#6/19/2019

[mikeywayarchive]

altpress: Coming soon...

Limited Edition @MikeyWay Jazz Bass from @Fender

- drops June 6th!!

[May 30, 2023]

[warmglowofsurvival]

"this is for twitter only. if i see this anywhere on instagram at all i’m gunna be pissed."

[xaviergalatis]

It's really not as simple as "a mutually ended relationship in which one person feels a pain that the other refuses to feel."

[vogelmeister]

things that didn’t happen in goud: covid

things that did happen in goud: mark rutte, apparently

[renthony]

Nimona: a Story of Trans Rights, Queer Solidarity, and the Battle Against Censorship

by Ren Basel renbasel.com

The 2023 film Nimona, released on Netflix after a tumultuous development, is a triumph of queer art. While the basic plot follows a mischievous shapeshifter befriending a knight framed for murder, at its heart Nimona is a tale of queer survival in the face of bigotry and censorship. Though the word “transgender” is never spoken, the film is a deeply political narrative of trans empowerment.

The film is based on a comic of the same name, created by Eisner-winning artist N.D. Stevenson. (1) Originally a webcomic, Nimona stars the disgraced ex-knight Ballister Blackheart and his titular sidekick, teaming up to topple an oppressive regime known as the Institution. The webcomic was compiled into a graphic novel published by Harper Collins on May 12, 2015. (2)

On June 11, 2015, the Hollywood Reporter broke the news Fox Animation had acquired rights to the story. (3) A film adaptation would be directed by Patrick Osborne, written by Marc Haimes, and produced by Adam Stone. Two years later, on February 9, 2017, Osborne confirmed the film was being produced with the Fox-owned studio Blue Sky Animation, and on June 30 of that same year, he claimed the film would be released Valentine’s Day 2020. (4)

Then the Walt Disney Company made a huge mess.

On December 14, 2017, Disney announced the acquisition of Twenty-First Century Fox, Inc. (5) Industry publications began speculating the same day about Blue Sky’s fate, though nothing would be confirmed until after the deal’s completion on March 19, 2019. (6) At first it seemed the studio would continue producing films under Disney’s governance, similar to Disney-owned Pixar Animation. (7)

The fate of the studio—and Nimona’s film adaptation—remained in purgatory for two years. During that time, Patrick Osborne left over reported creative differences, and directorial duties were taken over by Nick Bruno and Troy Quane. (8) Bruno and Quane continued production on the film despite Blue Sky’s uncertain future.

The killing blow came on February 9, 2021. Disney shut down Blue Sky and canceled Nimona, the result of economic hardship caused by COVID-19. (9) Nimona was seventy-five percent completed at the time, set to star Chloë Grace Moretz and Riz Ahmed. (10)

While COVID-19 caused undeniable financial upheaval for the working class, wealthy Americans fared better. (11) Disney itself scraped together enough to pay CEO Bob Iger twenty-one million dollars in 2020 alone. (12) Additionally, demand for animation spiked during the pandemic’s early waves, and Nimona could have been the perfect solution to the studio’s supposed financial woes. (13) Why waste the opportunity to profit from Blue Sky’s hard work?

It didn’t take long for the answer to surface. Speaking anonymously to the press, Blue Sky workers revealed the awful truth: Disney may have killed Nimona for being too queer. The titular character was gender-nonconforming, the leading men were supposed to kiss, and Disney didn’t like it. (14) While Disney may claim COVID-19 as the cause, it is noteworthy that Disney representatives saw footage of two men declaring their love, and not long after, the studio responsible was dead. (15) Further damning evidence came in February of 2024, when the Hollywood Reporter published an article quoting co-director Nick Bruno, who named names: Disney’s chief creative officer at the time, Alan Horn, was adamantly opposed to the film’s “gay stuff.” (16)

Disney didn’t think queer art was worthy of their brand, and it isn’t the first time. “Not fitting the Disney brand” was the justification for canceling Dana Terrace’s 2020 animated series The Owl House, which featured multiple queer characters. (17) Though Terrace was reluctant to assume queerphobia caused the cancellation, Disney’s anti-queer bias has been cited as a hurdle by multiple showrunners, including Terrace herself. (18) The company’s resistance to queer art is a documented phenomenon.

While Nimona’s film cancellation could never take N.D. Stevenson’s comic from the world, it was a sting to lose such a powerful queer narrative on the silver screen. American film has a long history of censoring queerness. The Motion Picture Production Code (commonly called the Hays Code) censored queer stories for decades, including them under the umbrella of “sex perversion.” (19) Though the Code was eventually repealed, systemic bigotry turns even modern queer representation milestones into battles. In 2018, when Rebecca Sugar, creator of the Cartoon Network series Steven Universe, succeeded in portraying the first-ever same-sex marriage proposal in American children’s animation, the network canceled the show in retaliation. (20)

When queer art has to fight so hard just to exist, each loss is a bitter heartbreak. N.D. Stevenson himself expressed sorrow that the world would never see what Nimona’s crew worked so hard to achieve. (21)

Nimona, however, is hard to kill.

While fans mourned, progress continued behind the scenes. Instead of disappearing into the void as a tax write-off, the film was quietly scooped up by Megan Ellison of Annapurna Pictures. (22) Ellison received a call days before Disney’s death blow to Blue Sky, and after looking over storyboard reels, she decided to champion the film. With Ellison’s support, former Blue Sky heads Robert Baird and Andrew Millstein did their damnedest to find Nimona a home. (23)

Good news arrived on April 11, 2022, when N.D. Stevenson made a formal announcement on Twitter (now X): Nimona was gloriously alive, and would release on Netflix in 2023. (24) Netflix confirmed the news in its own press release, where it also provided details about the film’s updated cast and crew, including Eugene Lee Yang as Ambrosius Goldenloin alongside Riz Ahmed’s Ballister Boldheart (changed from the name Blackheart in the comic) and Chloë Grace Moretz as Nimona. (25) The film was no longer in purgatory, and grief over its death became anticipation for its release.

Nimona made her film debut in France, premiering at the Annecy International Animation Film Festival on June 14, 2023 to positive reviews. (26) Netflix released the film to streaming on June 30, finally completing the story’s arduous journey from page to screen. (27)

When the film begins, the audience is introduced to the world through a series of illustrated scrolls, evoking the storybook intros of Disney princess films such as 1959’s Sleeping Beauty. The storybook framing device has been used to parody Disney in the past, perhaps most famously in the 2001 Dreamworks film Shrek. Just as Shrek contains parodies of the Disney brand created by a Disney alumnus, so, too, does Nimona riff on the studio that snubbed it. (28)

Nimona’s storybook intro tells the story of Gloreth, a noble warrior woman clad in gold and white, who defended her people from a terrible monster. After slaying the beast, Gloreth established an order of knights called the Institute (changed from the Institution in the comic) to wall off the city and protect her people.

Right away, the film introduces a Christian dichotomy of good versus evil. Gloreth is presented as a Christlike figure, with the Institute’s knights standing in as her saints. (29) Her name is invoked like the Christian god, with characters uttering phrases such as “oh my Gloreth” and “Gloreth guide you.” The film’s design borrows heavily from Medieval Christian art and architecture, bolstering the metaphor.

Nimona takes place a thousand years after Gloreth’s victory. Following the opening narration, the audience is dropped into a setting combining Medieval aesthetics with futuristic science fiction, creating a sensory delight of neon splashed across knights in shining armor. It’s in this swords-and-cyborgs city that a new knight is set to join the illustrious ranks of Gloreth’s Institute, now under the control of a woman known only as the Director (voiced by Frances Conroy). That new knight is our protagonist, Ballister Boldheart.

