no one else wanted to remember.

The show never reckons with its own history of violence. Yes, Mandroid seeks Cybertronian genocide — but in other continuities, Decepticons have explicitly attempted genocide against humans and other species. Even if Megatron has “reformed,” he was the architect of war crimes. In EarthSpark, he is shown as introspective — but never held truly accountable. The narrative treats Decepticons as victims while hiding their past genocides beneath layers of convenient amnesia.

Mandroid is condemned for attempting Cybertronian genocide — and rightly so. But the show avoids reckoning with a dark truth: the Decepticons, particularly under Megatron’s command in other continuities (and likely this one too), have repeatedly attempted the genocide of humans and other species. Megatron has led genocidal campaigns across galaxies.

And yet here, he is portrayed as a repentant pacifist, a voice of reason — one never truly confronted about his past. The moral compass of the show is skewed: some genocides are remembered. Others are erased.

The Terrans, Earth-born Cybertronians, are perhaps the greatest victims of narrative neglect. They do not have rooms, let alone professions, dreams, or individual life paths. They exist as emotional extensions of the Malto children. Their “harmony” is in fact suppression — their Cybertronian traits overriding their unexamined organic origins. They didn’t choose their emotional bonds, their bodies, or their function. The idea of autonomy is a myth for them. And yet, no one — not even their caretakers — acknowledges their lack of self.

Terrans only interact with the Malto family. Throughout the series, not a single Terran is shown developing a relationship or friendship with any humans outside the Malto children and their immediate circle. There is no community bonding, no school, no neighborhood contact, and no effort from the Terrans themselves to connect to human life in any meaningful way.

No offline relationships exist. While Hashtag communicates through the internet, especially using social media and her digital access, this doesn't translate to actual relationships with people offline. Her connection to humanity is shallow, performative, and filtered through screens — never embodied or reciprocal.

Nightshade meeting Sam is an exception — not the norm. Nightshade's meeting with Sam is one of the very few moments where a Terran interacts with a human outside the Malto family. But this encounter is treated as symbolic and is never followed up with ongoing friendship or shared community.

They live entirely through their human emotional bonds — without ever being asked if they wanted to.

Their “freedom” is dependency. Their “purpose” is mimicry.

And no one — not even the narrative — sees this as tragic.

This makes the Terrans feel curiously isolated — despite being born on Earth, they are not part of it. They are cut off from real society and denied a real place in either human or Cybertronian culture. This narrative decision undermines the show's themes of belonging and identity.

The Terrans are Earth-born Cybertronians, but what do they truly possess?

The authors claim to tackle race and belonging, but seem unaware of how deep the trauma of racial and cultural erasure truly goes. Real struggles involve loss of homeland, internalized inferiority, generational grief, state surveillance, and structural powerlessness. EarthSpark glosses over all of this — offering a polished, pacified version of what it thinks struggle looks like. Instead of confronting injustice, it wraps trauma in digestible narratives of “found family” and shallow reconciliation.

The result is a story full of contradictions:

The Terrans are “free,” but lack choice.

The Decepticons are “redeemed,” but never face their past.

The heroes are moral only because the script says so, not because they show empathy to the ones suffering most.

So we ask: Did the writers truly understand what they set out to portray?

Or did they silence the very stories they claimed to uplift — in favor of safety, simplicity, and false harmony?

The creators of EarthSpark say they want to explore themes of race, trauma, and recovery. But their narrative understanding seems shallow at best. Real racial struggle is generational, structural, systemic. It’s about displacement, surveillance, criminalization, resource extraction, and cultural annihilation.

But EarthSpark offers a clean, “family-friendly” version of oppression where:

The privileged are coded as oppressed.

The oppressed are written as dangerous.

Systemic accountability is offscreen or forgotten.

Moral failure is never named — because the “heroes” must remain heroic.

Even the “inclusive” Terrans are hollow shells: born from nothing, bonded to children, never taught what selfhood means.

Disclaimer: This post was written with the help of ChatGPT.

[comparativetarot]

Two of Blues. Art by Stacey Williams-Ng, from the Rhythm & Soul Tarot.

The friendship in the 2 of Cups (Blues) is shown as a pair of Mississippi sharecroppers.