Cute and quirky fight with your significant other: “Me and my S/O stayed up until three AM fast-forwarding through episodes of a show because I said that X character kissed Y first and they said that Y was the one who initiated it, and neither of us wanted to give in. The winner got breakfast in bed.”
Abuse: “Me and my S/O stayed up until three AM yelling at each other because I went through their phone without their consent and burned their personal belongings.”
Respectful and loving relationship habit: “I try to invite my S/O to events with my friends because they all get along well and we have fun together, but I understand that they don’t do the same because their friends are kind of boring. We keep each other updated on our whereabouts via text so we don’t worry for the other’s safety.”
Abuse: “My S/O doesn’t let me go out with my friends / doesn’t let me go out unless they’re with me / keeps texting me and calling me every time I’m out and demanding to know where I am and what I am doing at any given moment.”
We (collective we, as people raised in a white supremacist society) tend to find it easier to empathize and sympathize with white characters than with non-white characters, and with light-skinned characters than with dark-skinned characters. It takes actual self-examination and a willingness to unlearn that racism, to be able to read a narrative without any kind of racial bias, just like it takes self-examination and unlearning to live life without racism or any other kind of prejudice.
White characters who’ve experienced some sort of trauma (from their parents’ divorcing or moving towns as a child, to assault or a violent accident); who are canonically disabled or who are coded as neuroatypical (or sometimes not even coded, just have a few Quirky Character Traits™ that we, desperate to see ourselves represented positively in any kind of media, might cling to) can get away with being racist, misogynistic, ableist to other characters, abusive or just plain assholes.
And, of course, white characters who are in no way mentally ill or coded as such have mental illnesses and traumas invented for them by the fandom, just so they can become “tragic” enough for their misdeeds to be ignored.
If a white character is mentally ill/traumatized (or if White Fandom™ has decided they are, based on even the flimsiest canon evidence) they deserve all of the attention, all of the screentime, they can never do no wrong and anytime a character of color dares to disagree with them it’s ableism, just as it is ableist for fans of color to dislike this character.
In Teen Wolf, Kira and Scott are just as patently coded as mentally ill and traumatized as Lydia, Derek or Stiles (whose “canon mental illness” is a joke about ADHD in the first season). Yet Scott is called whiny, has all of his trauma reduced to “obsessing over Allison” and is expected to bend over backwards to conform to every single one of Stiles’ or any other white character’s wishes; and Kira is forgotten or used as comic relief while fandom cries over the white characters.
In the 100, Raven suffers from PTSD, chronic pain and physical disability; while Bellamy is obviously deeply traumatized. Yet only Clarke and Octavia’s trauma matter; and Raven “deserves” to be disabled for sleeping with “””Clarke’s man””” (?), just like Bellamy deserves to be violently abused by his sister.
In The Flash, Cisco is expected to forgive Barry instantly after finding out that Barry is the reason his brother is dead, but Barry is allowed to try and save his mother as many times as he wants. Caitlin’s metahuman arc is taken more seriously and given more attention (both by fandom and by canon) than Cisco’s ever was. And Caitlin’s loss of Ronnie is never forgotten, but Iris can’t grieve for Eddie for more than five minutes.
In HTGAWM; Wes, Annalise and Michaela have all had lives full of trauma and loss, and the three of them were suffering way before the plot of the show started, yet fandom only cares for Connor and, occasionally, Laurel. A mentally ill afro-latino was violently murdered when he was about to find happiness and White Fandom™ didn’t say a word, yet they were ready to start fires if Connor was the one under the sheet.
There are endless other examples (and feel free to add more):
In Pacific Rim; Stacker Pentecost’s chronic terminal illness and PTSD, and Mako’s PTSD; vs. Hermann canon’s disability or Newt “neurodivergent coding”.
In the MCU; Sam and Daisy’s PTSD vs. Tony and Bucky’s. Elektra’s, Luke’s or Malcolm’s trauma after being abused vs. Jessica Jones’. The fact that the Stand With Ward people still expect people to empathize with a literal murderer, rapist N*zi because he was abused as a child.
In Scandal, Abbie and Mellie’s PTSD versus Olivia’s.
In Star Wars, Finn’s trauma versus Rey and Kyle’s; or Cassian and Bodhi’s versus Jyn’s.
In Person of Interest, Root’s neurodivergence versus Shaw’s.