The film changes several things from the original. The comic stars Lord Ballister Blackheart, notorious former knight, long after his fall from grace. He has battled the Institution for years, making a name for himself as a supervillain. The film introduces a younger Ballister Boldheart who is still loyal to the Institute, who believes in his dream of becoming a knight and overcomes great odds to prove himself worthy. In the comic, Blackheart’s greatest rival is Sir Ambrosius Goldenloin, with whom he has a messy past. The film shows more of that past, when Goldenloin and Boldheart were young lovers eager to become knights by each other’s side.

There is another notable change: in the comic, Goldenloin is white, and Blackheart is light-skinned. In the film, both characters are men of color—specifically, Boldheart is of Pakistani descent, and Goldenloin is of Korean descent, matching the ethnicity of their respective voice actors. This change adds new themes of institutional racism, colorism, and the “model minority” stereotype. (30)

The lighter-skinned Goldenloin is, as his name suggests, the Institute’s golden boy. He descends from the noble lineage of Gloreth herself, and his face is emblazoned on posters and news screens across the city. He is referred to as “the most anticipated knight of a generation.” In contrast, the darker-skinned Boldheart experiences prejudice and hazing due to his lower-class background. His social status is openly discussed in the news. He is called a “street kid” and “controversial,” despite being the top student in his class. The newscasters make sure everyone knows he was only given the chance to prove himself in the Institute because the queen, a Black woman with established social influence, gave him her personal patronage. Despite this patronage, when the news interviews citizens on the street, public opinion is firmly against Boldheart.

To preserve the comic’s commentary on white privilege, some of Goldenloin’s traits were written into a new, white character created for the film, Sir Thoddeus Sureblade (voiced by Beck Bennett). Sureblade’s vitriol against both Boldheart and Goldenloin allowed Goldenloin to become a more sympathetic character, trapped in the system just as much as Boldheart. (31) This is emphasized at other points in the film when the audience sees Sureblade interact with Goldenloin without Boldheart present, berating the only person of color left in the absence of the darker-skinned man.

The day Boldheart is to be knighted, everything goes wrong. As Queen Valerin (voiced by Lorraine Toussaint) performs the much-anticipated knighting ceremony, a device embedded in Boldheart’s sword explodes, killing her instantly. Though Boldheart is not to blame, he is dubbed an assassin instead of a knight. In an instant, he becomes the most wanted man in the kingdom, and Queen Valerin’s hopes for progress and social equality seem dead with her. Boldheart is gravely injured in the explosion and forced to flee, unable to clear his name.

Enter Nimona.

The audience meets the titular character in the act of vandalizing a poster of Gloreth, only to get distracted by an urgent broadcast on a nearby screen. As she approaches, a bystander yells that she’s a “freak,” in a manner reminiscent of slurs screamed by passing bigots. Nimona has no time for bigots, spraying this one in the face with paint before tuning in to the news.

“Everyone is scared,” declare the newscasters, because queen-killer Ballister Boldheart is on the run. The media paints him as a monster, a filthy commoner who never deserved the chances he was given, and announce that, “never since Gloreth’s monster has anything been so hated.” This characterization pleases Nimona, and she declares him “perfect” before scampering off to find his hiding place.

It takes the span of a title screen for her to track him down, sequestered in a makeshift junkyard shelter. Just before Nimona bursts into the lair, the audience sees Boldheart’s injuries have resulted in the amputation of his arm, and he is building a homemade prosthetic. This is another way he’s been othered from his peers in an instant, forced to adapt to life-changing circumstances with no support. Where he was so recently an aspiring knight with a partner and a dream, he is now homeless, disabled, and isolated.

A wall in the hideout shows a collection of news clippings, suspects, and sticky notes where Boldheart is trying to solve the murder and clear his name. His own photo looks down from the wall, captioned with a damning headline: “He was never one of us—knights reveal shocking details of killer’s past.” It evokes real-world racial bias in crime reporting, where suspects of color are treated as more violent, unstable, and prone to crime than white suspects. A 2021 report by the Equal Justice Initiative and the Global Strategy Group compiled data on this phenomenon, focusing on the stark disparity between coverage of white and Black suspects. (32)

Nimona is not put off by Boldheart’s sinister media reputation. It’s why she tracked him down in the first place. She’s arrived to present her official application as Boldheart’s villain sidekick and help him take down the Institute. Boldheart brushes her off, insisting he isn’t a villain. He has faith in his innocence and in the system, and leaves Nimona behind to clear his name.

When he is immediately arrested, stripped of his prosthetic, and jailed, Nimona doesn’t abandon him. She springs a prison break, and conveys a piece of bitter wisdom to the fallen knight: “[O]nce everyone sees you as a villain, that’s what you are. They only see you one way, no matter how hard you try.”

Nimona and Boldheart are both outcasts, but they are at different stages of processing the pain. Boldheart is deep in the grief of someone who tried to adhere to the demands of a biased system but finally failed. He is the newly cast-out, who gave his entire life to the system but still couldn’t escape dehumanization. His pain is a fresh, raw wound, where Nimona has old scars. She embodies the deep anger of those who have existed on the margins for years. Where Boldheart wants to prove his innocence so he can be re-accepted into the fold, Nimona’s goal is to tear the entire system apart. She finds instant solidarity with Boldheart based solely on their mutual status as outsiders, but Boldheart resists that solidarity because he still craves the system’s familiar structure.

In the comic, Blackheart’s stance is not one of fresh grief, since, just like Nimona, he has been an outsider for some time. Instead, Blackheart’s position is one of slow reform. He believes the system can be changed and improved, while Nimona urges him to demolish it entirely. In both versions, Ballister thinks the system can be fixed by removing specific corrupt influences, where Nimona believes the government is rotten to its foundations and should be dismantled. Despite their ideological differences, Nimona and Ballister ally to survive the Institute’s hostility.

The allyship is an uneasy truce. During the prison break, Nimona reveals that she’s a shapeshifter, able to change into whatever form she pleases. Boldheart reflexively reaches for his sword, horrified that she isn’t human. She is the exact sort of monster he has been taught to fear by the Institute, and it’s only because he needs her help that he overcomes his reflex and sticks with her.

Nimona’s shapeshifting functions as a transgender allegory. The comic’s author, N.D. Stevenson, is transgender, and Nimona’s story developed alongside his own queer journey. (33) The trans themes from the comic are emphasized in the film, with various pride flags included in backgrounds and showcased in the art book. (34) Directors Bruno and Quane described the film as “a story about acceptance. A movie about being seen for who you truly are and a love letter to all those who’ve ever shared that universal feeling of being misunderstood or like an outsider trying to fit in.” (35)

When Boldheart asks Nimona what she is, she responds with only “Nimona.” When he calls her a girl, she retorts that she’s “a lot of things.” When she transforms into another species, she specifies in that moment that she’s “not a girl, I’m a shark.” Later, when she takes the form of a young boy and Boldheart comments on it, saying “now you’re a boy,” her response is, “I am today.” She defies easy categorization, and she likes it that way.

