Another part of this objectification is the bull mascot , El Torito , a person who is hidden underneath an animal costume . In “ Not Quite Heroes : Race , Masculinity , and Latino Professional Wrestlers ,” Phillip Serrato argues that professional wrestling in the United States uses physical stature as a basis of asserting the dominance of white masculinity . The depiction of Latino wrestlers as “ pathetically ineffectual ,” he writes , suggests “ the ( re ) subordination of Latino masculinity to its more powerful white cousin ” ( 248 ). El Torito , in this context , is an unabashedly offensive delivery of this model of hegemony . Los Matadores may not be the smallest wrestlers currently in the WWE , at 5 ’ 10 ” and 6 ’ tall , however , they are not built like their opponents , The Real Americans , at 6 ’ 7 ” and 6 ’ 5 ”. El Torito is drastically unequal in physical stature , and the WWE is , of course , intentionally capitalizing on this . On an episode of Monday Night Raw that aired September 30th , 2013 , one of WWE announcers sings excitedly off-key , “ olé , olé , olé !” and says in reference to El Torito , “ I love this little fella ’, look at him ! I wanna get me one of those !” [ my transcription ] (“ Los Matadores vs . 3MB ”). What occurs here is a repackaging of Latino culture for an Anglo-American audience , an audience that the announcer represents as he ineffectually appropriates the “ olé ” chant out of context and simultaneously mocks with his off-key singing . His reference to El Torito is an obvious brand of objectification , through which he jokingly expresses his desire to own a bull mascot of his own . Connecting back to Serrato , as well , the announcer ’ s commentary also reaffirms the subordination of Latinos in terms of masculinity . What completes the objectification is that the audience , even a child , knows that El Torito is a person , not a bull , not a toy , not something that anyone
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