In FDTD, Kisa and Scott’s trauma versus Kate’s trauma and Richie’s neurodivergence.
Just imagine how many people would be hauling Rosewood as revolutionary for its portrayal of chronic illness and mental illness if the two leads weren’t a black man and a brown woman. Or how little fandom would actually care about Wendy Maximoff if she was actually played by a brown Rromani-Jewish actress.
Or don’t even image. Look at how fandom rushes to excuse Ward’s actions because of his childhood trauma and then they turn around and condemn Melinda May and Daisy Johnson for every single thing they do. Look at how fandom treats Winn vs. how they treat Cisco, despite the fact that they are the exact same type of character archetype.
Critical fandom can’t call Kyle Ron a fascist or Ward an abuser neo-nazi or Stiles a misogynistic racist or J*ssica J*nes an abuser because they Are Suffering™! Meanwhile, disabled characters of color don’t get to be in pain, don’t get to lash out, don’t get to have ugly symptoms. No matter how much unapologetic assholery white characters are guilty of, they can always be redeemed (re: the Peter Hale, Derek Hale and Theo Raeken* fandoms) but neuroatypical characters of color might suffer through ages-long arcs of growth, recovery and redemption and still they never deserve fandom’s forgiveness.
Nobody can police how you identify with characters or forbid that you project on a character that might behave like you, nobody is asking that you only identify with perfect, Morally Upstanding™ characters; but the simple fact is this:
Fandom only cares for disabled and/or neuroatypical characters if they are disabled/neuroatypical and white.
Any discourse about ableism in fandom that ignores this is flawed.
*A good time as any to remember that Cody Christian is Native American. Theo Raeken, however, is never acknowledged as such and the family we know of him in the show (biological sister, maybe-biological parents) is entirely played by white people. Acknowledging biracial actors’ identities is important, but recognizing the way canon and fandom white-washes them is also important.
Anonymous asked: How do you feel about the upcoming Mexican Pixar movie about the day of the dead?
Listen, Jorge Gutierrez was rejected by Disney Pixar and by basically every other major animation producer when he tried to make The Book Of Life. If Del Toro hadn’t come along and agreed to produce the movie himself, TBOL would have never seen the light of day. (source)
GUTIERREZ: I had this movie for 14 years. Ever since I was in film school, I wanted to make it. When I got out, I pitched it to every studio and everybody told me the same thing. “You’re just some dumb kid out of school, and no one’s interested in the subject matter, and there’s no audience for Hispanic movies.” It took a long time. Eventually, I pitched the movie to Guillermo’s people four times and he said, “No.”
DEL TORO: When I heard it was on the Day of the Dead, in the last 15 years I had heard many, many Day of the Dead pitches. I didn’t like it because they were all postcard, folkloric, or coldly calculated things and none of them felt personal. Finally, Cary Granat said, “You have to meet the guy and see some of the art. If you don’t relate to that, that’s it.” So I met with Jorge – he’ll tell you the story – but I immediately connected to it because it was personal to him. For me to produce, I am so busy. I don’t have a personal life. I am a ruin. I’m dedicated to projects that support my family that goes with me. They cannot integrate themselves into that life. But I said, “Do I want to do this?” When I met Jorge, I knew there was something that we could do beautifully together, but more important than anything, I wanted to protect the movie. One of the reasons I was interested is because the things that make the movie great now are the things I knew were going to get us a lot of “no’s” from the studios.
If TBOL hadn’t gotten as much critical acclaim as it did and gotten enough revenue for Fox to approve a sequel and possibly a third movie too, Coco would have never become a serious project.
On the one hand we have TBOL, which was imagined, written, produced and directed by Mexican artists. On the other hand we have Disney, who rejected Jorge Gutierrez’ proposal for a Mexican-based movie and who tried to trademark “Day of the Dead” to make money off it after TBOL was announced (source).
I mean, sure, the same cartoonist who said this:
“How could Disney allow such a blunder,” marveled Lalo Alcaraz, a Mexican-American editorial cartoonist and founder of Pocho.com. “I knew they weren’t copyrighting the holiday, but I couldn’t believe they would let someone in their legal department let this happen. On the surface, it looks like Disney is trying to copyright the holiday.”
[image: a cartoon of Mickey Mouse as a skeleton destroying a city, with the legend “Muerto Mouse: it’s coming to trademark your cultura!”]