About her shapeshifting, Nimona says “it feels worse if I don’t do it” and “I shapeshift, then I’m free.” When asked what happens if she doesn’t shapeshift, she responds, “I wouldn’t die-die, I just sure wouldn’t be living.” Every time she discusses her transformations, it carries echoes of transgender experience—and, as it happens, Nimona is not N.D. Stevenson’s only shapeshifting transgender character. During his tenure as showrunner for She-Ra and the Princesses of Power (Netflix/Dreamworks, 2018-2020), Stevenson introduced the character Double Trouble. Double Trouble previously existed at the margins of She-Ra lore, but Stevenson’s version was a nonbinary shapeshifter using they/them pronouns. (36) While Nimona uses she/her pronouns throughout both comic and film, just like Double Trouble her gender presentation is as fluid as her physical form.

Boldheart, like many cisgender people reacting to transgender people, is uncomfortable with Nimona. He declares her way of doing things “too much,” and insists they try to be “inconspicuous” and “discreet.” He worries whether others saw her, and, when she is casually in a nonhuman form, he asks if she can “be normal for a second.” He claims to support her, but says it would be “easier if she was a girl” because “other people aren’t as accepting.” His discomfort evokes fumbled allyship by cisgender people, and Nimona emphasizes the allegory by calling Boldheart out for his “small-minded questions.” While the alliance is uneasy, Boldheart continues working with Nimona to clear his name. They are the only allies each other has, and their individual survival is dependent on them working together.

When the duo gain video proof of Boldheart’s innocence, they learn the bomb that killed Queen Valerin was planted by the Director. Threatened by a Black woman using her influence to elevate a poor, queer man of color, the white Director chose to preserve the status quo through violence.

Nimona is eager to get the video on every screen in the city, but Boldheart wants to deal with the issue internally, out of the public eye. He insists “the Institute isn’t the problem, the Director is.” This belief is what also leads the comic’s Blackheart to reject Nimona’s idea that he should crown himself king. He is focused on reforming the existing power structure, neither removing it entirely nor taking it over himself.

Inside the Institute, the Director has been doing her best to set Goldenloin against his former partner. Despite his internal misgivings and fear of betraying someone he loves, Goldenloin does his best to adhere to his prescribed role. As the Director reminds the knights, they are literally born to defend the kingdom, and it’s their sacred duty to do so—especially Goldenloin, who carries Gloreth’s holy blood. This blood connection is repeated throughout the film, and used by the Director to exploit Goldenloin. He’s the Institute’s token minority, put on a gilded pedestal and treated as a symbol instead of a human being.

Goldenloin is a pretty face for propaganda posters, and those posters can be seen throughout the film. They proclaim Gloreth’s majesty, the power of the knights, and remind civilians that the Institute is necessary to “protect our way of life.” A subway PSA urges citizens, “if you see something, slay something,” in a direct parody of the real-world “if you see something, say something” campaign by the United States Department of Homeland Security. (37)

The film is not subtle in its political messaging. When Boldheart attempts to prove his innocence to Goldenloin and the assembled knights, he reaches towards his pocket for a phone. The Director cries that Boldheart has a weapon, and Sureblade opens fire. Though the shot hits the phone and not Boldheart, it carries echoes of real-world police brutality against people of color. Specifically, the use of a phone evokes cases such as the 2018 murder of Stephon Clark, a young Black man who was shot and killed by California police claiming Clark’s cell phone was a firearm. (38) The film does not toy with vague, depoliticized themes of coexistence and tolerance; it is a direct and pointed allegory for contemporary oppression in the United States of America.

Forced to choose between love for Boldheart and loyalty to the Institute, Goldenloin chooses the Institute. He calls for Boldheart’s arrest, and this is the moment Boldheart finally agrees to fight back and raise hell alongside Nimona. When Goldenloin calls Nimona a monster during the ensuing battle, Boldheart doesn’t hesitate to refute it. He expresses his trust in her, and it’s clear he means it. He’s been betrayed by someone he cared about and thought he could depend on, and this puts him in true solidarity with Nimona for the first time.

During the fight, Nimona stops a car from crashing into a small child. She shapeshifts into a young girl to appear less threatening, but it doesn’t work. The child picks up a sword, pointing it at Nimona until an adult pulls them away to hide. When Nimona sees this hatred imprinted in the heart of a child, it horrifies her.

After fleeing to their hideout, Nimona makes a confession to Boldheart: she has suicidal ideations. So many people have directed so much hatred toward her that sometimes she wants to give in and let them kill her. In the real world, a month after the film’s release, a study from the Williams Institute at the UCLA School of Law compiled data about suicidality in American transgender adults. (39) Researchers found that eighty-one percent have thought about suicide, compared to just thirty-five percent of cisgender adults. Forty-two percent have attempted suicide, compared to eleven percent of cisgender adults. Fifty-six percent have engaged in self-harm, compared to twelve percent of cisgender adults.

When Boldheart offers to flee with her and find somewhere safe together, Nimona declares they shouldn’t have to run. She makes the decision every trans person living in a hostile place must make: do I leave and save myself, or do I stay to fight for my community? The year the film was released, the Trans Legislation Tracker reported a record-breaking amount of anti-trans legislation in the United States, with six hundred and two bills introduced throughout twenty-four states. (40) In February 2024, the National Center for Transgender Equality published data on their 2022 U.S. Transgender Survey, revealing that forty-seven percent of respondents thought about moving to another area due to discrimination, with ten percent actually doing so. (41)

Despite the danger, Nimona and Boldheart work diligently against the Institute. When they gain fresh footage proving the Director’s guilt, they don’t hesitate to upload it online, where it garners rapid attention across social and news media. Newscasters begin asking who the real villain is, anti-Institute sentiment builds, and citizens protest in the streets, demanding answers. The power that social media adds to social justice activism is true in the real world as it is in the film, seen in campaigns such as the viral #MeToo hashtag and the Black Lives Matter movement. (42) In 2020, polls conducted by the Pew Research Center showed eight in ten Americans viewed social media platforms as either very or somewhat effective in raising awareness about political and social topics. In the same survey, seventy-seven percent of respondents believed social media is at least somewhat effective in organizing social movements. (43)

In reaction to the media firestorm, the Director issues a statement. She outs Nimona as a shapeshifter, and claims the evidence against the Institute is a hoax. Believing the Director, Goldenloin contacts Boldheart for a rendezvous, sans Nimona. From Goldenloin’s perspective, Boldheart is a good man who has been deceived by the real villain, Nimona. He tells Boldheart about a scroll the Director found, with evidence that Nimona is Gloreth’s original monster, still alive and terrorizing the city. Goldenloin wants to bring Boldheart back into the knighthood and resume their relationship, and though that’s what Boldheart wanted before, his solidarity with Nimona causes him to reject the offer.

Though he leaves Goldenloin behind, Boldheart’s suspicion of Nimona returns. Despite their solidarity, he doesn’t really know her, so he returns home to interrogate her. In the ensuing argument, he reverts to calling her a monster, but only through implication—he won’t say the word. Like a slur, he knows he shouldn’t say it anymore, but that doesn’t keep him from believing it.

Boldheart’s actions prove to Nimona that nowhere is safe. There is no haven. Her community will always turn on her. She flees, and in her ensuing breakdown, the audience learns her backstory. She was alone for an unspecified length of time, never able to fit in until meeting Gloreth as a little girl. Nimona presents herself to Gloreth as another little girl, and Gloreth becomes Nimona’s very first friend. Even when Nimona shapeshifts, Gloreth treats her with kindness and love.

Then the adults of Gloreth’s village see Nimona shapeshift, and the word “monster” is hurled. Torches and pitchforks come out. At the adults’ panic, Gloreth takes up a sword against Nimona, and the cycle of bigotry is transferred to the next generation. The friendship shatters, and Nimona must flee before she can be killed.

After losing Boldheart, seemingly Nimona’s only ally since Gloreth’s betrayal, Nimona’s grief becomes insurmountable. She knows in her heart that nothing will ever change. She’s been hurt too much, by too many, cutting too deeply. To Nimona, the world will only ever bring her pain, so she gives in. She transforms into the giant, ferocious monster everyone has always told her she is, and she begins moving through the city as the Institute opens fire.

When Ballister sees Nimona’s giant, shadowy form, he realizes the horrific pain he caused her. He intuits that Nimona isn’t causing destruction for fun, she’s on a suicide march. She’s given up, and her decision is the result of endless, systemic bigotry and betrayal of trust. Her rampage wouldn’t be happening if she’d been treated with love, support, and care.

Nimona’s previous admission of suicidal ideation repeats in voiceover as she prepares to impale herself on a sword pointed by a massive statue of Gloreth. Her suicide is only prevented because Ballister steps in, calling to her, apologizing, saying he sees her and she isn’t alone. She collapses into his arms, once again in human form, sobbing. Boldheart has finally accepted her truth, and she is safe with him.

But she isn’t safe from the Director.

In a genocidal bid she knows will take out countless civilian lives, the Director orders canons fired on Nimona. Goldenloin tries to stop her, finally standing up against the system, but it’s too late. The Director fires the canons, Nimona throws herself at the blast to protect the civilians, and Nimona falls.

When the dust settles, the Director is deposed and the city rebuilds. Boldheart and Goldenloin reconnect and resume their relationship. The walls around the city come down, reforms take hold in the Institute, and a memorial goes up to honor Nimona, the hero who sacrificed her life to reveal the Director’s corruption.

Nimona, however, is hard to kill.

Nimona originally had a tragic ending, born of N.D. Stevenson’s own depression, but that hopelessness didn’t last forever. (44) Though Nimona is defeated, she doesn’t stay dead. Through the outpouring of love and support N.D. Stevenson received while creating the original webcomic, he gained the community and support he needed to create a more hopeful ending for Nimona’s story—and himself.

The comic’s ending is bittersweet. Nimona can’t truly die, and eventually restores herself. She allows Blackheart to glimpse her, so he knows she survived, but she doesn’t stay. She still doesn’t feel safe, and is assumed to move on somewhere new. Blackheart never sees Nimona again.

The film’s ending is more hopeful. There is a shimmer of pink magic as Nimona announces her survival, and the film ends with Boldheart’s elated exclamation. Even death couldn’t keep her down. She survived Gloreth, and she survived the Director. Though this chapter of the story is over, there is hope on the horizon, and she has allies on her side.

In both incarnations, Nimona is a story of queer survival in a cruel world. The original ending was one of despair, that said there was little hope of true solidarity and allyship. The revised ending said there was hope, but still so far to go. The film’s ending says there is hope, there is solidarity, and there are people who will stand with transgender people until the bitter end—but, more importantly, there are people in the world who want trans people to live, to thrive, and to find joy.

In a world that’s so hostile to transgender people, it’s no wonder a radically trans-positive film had to fight so hard to exist. Unfortunately, the battle must continue. As of June 2024, Netflix hasn’t announced any intent to produce physical copies of the film, meaning it exists solely on streaming and is only accessible via a monthly paid subscription. Should Netflix ever take down its original animation, as HBO Max did in 2022 despite massive backlash, the film could easily become lost media. (45) Though it saved Nimona from Disney, Netflix has its own nasty history of under-marketing and canceling queer programs. (46)

The film’s art book is already gone. The multimedia tome was posted online on October 12, 2023, hosted at ArtofNimona.com. (47) Per the Internet Archive’s Wayback Machine, the site became a Netflix redirect at some point between 10:26 PM on March 9, 2024 and 9:35 PM on March 20, 2024. (48) On the archived site, some multimedia elements are non-functional, potentially making them lost media. The art book is not available through any legal source, and though production designer Aidan Sugano desperately wants a physical copy made, there seem to be no such plans. (49)

Perhaps Netflix will eventually release physical copies of both film and art book. Perhaps not. Time will tell. In the meantime, Nimona stands as a triumph of queer media in a queerphobic world. That it exists at all is a miracle, and that its accessibility is so precarious a year after release is a travesty. Contemporary political commentary is woven into every aspect of the film, and it exists thanks to the passion, talent, and bravery of an incredible crew who endured despite blatant corporate queerphobia.

Long live Nimona, and long live the transgender community she represents.

_ This piece was commissioned using the prompt "the Nimona movie."

Updated 6/16/24 to revise an inaccurate statement regarding the original comic.

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Notes:

1. “Past Recipients 2010s.” n.d. Comic-Con International. Accessed June 10, 2024. https://www.comic-con.org/awards/eisner-awards/past-recipients/past-recipenties-2010s/.

2. Stevenson, ND. 2015. Nimona. New York, NY: Harperteen.

3. Kit, Borys. 2015. “Fox Animation Nabs ‘Nimona’ Adaptation with ‘Feast’ Director (Exclusive).” The Hollywood Reporter. June 11, 2015. https://www.hollywoodreporter.com/movies/movie-news/fox-animation-nabs-nimona-adaptation-801920/.

4. Riley, Jenelle. 2017. “Oscar Winner Patrick Osborne Returns with First-Ever vr Nominee ‘Pearl.’” Variety. February 9, 2017. https://variety.com/2017/film/in-contention/patrick-osborne-returns-to-race-with-first-vr-nominee-pearl-1201983466/; Osborne, Patrick (@PatrickTOsborne). 2017. "Hey world, the NIMONA feature film has a release date! @Gingerhazing February 14th 2020 !!" Twitter/X, June 30, 2017, 3:16 PM. https://x.com/PatrickTOsborne/status/880867591094272000. ‌

5. “The Walt Disney Company to Acquire Twenty-First Century Fox, Inc., after Spinoff of Certain Businesses, for $52.4 Billion in Stock.” 2017. The Walt Disney Company. December 14, 2017. https://thewaltdisneycompany.com/walt-disney-company-acquire-twenty-first-century-fox-inc-spinoff-certain-businesses-52-4-billion-stock-2/.

6. Amidi, Amid. 2017. “Disney Buys Fox for $52.4 Billion: Here Are the Key Points of the Deal.” Cartoon Brew. December 14, 2017. https://www.cartoonbrew.com/business/disney-buys-fox-key-points-deal-155390.html; Giardina, Carolyn. 2017. “Disney Deal Could Redraw Fox’s Animation Business.” The Hollywood Reporter. December 14, 2017. https://www.hollywoodreporter.com/news/general-news/disney-deal-could-redraw-foxs-animation-business-1068040/; Szalai, Georg, and Paul Bond. 2019. “Disney Closes $71.3 Billion Fox Deal, Creating Global Content Powerhouse.” The Hollywood Reporter. March 19, 2019. https://www.hollywoodreporter.com/news/general-news/disney-closes-fox-deal-creating-global-content-powerhouse-1174498/.

7. Hipes, Patrick. 2019. “After Trying Day, Disney Sets Film Leadership Lineup.” Deadline. March 22, 2019. https://deadline.com/2019/03/disney-film-executives-post-merger-team-set-1202580586/.

8. Jones, Rendy. 2023. “‘Nimona’: Netflix’s Remarkable Trans-Rights Animated Movie Is Here.” Rolling Stone. July 3, 2023. https://www.rollingstone.com/tv-movies/tv-movie-features/nimona-netflix-trans-rights-animated-movie-lgbtq-riz-ahmed-chloe-grace-moretz-1234782583/.