Several years ago, when Disney tried to trademark the Día de los Muertos (Day of the Dead), political cartoonist Lalo Alcaraz was one of the most vocal critics. That’s why it came as a surprise to many when news broke this week that Pixar, which is owned by Disney, hired Alcaraz to work on its animated film “Coco” that’s centered on the Mexican holiday. (…) Several years ago, when Disney tried to trademark the Día de los Muertos (Day of the Dead), political cartoonist Lalo Alcaraz was one of the most vocal critics. That’s why it came as a surprise to many when news broke this week that Pixar, which is owned by Disney, hired Alcaraz to work on its animated film “Coco” that’s centered on the Mexican holiday.
But Disney’s intentions are still suspicious. I mean, their treatment of Elena of Avalor has already been more than questionable… For starters, the fact that the first Latina princess in Disney’s history gets a TV-show instead of a movie. (source)
TV is great, but all of the major Disney princesses appeared on film, first. So, what does is say when there’s no Latina princess with her own movie? (…) We could give Disney the benefit of the doubt since they may not be able to milk two new princesses at the same time, but that also means they decided Elena isn’t worthy of the big screen treatment. Despite that fact that in 2015 alone, Disney released 12 feature films.
Disney could’ve added Elena to its slate. It’s not too big of a burden for Disney to create a princess who represents 17% of the nation’s population — which is why I refuse to accept that the Latina community’s first Disney princess will not be in theaters.
As a Latina, I’m sick of being told to be grateful to have a princess when movie after movie features strong, usually white, heroines. And while I’m a light-toned Puerto Rican (that’s a whole other can of worms), I believe my culture deserves to be viewed by a national audience, not just households with kids 5 and under.
Latinas haven’t waited 79 years and fought for recognition to accept a supporting role.
And then we have the fact that she… She isn’t even Latina. She’s a caricature. She represents no actual Latinx in the entire continent. (source)
Elena isn’t indigenous or Afro-Latina or from a specific Latin-American country. She is a thin, light-brown Latina princess from Avalor, a made up Latin-American-esque kingdom that exists in a pre-colonial, pre-Columbian world. This, by the way, is baffling: how does one understand their Latino identity without acknowledging colonialism? While the backdrop of Elena is influenced by Mayan culture and Chilean folklore, her race and ethnicity is otherwise based in Disney fantasy.
To add to it, “Coco” sounds like a straight plagiarism from TBOL (source)
According to Entertainment Weekly, Miguel lives in a Mexican village and dreams of becoming a musician. The only problem? His family has sworn off music ever since Miguel’s great-great-grandfather abandoned his wife to pursue his own musical dreams.
While trying to emulate his musical hero, the late Ernesto de la Cruz (voiced by Benjamin Bratt), Miguel accidentally enters the Land of the Dead. There, he teams up with the aforementioned funny skeleton (voiced by Mozart in the Jungle’s Gael Garcia Bernal), meets his ancestors, and tries to track down his idol.
We have a hero who wants to make music but doesn’t have his family’s support (Miguel’s family has sworn off music, Manolo wants to be a musician but his family wants him to be a torero). We have a hero accidentally entering the Land Of The Dead and meeting his ancestors. Bet you $20 that Miguel becomes a “Day of the Dead”-styled skeleton during this trip to the Land of the Dead.
Like “Moana” is an amalgam of Polynesian tradition and cultures created by white people first and foremost for white people’s consumption (check Fangirl Jeanne’s criticism of it), Elena of Avalor and now Coco are heading in the same direction, and the worst part is that we’re constantly being told by white fans that we should be grateful for whatever “representation” these major producers decide to throw at us.
Let’s just hope they don’t go around selling sugar-skull masks and make-up with the Disney trademark like they did with the brownface Polynesian-tattoo costume for Moana. (source)
[image: an edit of Rami Malek in his Mr. Robot hoodie, leaning back with his arms crossed ver his chest and a smirk on his face. He’s standing before a sci-fi like background, with the word “hackerman” in front of him.]
The people being those who
want to enjoy X media without giving money to shitty creators
can’t afford to legally buy content
live in a country where said content isn’t legally available
want to decide whether X media is good before paying for it
Remember that indie artists deserve your economic support, and even if you can’t afford the cost of their comic/album/book, most independent creators online have some place where you can donate at least a dollar!