9. D’Alessandro, Anthony. 2021. “Disney Closing Blue Sky Studios, Fox’s Once-Dominant Animation House behind ‘Ice Age’ Franchise.” Deadline. February 9, 2021. https://deadline.com/2021/02/blue-sky-studios-closing-disney-ice-age-franchise-animation-1234690310/.

10. “Disney’s Blue Sky Shut down Leaves Nimona Film 75% Completed.” 2021. CBR. February 10, 2021. https://www.cbr.com/nimona-film-abandoned-disney-blue-sky-shut-down/; Sneider, Jeff. 2021. “Exclusive: Disney’s LGBTQ-Themed ‘Nimona’ Would’ve Featured the Voices of Chloë Grace Moretz, Riz Ahmed.” Collider. March 4, 2021. https://collider.com/nimona-movie-cast-cancelled-disney-blue-sky/.

11. Horowitz, Juliana Menasce, Anna Brown, and Rachel Minkin. 2021. “The COVID-19 Pandemic’s Long-Term Financial Impact.” Pew Research Center’s Social & Demographic Trends Project. March 5, 2021. https://www.pewresearch.org/social-trends/2021/03/05/a-year-into-the-pandemic-long-term-financial-impact-weighs-heavily-on-many-americans/.

12. Lang, Brent. 2022. “Disney CEO Bob Iger’s Rich Compensation Package Revealed, Company Says Bob Chapek Fired ‘without Cause.’” Variety. November 21, 2022. https://variety.com/2022/film/finance/bob-iger-compensation-package-salary-bob-chapek-fired-1235439151/.

13. Romano, Nick. 2020. “The Pandemic Animation Boom: How Cartoons Became King in the Time of COVID.” EW.com. November 2, 2020. https://ew.com/movies/animation-boom-coronavirus-pandemic/.

14. Strapagiel, Lauren. 2021. “The Future of Disney’s First Animated Feature Film with Queer Leads, ‘Nimona,’ Is in Doubt.” BuzzFeed News. February 24, 2021. https://www.buzzfeednews.com/article/laurenstrapagiel/disney-nimona-movie-lgbtq-characters.

15. Clark, Travis. 2022. “Disney Raised Concerns about a Same-Sex Kiss in the Unreleased Animated Movie ‘Nimona,’ Former Blue Sky Staffers Say.” Business Insider. https://www.businessinsider.com/disney-disapproved-same-sex-kiss-nimona-movie-former-staffers-say-2022-3.

16. Keegan, Rebecca. 2024. “Why Megan Ellison Saved ‘Nimona’: ‘I Needed This Movie.’” The Hollywood Reporter. February 22, 2024. https://www.hollywoodreporter.com/movies/movie-news/megan-ellison-saved-nimona-1235832043/.

17. St. James, Emily. 2023. “Mourning the Loss of the Owl House, TV’s Best Queer Kids Show.” Vanity Fair. April 6, 2023. https://www.vanityfair.com/hollywood/2023/04/loss-of-the-owl-house-tvs-best-queer-kids-show.

18. AntagonistDana. 2021. “AMA (except by ‘Anything’ I Mean These Questions Only).” Reddit. October 5, 2021. https://www.reddit.com/r/TheOwlHouse/comments/q1x1uh/ama_except_by_anything_i_mean_these_questions_only/; de Wit, Alex Dudok. 2020. “Disney Executive Tried to Block Queer Characters in ‘the Owl House,’ Says Creator.” 2020. Cartoon Brew. August 14, 2020. https://www.cartoonbrew.com/disney/disney-executives-tried-to-block-queer-characters-in-the-owl-house-says-creator-195413.html.

19. Doherty, Thomas. 1999. Pre-Code Hollywood : Sex, Immorality, and Insurrection in American Cinema, 1930-1934. New York: Columbia University Press. 363.

20. Henderson, Taylor. 2018. “‘Steven Universe’s’ Latest Episode Just Made LGBTQ History.” Pride. July 5, 2018. https://www.pride.com/stevenuniverse/2018/7/05/steven-universes-latest-episode-just-made-lgbtq-history; McDonnell, Chris. 2020. Steven Universe: End of an Era. New York: Abrams. 102.

21. Stevenson, ND. (@Gingerhazing). 2021. "Sad day. Thanks for the well wishes, and sending so much love to everyone at Blue Sky. Forever grateful for all the care and joy you poured into Nimona." Twitter/X, February 9, 2021, 3:32 PM. https://x.com/Gingerhazing/status/1359238823935283200

22. Jones, Rendy. 2023. “‘Nimona’: Netflix’s Remarkable Trans-Rights Animated Movie Is Here.” Rolling Stone. July 3, 2023. https://www.rollingstone.com/tv-movies/tv-movie-features/nimona-netflix-trans-rights-animated-movie-lgbtq-riz-ahmed-chloe-grace-moretz-1234782583/.

23. Keegan, Rebecca. 2024. “Why Megan Ellison Saved ‘Nimona’: ‘I Needed This Movie.’” The Hollywood Reporter. February 22, 2024. https://www.hollywoodreporter.com/movies/movie-news/megan-ellison-saved-nimona-1235832043/.

24. Stevenson, ND. (@Gingerhazing). 2022. "Nimona’s always been a spunky little story that just wouldn’t stop. She’s a fighter...but she’s also got some really awesome people fighting for her. I am excited out of my mind to announce that THE NIMONA MOVIE IS ALIVE...coming at you in 2023 from Annapurna and Netflix." Twitter/X, April 11, 2022, 10:00 AM. https://x.com/Gingerhazing/status/1513517319841935363.

25. “‘Nimona’ Starring Chloë Grace Moretz, Riz Ahmed & Eugene Lee Yang Coming to Netflix in 2023.” About Netflix. April 11, 2022. https://about.netflix.com/en/news/nimona-starring-chloe-grace-moretz-riz-ahmed-and-eugene-lee-yang-coming-to-netflix.

26. “’Nimona’ Rates 100% on Rotten Tomatoes after Annecy Premiere.” Animation Magazine. June 15, 2023. https://www.animationmagazine.net/2023/06/nimona-rates-100-on-rotten-tomatoes-after-annecy-premiere/

27. Dilillo, John. 2023. “’Nimona’: Everything You Need to Know About the New Animated Adventure.” Tudum by Netflix. June 30, 2023. https://www.netflix.com/tudum/articles/nimona-release-date-news-photos

28. Reese, Lori. 2001. “Is ‘“Shrek”’ the Anti- Disney Fairy Tale?” Entertainment Weekly. May 29, 2001. https://ew.com/article/2001/05/29/shrek-anti-disney-fairy-tale/.

29. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 255. https://web.archive.org/web/20240309222607/https://artofnimona.com/.

30. White, Abbey. 2023. “How ‘Nimona’ Explores the Model Minority Stereotype through Its Queer API Love Story.” The Hollywood Reporter. July 1, 2023. https://www.hollywoodreporter.com/movies/movie-features/nimona-eugene-lee-yang-directors-race-love-story-netflix-1235526714/.

31. White, Abbey. 2023. “How ‘Nimona’ Explores the Model Minority Stereotype through Its Queer API Love Story.” The Hollywood Reporter. July 1, 2023. https://www.hollywoodreporter.com/movies/movie-features/nimona-eugene-lee-yang-directors-race-love-story-netflix-1235526714/.

32. Equal Justice Initiative. 2021. “Report Documents Racial Bias in Coverage of Crime by Media.” Equal Justice Initiative. December 16, 2021. https://eji.org/news/report-documents-racial-bias-in-coverage-of-crime-by-media/.

33. Stevenson, N. D. 2023. “Nimona (the Comic): A Deep Dive.” I’m Fine I’m Fine Just Understand. July 13, 2023. https://www.imfineimfine.com/p/nimona-the-comic-a-deep-dive.

34. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 259-260. https://web.archive.org/web/20240309222607/https://artofnimona.com/.

35. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 7. https://web.archive.org/web/20240309222607/https://artofnimona.com/.

36. Brown, Tracy. 2019. “In Netflix’s ‘She-Ra,’ Even Villains Respect Nonbinary Pronouns.” Los Angeles Times. November 6, 2019. https://www.latimes.com/entertainment-arts/tv/story/2019-11-05/netflix-she-ra-princesses-power-nonbinary-double-trouble.

37. Department of Homeland Security. 2019. “If You See Something, Say Something®.” Department of Homeland Security. May 10, 2019. https://www.dhs.gov/see-something-say-something.

38. University of Stanford. n.d. “Stephon Clark.” Say Their Names - Spotlight at Stanford. https://exhibits.stanford.edu/saytheirnames/feature/stephon-clark.

39. Kidd, Jeremy D., Tettamanti, Nicky A., Kaczmarkiewicz, Roma, Corbeil, Thomas E., Dworkin, Jordan D., Jackman, Kasey B., Hughes, Tonda L., Bockting, Walter O., & Meyer, Ilan H. 2023. “Prevalence of Substance Use and Mental Health Problems among Transgender and Cisgender US Adults.” Williams Institute. https://williamsinstitute.law.ucla.edu/publications/transpop-substance-use/.

40. “2023 Anti-Trans Bills: Trans Legislation Tracker.” n.d. Trans Legislation Tracker. https://translegislation.com/bills/2023.

41. James, S.E., Herman, J.L., Durso, L.E., & Heng-Lehtinen, R. 2024. “Early Insights: A Report of the 2022 U.S. Transgender Survey.” National Center for Transgender Equality, Washington, DC.

42. Myers, Catherine. 2023. “Protests in the Age of Social Media.” The Nonviolence Project. February 11, 2023. https://thenonviolenceproject.wisc.edu/2023/02/11/protests-in-the-age-of-social-media/.

43. Auxier, Brooke, and Colleen McClain. 2020. “Americans Think Social Media Can Help Build Movements, but Can Also Be a Distraction.” Pew Research Center. Pew Research Center. September 9, 2020. https://www.pewresearch.org/short-reads/2020/09/09/americans-think-social-media-can-help-build-movements-but-can-also-be-a-distraction/.

44. Stevenson, N. D. 2023. “Nimona (the Comic): A Deep Dive.” I’m Fine I’m Fine Just Understand. July 13, 2023. https://www.imfineimfine.com/p/nimona-the-comic-a-deep-dive.

45. Chapman, Wilson. 2022. “HBO Max to Remove 36 Titles, Including 20 Originals, from Streaming.” Variety. August 18, 2022. https://variety.com/2022/tv/news/hbo-max-originals-removed-1235344286/.

46. Iftikhar, Asyia. 2023. “Netflix CEO Slammed by LGBTQ+ Fans over Cancellation Comments: ‘They Are NOT Allies.’” PinkNews. January 24, 2023. https://www.thepinknews.com/2023/01/24/netflix-ceo-ted-sarandos-cancelled-shows-lgbtq-fans-reactions/.

47. Lang, Jamie. 2023. “Netflix Has Released a 358-Page Multimedia Art of Book for ‘Nimona’ - Exclusive.” Cartoon Brew. October 12, 2023. https://www.cartoonbrew.com/books/nimona-art-of-book-aidan-sugano-netflix-233636.html.

48. “Wayback Machine.” n.d. The Internet Archive. Accessed June 10, 2024. https://wayback-api.archive.org/web/20240000000000.

49. Lang, Jamie. 2023. “Netflix Has Released a 358-Page Multimedia Art of Book for ‘Nimona’ - Exclusive.” Cartoon Brew. October 12, 2023. https://www.cartoonbrew.com/books/nimona-art-of-book-aidan-sugano-netflix-233636.html.

[nasa]

A Geminid meteor streaks across the sky as the Soyuz TMA-19M spacecraft is rolled out by train to the launch pad at the Baikonur Cosmodrome on Sunday, Dec. 13, 2015, in Kazakhstan. Credit: NASA/Joel Kowsky

Make a Wish! How to See the Geminid Meteor Shower

Every December, we have a chance to see one of our favorite meteor showers – the Geminids. To help you prepare, we’ve answered some of your most commonly asked questions. Happy viewing, stargazers!

These radar images of near-Earth object 3200 Phaethon were generated by astronomers at the National Science Foundation's Arecibo Observatory on Dec. 17, 2017. Observations of Phaethon were conducted at Arecibo from Dec. 15 through 19, 2017. At time of closest approach on Dec. 16 at 3 p.m. PST (6 p.m. EST, 2300 UTC), the asteroid was about 6.4 million miles (10.3 million kilometers) away, or about 27 times the distance from Earth to the Moon. Credit: Arecibo Observatory/NASA/NSF

What are the Geminids?

The Geminids are caused by debris from a celestial object known as 3200 Phaethon striking Earth’s atmosphere. Phaethon’s origin is the subject of some debate. Some astronomers consider it to be an extinct comet, based on observations showing some small amount of material leaving its surface. Others argue that it has to be an asteroid because of its orbit and its similarity to the main-belt asteroid Pallas.

All meteors appear to come from the same place in the sky, which is called the radiant. The Geminids appear to radiate from a point in the constellation Gemini, hence the name “Geminids.” The graphic shows the radiants of 388 meteors with speeds of 35 km/s observed by the NASA Fireball Network in December 2020. All the radiants are in Gemini, which means they belong to the Geminid shower. Credit: NASA

Why are they called the Geminids?

All meteors associated with a shower have similar orbits, and they all appear to come from the same place in the sky, which is called the radiant. The Geminids appear to radiate from a point in the constellation Gemini, hence the name “Geminids.”

A Geminid streaks across the sky in this photo from December 2019. Credit: NASA

When is the best time to view them?

The Geminid meteor shower is active for much of December, but the peak will occur during the night of Dec. 13 into the morning of Dec. 14, 2023. Meteor rates in rural areas can be upwards of one per minute this year with minimal moonlight to interfere.

What do I need to see them?

As with all meteor showers, all you need is a clear sky, darkness, a bit of patience, and perhaps warm outerwear and blankets for this one. You don’t need to look in any particular direction, as meteors can generally be seen all over the sky. If you want to take photographs, check out these helpful tips.

An infographic based on 2019’s meteor camera data for the Geminids. Credit: NASA

Do you have any advice to help me see the Geminids better?

Find the darkest place you can and give your eyes about 30 minutes to adapt to the dark. Avoid looking at your cell phone, as it will disrupt your night vision. Lie flat on your back and look straight up, taking in as much sky as possible.

A Geminid streaks across the sky in this photo from December 2011. Credit: NASA

What will the meteors look like?

According to Bill Cooke, lead for the Meteoroid Environment Office at NASA’s Marshall Space Flight Center in Huntsville, Alabama, “Most meteors appear to be colorless or white, however the Geminids appear with a greenish hue. They’re pretty meteors!” Depending on the meteor’s chemical composition, the meteor will emit different colors when burned in the Earth’s atmosphere. Oxygen, magnesium, and nickel usually produce green.