Also, if you can’t support mainstream media with your money, you can do it with promotion! If you’re trying to get a comic or show renewed because it has great representation but you can’t pay for it, find the hashtags that people are using to livetweet it, write reviews about it, share posts, give views to their official trailers on Youtube or follow their social media, and don’t forget to contact the producers/editors to tell them how much you love that piece of media!
Personally, I’ve always preferred torrenting over streaming. If you haven’t used a torrenting service before, my recommended torrent client is qbitTorrent, but μTorrent is also a popular and easy to use option. Torrent is a great option for laggy/slow internet connections!
If your country has strict piracy laws, consider paying for a VPN service before torrenting. Here, here and hereyou have some information on how it works and some recommended services and good deals you can get.
Stremio and Popcorn Time
Last, but never least,Stremio is a torrent-based streaming client that works way faster and smoother than most direct-download streaming services and is ideal for laggy/slow internet connections.
Popcorn Time works similarly, though I’m not sure if it’s torrent-based or not. In any case, it’s super quick, has an incredible amount of movies and comes with subtitles in multiple languages!
Devenir Perra (To become a bitch), a queer/feminist book by Itziar Ziga, is amazing and you can read the author’s blogspot here.
¿Así que sos lesbiana? (So, you’re a lesbian?) is not exactly a “queer blog” or a “feminist blog”, it’s one of those old-style auto-biographical blogspots that’s long been abandoned, but it’s written by one of the most talented women in my city and it’s beautiful.
And I never miss a chance to insist that people listen to Kumbia Queersand Sara Hebe (x) (x), my favorite lesbians. You don’t truly know Spanish until you can listen to Sara’s rapping and understand it.
Flor de la V, a trans Argentinian celebrity (she’s messy but she’s been one of the most visible trans people in Lat Am since the 90′s when I was a kid, so I’ll always have a soft spot for her).
Kumbia Queers, a band of sapphic women that includes five Argentinian musicians and Mexican singer Ali Gua-Gua.
Alejandra Pizarnik, one of my favorite writers, was Jewish, bisexual and wrote a lot about her mental illness. I’ll be uploading translations of some of her poems in the next few days, because they’re hard to find.
Benjamin Alire Sáenz is a gay Mexican-American writer, and he’s the author of Aristóteles and Dante discover the secrets of the universe.
Amaranta Gomez Regalado, an Indigenous Mexican activist for the rights of people with HIV, is two-spirit and was the first transgender Mexican person to run for office.
Orlando Cruz lost this year, but the chance that he becomes the first openly gay boxing world champion in the future hasn’t gone yet.
Back to Argentina, Susy Shock is a trans musician and activist.
Vange Leonel Gandolfo was a Brazilian musician and activist, and an out lesbian.
Manuel Puig was a gay writer during the Argentinian military dictatorship, and his novel “The Spider Woman’s Kiss” is a retelling of his experiences in jail. It’s a beautiful book, though also very crude and painful.
Argentinian writer Maria Elena Walsh was a lesbian, fact I sadly didn’t know about during my childhood.
Sylvia Rivera, one of the founders of the LGBT movement in the USA, was a Venezuelan-Puerto Rican trans woman who dedicated her life to the fight for trans and gay rights.
Of course, there’s Ricky Martin (who could forget Ricky?).
Gabby Rivera is a queer Puerto Rican comics writer who will soon be writing the America Chavez solo book.
Venezuelan supermodel Patricia Velásquez came out as gay recently.
Jesusa Rodríguez is a lesbian Mexican director, actress, playwright, performance artist, social activist. (suggested by @queersherlockian)
Mark Indelicato, who played Justin in Ugly Betty, isn’t straight. Raul Esparza (from Law and Order) is bisexual. And actresses Stephanie Beatriz, Sara Ramirez (who played Callie Torres in Grey’s) and Gina Rodriguez are all bisexual. Also, Lauren Jauregui, from Fifth Harmony, recently came out as bisexual too.
operation massacre, by rodolpho walsh. [amazon]
credited as the actual first non-fiction investigative novel (nine years before capote’s in cold blood), it’s a crude retelling of the kidnapping and execution of a group of peronistas during the argentinian military dictatorship of the ’50s.
kamchatka, by marcelo figueras. [amazon]
there were many dictatorships in our story and many stories in our dictatorship. from the argentinian dictatorship that started in the year ‘76, this one is the story of a boy whose family goes into hiding to avoid ‘disappearing’.