Make sure to follow us on Tumblr for your regular dose of space!

[khaleesiofalicante]

AN INCOMPLETE LIST: THINGS I LOVE ABOUT HRH PRINCE HENRY OF WALES:

1. The sound of your laugh when I piss you off. (@magsalecs)

2. The way you smell underneath your fancy cologne, like clean linens but somehow also fresh grass (what kind of magic is this?). (@alexshenry)

3. That thing you do where you stick out your chin to try to look tough. (@tylerposey)

4. How your hands look when you play piano. (@nostalgiaisabitchhuh)

5. All the things I understand about myself now because of you. (@userstede)

6. How you think Return of the Jedi is the best Star Wars (wrong) because deep down you're a gigantic, sappy, embarrassing romantic who just wants the happily ever after. (@magsalecs)

7. Your ability to recite Keats. (@magsalecs)

8. Your ability to recite Bernadette's "Don't let it drag you down" monologue from Priscilla, Queen of the Desert. (@darwinsfinchesx)

9. How hard you try. (@sheisraging)

10. How hard you've always tried. (@stevenrogered)

11. How determined you are to keep trying. (@simon-eriksson)

12. That when your shoulders cover mine, nothing else in the entire stupid world matters. (@magsalecs)

13. The goddamn issue of Le Monde you brought back to London with you and kept and have on your nightstand (yes, I saw it). (@sheisraging)

14. The way you look when you first wake up. (@magsalecs)

15. Your shoulder-to-waist ratio. (@gay-bucky-barnes)

16. Your huge, generous, ridiculous, indestructible heart. (@thomasbrodiesandwich)

17. Your equally huge dick. (@tylerposey)

18. The face you just made when you read that last one. (@uglygreenjacket)

19. The way you look when you first wake up (I know I already said this, but I really, really love it). (@magsalecs)

20. The fact that you loved me all along. (@magsalecs)

— I can't match you for prose, but what I can do is write you a list.

Red, White, and Royal Blue by Casey McQuiston (2019) and Matthew Lopez (2023)

Credit to all the gif makers and editors, the real heroes of the fandom.

[rageserenity]

It's 2024. Are you still thinking about movieverse!Cherik? Because I am.

For the past several months, there's only been a very slow trickle of posts/fics in the xmcu cherik tag. Let's try to breathe some life back into this incredible pairing!

With one clear winner of my poll, here's thirty prompts for the thirty days of April. (This is a super chill, laid-back event---do these in any order, interpret them as loosely as you like! Create in any medium! Fic, art, gifs, meta, incoherent screaming about the otp…all winners in my book.)

The only rule here is to cherik too close to the sun. Alright. Here are the prompts.

Mutual Pining

Doesn't really even need elaboration! Write that horrifically slow slow-burn. Gif every time McAvoy made insane fuck me eyes on screen. Make a playlist of songs about impossible love.

2. Alternate Meetings

There are endless quotes about how these two complete each other in a way no one they'd met before or after ever did. How else could they have met?

3. Erik Has A Telepathy Kink

This is basically canon. Let my boy get freaky!

4. Canon Fix-It

All the times Fox fucked it up. There are endless options.

5. Hurt/Comfort

Put them in that Situation. Put them in that Blender. Break them apart and put them back together ❤️‍🩹

6. Canon Compliant

Draw that missing scene! Gif your favourite cherik moment!

7. Beach Divorce

Make it worse. Make it better. Show it to us exactly how it was. Break it down in a 3,000 word meta. Go wild!

8. Domestics

Sometimes you just want to see them doing normal couple things. Erik put the gun down.

9. Found Family

The real heart of x-men!

10. Time Travel

There are SO many possibilities here. Stick them in a time loop. Give them a chance to change their past.

11. AU

Love a good AU!

12. There Is Only One Bed

Had to get this one in here. What better way to amp up the tension?

13. Genosha

By some miracle, cherik actually did end up together at the end of 2019s trash bag disaster Dark Phoenix. We aren’t making a big enough deal about this.

14. Declaration(s) of Love

Who says it first? How do they say it and when? Have they said it…without saying it?

15. Jealousy

Need I say more.

16. Reunion

These two have absolutely no chill.

17. Soulmates

Classic prompt, had to get this in here too.

18. The DOFP Aircraft

The TENSION here. Break it down for me. How does Charles feel about his injury? How does Erik feel about his injury?

19. Gay Mutant Road Trip

You already know.

20. Body Swap

SO fun when people have superpowers.

21. First Kiss

When? How? Who initiated it?

22. The Mansion

Mansion!content is a genre of its own.

23. Conflicting Ideology

Give me your theses. Who’s right? Can they ever reconcile completely? Write a fic where it drives them apart.

24. Sebastian Shaw

A trope unto himself.

25. Team As Matchmaker

They had to have known something was going on, didn’t they?

26. Cooking

Charles deserves a good meal. Also, imagine Erik using his powers in the kitchen. The sheer domesticity…

27. Hurt No Comfort

Plenty of scope with these two 🥲

28. Growing Old Together

Giving Sirs Ian Mckellan and Patrick Stewart their props as well!

29. Making Up

*pushes chess board across the table* sorry babe

30. Charles Xavier Did More For Mutants Than You'll Ever Know

Rising to each other’s defense. Only I can insult this man.

I will be tracking #revivecherik to reblog stuff! Here’s a fic collection for the same. Let’s get this ball rolling! Please feel free to send me an ask if you’ve got anything to say! And most importantly, let’s all have fun 😁

*I know a few of you preferred something like a gift exchange because of the commitment factor—I’m super down to organise a tiny one for the handful of us! If this promptathon doesn’t flop horribly, we can hopefully do a whole bunch of stuff :)

If you read this post all the way through, please reblog for reach! Thank you! Hoping you participate come April.

Shoutout to @inmymagnetoera for reaching out and helping with this!

[fuckyeahgoodomens]

Link 1, Link 2 :)

Digital Good Omens 2 Sountrack is coming out in 4 days! 🥳 CD version in October! :) ❤ Coming soon on vinyl…

Out to Stream/Download from 25th August. Out on CD 13th October. Coming soon on vinyl…

David Arnold’s ‘end of the world’ complex and multi-genre soundtrack.

From the Award-winning composer of Sherlock and Casino Royale comes a follow up to the hugely successful, Emmy nominated Good Omens soundtrack.

Good Omens series 2 premiered on Prime Video on 28th July. The series follows the odd couple, angel Aziraphale (Michael Sheen) and demon Crowley (David Tennant) in their quest to sabotage the end of the World. The six-episode sequel to the popular adaptation of the novel by Neil Gaiman and Terry Pratchett, concerns the Archangel Gabriel (Jon Hamm) arriving without his memories to Aziraphale’s bookshop. Aziraphale and Crowley attempt to find out what happened to Gabriel, whilst hiding him from Heaven and Hell, both eager to find him.