extracting the stone of madness, by alejandra pizarnik. [amazon]
i don’t think i can explain how vital pizarnik is to poetry. her poems explore mental illness, suicidal ideation, institutionalization; but also love, childhood and the everydays of writing. i’ve found, though, that teenage boys have a hard time empathizing with a mentally ill woman’s poetry. i still recommend it.
red april, by santiago roncagliolo. [amazon]
moving to perú, this novel follows the civil war crimes that occur between a terrorist group and the very corrupt government
the open veins of latin america, by eduardo galeano. [amazon]
not everyone likes galeano and not everyone agrees with galeano but everyone recognizes that he wrote about america’s history of oppression, poverty and colonization in a way that could finally reach everyone. this book is one of the most important reads on latin american history of this century.
mario benedetti’s poems [amazon, a bilingual edition!] and short stories [amazon]
to be honest, i think mario’s most essential read is his novel, ‘thanks for the fire’, but it hasn’t been translated. his poems and prose are exceptionally good, though, and an excellent insight into south american life.
by night in chile, by roberto bolaño.[amazon]
another historical novel, this testimony dwells into the dirty business between a corrupt church and a military state during pinochet’s dictatorship.
the house of the spirits, by isabel allende. [amazon]
another chilean author. though i personally hate every single one of her other books, this one is a classic for a good reason. it’s truly fantastic, and it’s a very dark and intimate walk through the life of a high class family across three generations.
alma guillermoprieto’s chronicles of latin america:
cuba’s revolution [x], life in río de janeiro [x], and collections of stories and chronicles from all across the continent, both historical [x] and contemporary [x]
alfonsina storni’s poems. feminist poetry at the beginning of the twentieth century, shaped south american poetry in a lot of ways. you can find selections here and here.
regarding roderer (or, if you want to also have a movie adaptation to make the reading more entertaining, the oxford murders), by guillermo martinez [amazon] [amazon]
to be completely honest with you, if i had the chance to meet him again, i’d punk martinez in the face. he’s pretentious and repetitive and the peak of the white dude author; but his prose is entertaining and enthralling and there is not a teenage boy in this world who won’t love him. i’ve read all of his books, and i have a very strong love/hate relationship with his work, but i can’t deny he’s an excellent mystery writer. regarding roderer has never stopped being a fascinating work, even after reading it a dozen times.
my sweet orange tree, by josé mauro de vasconcelos [amazon]
i think i’ve read this book what? twenty times? twenty or a million, and i’ve laughed and cried with the same intensity every time. published in the 70s, this book is about the life of a poor boy growing up in río. sadly, the second part (let the sun heat) can’t be found in english, but this book alone is one of the most emblematic reads in latin american history.
kiss of the spider-woman, by manuel puig [amazon]
another story about the dictatorship. two men, one guilty of socialist ideals and the other guilty of homosexual perversions, are incarcerated together. i’m not sure how apt for teenagers this book might be, because though, if not exactly explicit (it’s all dialogue, written like a screenplay), it’s not something most high schools would want teenage boys to read. our school was never scared of showing us the rough side of the dictatorship, so we all read a few rough things while still too young.
the nine guardians, by rosarios castellanos [amazon]
set during the mexican revolution, this one shares with Kamchatka and my sweet orange tree the haunting honesty of stories of poverty and oppression told from the eyes and memories of children.
of love and other demons, gabriel garcía márquez [amazon]
this one set during the 18th century, this novel is gorgeous, heartbreaking and an amazing story of love and religion. we read it at school, and it was without a doubt one of the best books i was assigned for lit class. another excellent book by garcía márquez is ‘story of a shipwrecked sailor’ [x].
fictions, by Jorge luis borges [amazon]
because you really can’t talk about south american prose without benedetti and borges, fictions. this one anthology collects some of my favorite short stories, all of them magical and haunting and intriguing to no end.
two of what i consider must-reads of argentinian and latin american literature haven’t been translated to english: the conqueror, by federico andahazi (a story about an aztec man who finds europe way before the spanish find mexico) and the saga of the borderlands, by liliana bodoc (a fantastic retelling of the colonization). you can find a translation of the first book of the saga of the borderlands, but the second and third are impossible. there are also books specially oriented for teenagers (to say friend, which changed me for the better like few other books have) that are also impossible to find, but one day i’m gonna get rich and sit my ass to translate them all.
I hope in Episode VIII or IX we get a scene where Finn is in a mission to a First Order outpost and, before setting a bomb to blow up a weapon or some shit, he calls for the Stormtroopers working in the area to evacuate.
(They’d be technicians or engineers, with some basic combat training but no older than Finn was when he ran, the blasters at their sides still in their holsters, none of them even trying to fire in Finn’s direction.)
I want one of them to take off their helmet and look at him, baffled, perplexed at the mere idea that anyone would care to spare their lives in the middle of this war, and ask “Who are you?”
I want Finn to respond, like Bodhi said “I am the pilot, I am the messenger,” I want Finn to call back to Kylo Ren’s insult during their fight and say, proud,
“I am the traitor.”
(The rest of the troopers take off their helmets too, follow him.)
jane, xiomara and alba villanueva from jane the virgin
paula proctor from crazy ex girlfriend
olivia pope from scandal
The Villanueva women in Jane The Virgin
The show opens its very first episode with a 20-something college student and worker who has a very careful life-plan ahead of her being accidentally inseminated. From the pilot and until S01E13, Jane –the protagonist and “pregnant virgin”– graples with how this unwanted pregnancy will affect her life, with her mom and her doctor offering an abortion method as one of her possible choices.
Other people in Jane’s life –her religious grand-mother, the fetus’ biological father and his wife, and Jane’s fiance– try to weigh in her choice, but the decision of aborting or continuing on with the pregnancy, and of what she’s gonna do once the fetus is born –giving the baby up for adoption, giving it to the biological father, co-parenting with her current partner and/or the biological father, raising the baby herself– is left to her. She chooses to go through with the pregnancy.
During this arc, it’s revealed that Alba –Jane’s grandmother– and Rogelio –her father– wanted Jane’s mother to have an abortion when they found out that she was pregnant at 16 years old. Xiomara chose to go through with the pregnancy despite everyone else in her life insisting she shouldn’t.
Two seasons later Xiomara –Jane’s mother– is fresh out of a relationship with Rogelio, which they broke off due to the fact that he wanted to have a baby and she did not want any more kids now that Jane is an adult After unprotected sex with another man, Xiomara finds out she is pregnant, and decides to have an abortion. This arc deals with the fact that, though she isn’t ashamed or regretful about her choice and she is more than sure that she doesn’t want to have any children in the future, the guilt of knowing her mother would not approve –and the overall stigma around abortion– still hurts her deeply.
Paula Proctor in Crazy Ex-Girlfriend
In season 2 of the show, Paula Proctor is a mother of three in her forties who’s just decided to start Law School to fulfill her life-long dream of becoming a lawyer. It will require a lot of her time and a lot of money, but Paula is convinced that this is finally the time to follow her passions. This is when she finds out she is pregnant.
The decision of Paula prioritizing her career and aspirations over a fourth child that she never planned for is not questioned or shamed. She takes a couple days off work, her husband brings her soup in bed and she continues studying with a renewed passion.
Olivia Pope in Scandal
The fifth season’s finale of Scandal closed not with a bang but with a quiet, stern, determined implosion of feeling. Olivia, feeling suffocated and constrained in a (borderline abusive) relationship with Fitz that she never truly wanted and was about to become permanent –if she officially became his First Lady–, finds out that she is pregnant. We don’t see her when she discovers it: the narrative shows us all the other things stacking up to trap Olivia in the White House, her increasing restlessness, her need to leave… and then it jumps to her, leaving a White House event to enter a clinic.
Scandal doesn’t offer any explanations for the abortion, and neither does Olivia. She makes the choice by herself, for herself, with nobody in-show to judge her for it and no place for the viewers to demand more of her, and that’s it. Then, Olivia walks out of the White House.
If you can’t write a story without erasing people of color or relaying on racist stereotypes, you are a bad writer.
If you can’t draw/paint people of color without lightening their skin, cartoonizing their features or making them look white, you are a bad artist.
If you can’t make gifs/edits of people of color without whitewashing them, you are a bad editor.
If you literally are unable to create content without being racist, you are a talentless and bad creator. If you have the ability to create content without being racist and choose not to, you are racist. Simple as that.
If you can’t create content without being racist, you are bad creator.