The Soundtrack

David Arnold’s soundtrack to Good Omens was first released in 2019 to favourable reviews, with BBC Music Magazine calling it “a rollicking trip to hell and back”. Blueprint Magazine described it as “a great listen” and Sci Fi Bulletin commented on “plenty of memorable themes” to conclude that “This is another work of art from Arnold”. At times nostalgic and eerie but always varied, beautiful and full of excitement, the Good Omens 2 soundtrack showcases Arnold’s every skill from his composer arsenal. Featured here are orchestral arrangements with sprinkling of Sugar Plum Fairy pizzicato and percussion, jaunty strings and mighty choral sweeps from Crouch End Festival Chorus. Added to the mix are rock guitar riffs, and psychedelic 70s sounds and all together they create a haunting otherworldly feel, complementing the fantasy and the quirky humour of the show. The spirited Waltz of the opening theme is also present in the second series and it wonderfully sets the scene for fantastical mayhem. In series 2, this robust, evocative, and funny music entity, becomes yet again another character in the story. Award-winning composer David Arnold is well known for his blockbuster scores, including Stargate, The Chronicles of Narnia: the Voyage of the Dawn Treader, Hot Fuzz, Paul, Independence Day, 2 Fast 2 Furious and Casino Royale as well as for his TV work such as Sherlock and Dracula. Also available: The original soundtrack to the first series of Good Omens >

Tracklist

– Disc 1 – Chapter 1: The Arrival 1. Before the Beginning 2. Good Omens 2 Opening Title 3. Into Soho 4. Something Terrible 5. To The Bookshop 6. Maggie and Nina 7. He’s Smoking 8. Tiny Miracle 9. Heavenly Alarm Bells Chapter 2: The Clue 10. Avaunt! 11. The Song is the Clue 12. It’s What God Wants 13. A Mighty Wind 14. Whales 15. Gabriel Returns 16. His New Children 17. Am I Awful Now? 18. Fallen Angel Chapter 3: I Know Where I’m Going 19. Police Arrive 20. Scotland 21. We’re Going to Hell 22. People Get a Choice 23. My Car is Not Yellow 24. Beelzebub in Hell 25. The Book 26. The Fly 27. Mr. Dalrymple 28. We Need to Cut 29. I’m Going to Save Her 30. Crowley Goes Large 31. Not Kind 32. Beelzebub Isn’t Happy – Disc 2 – Chapter 4: The Hitchhiker 33. Hell-O 34. Nazi Zombies 35. March of the Nazi Zombies 36. Crowley Pep Talk 37. The Magic Shop 38. Catch The Bullet 39. Zombies in the Dressing Room Chapter 5: The Ball 40. I’ll Let You Have It 41. We’re Storming a Book Shop 42. Monsieur Azirophale 43. The Candelabra 44. Here Comes Hell 45. Gabriel Gives Himself Up 46. Shax 47. The Circle Chapter 6: Every Day 48. Bin Through the Window 49. Gabriel Leaving Heaven 50. The Halo 51. Gabriel Revealed 52. Gabriel’s Love Story 53. Leaving The Bookshop 54. Gabriel and Beelzebub 55. Crowley and Muriel 56. I Forgive You 57. Don’t Bother 58. The Biggest Decision 59. The End?

[mapileonxputellas]

Beckham II: 2 That Day

Part 2 is here!!!!!

Short one for this part but I think some context is needed before I bring us back to the present day!

Hope you enjoy! Also in this the third place game doesn't exist.

(Part 1 can be found here x)

2nd July 2019, England vs USA, World Cup Semi-final

25th minute – 1 - 1

“This is a real battle out there isn’t it Sue?” Jonathon Pearce broadcasted to the UK, all eyes on the England team trying to defeat the US. Though they had gone behind very early on, an Ellen White leveller had brought them back onto even terms.

“It certainly is, you can see how much this means to all the players out there. None of this England team have ever experienced an occasion like this before but they seem to be carrying that emotion well.”

Out on the field it felt like an out of body experience. Before this the biggest game you’d played in would have to be a substitute appearance in an FA cup final, now you were starting the semi final at a World Cup. You were 19 and felt like the whole world was watching you.

At the start of the tournament you hadn’t been expecting to start but when Jill Scott picked up an injury in the round of 16 you’d stepped into the starting position next to Keira and never looked back. Receiving praise back at home for the level-headed game you played but still managed to bring out that touch of David Beckham in you.

It was a free-kick in the quarter-final that really brought you to the forefront of the nation. A slick ball which soared into the top corner of the net leaving their goalkeeper stranded and left everyone open-mouthed at home. You were never a nobody but now you were here to stay. Your Instagram following doubled and whenever you left the hotel in the past week the camera had never left you. The pressure was on.

“Fucking hell.” You swore coming up to take a corner for England nestled into the corner of the ground flooded with US fans.

“Nepotism trash!” “Daddy not here to hold your hand!” “Can’t even kick a ball!” “Weak!” “Spineless!”

The insults were flying in from every angle, everything was covered in the thirty seconds you had to wait to take the corner, of course your dad was mentioned but so was your appearance in the media. Newly turned 19 and yet it seemed like you were still the five-year-old girl who had her father carry her everywhere. Everyone just presumed you were an innocent little baby who couldn’t put in a tackle, you hated it.

But now was not the time to let that frustration out. Now was game time when nothing else mattered.

Your in-swinging corner found Millie on the edge of the 6-yard box but she couldn’t quite get the connection on it to trouble Naeher, instead giving her an easy catch but you could feel it coming.

The only problem is now there was now a break on. A quick release from the goalkeeper had set Lavelle free, Keira had stayed back but you couldn’t leave her one on one with Morgan in the centre.

You had one second to make a decision.

One second to work out how to stop her. You could try and get further back but you knew you had to stop it at source.

You were known for your pace so you had no trouble getting back to her but Lavelle was known for her trickery and skill.

In your head you made the best decision you could. You followed the rules you played football by and trusted your instinct.

That was where the world as you knew it slowly began to fade away.

“Oh that’s a nasty one from Beckham there and Lavelle seems seriously hurt.”

You thought it was clean, in fact you were sure of it. The contact with the ball was clear sending it flying out of play, you didn’t touch her other than her leg coming into yours as she came over the top of you and yet as she rolled around on the floor it was like the opposite had happened.

Suddenly you were surrounded by players in red, all screaming at you. “What the fuck did you do that for?” “Learn that one from your daddy did you?”

Millie came to stand in front of you, trying to block you from the players as Steph and Lucy surrounded the others at the referee.

“She didn’t touch her.” Millie defended you. “Tell your own player to stop cheating.”

You thought that would be the end of it. Tempers flared, emotions were high and you would get on with the match again. When the referee reached into her pocket you were convinced it was to calm everyone down, a booking usually helped to send a message out but when you saw it was red and it was flashed in your direction it was like time stopped.

“It’s a red card for Beckham, just like her father that name has once again come back to haunt England.” Jonathon commentated. “It’s a long way back for them here.”

You couldn’t believe what was happening. “Go and have a look yourself.” Millie shouted at the ref to overcome the noise in the stadium. “It was a clean tackle, she didn’t touch her.”

“The contact was enough to endanger the opponent. It’s reckless, dangerous and that it is a red card.”

“VAR has got to overturn this.” Sue Smith pointed out. “She’s nowhere near her opponent, it’s not even a yellow card.”

“When you make a challenge like that you bring about a decision from the ref.”

“But that’s what VAR is here for, to show the referee what actually happened. Beckham has arguably been one of the players of the tournament and yet she could be remembered for just this moment.”

It could have been minutes, it must only have been thirty seconds that you stood there. Waiting for some to tell you it had all been a big mistake. Apologies would come and you’d be able to restart the game.

Instead VAR confirmed the red card. You’d been sent off in the most important game you’d ever played in, maybe would ever play in.

This time though it felt like the impact hit you immediately, looking back it was probably the reason you hated showing any emotion now. Your teammates tried to comfort you as the tears started to come but the guilt was already too much, you couldn’t bare to be around anyone right now so pulling your shirt over your face you walked back inside. Every step towards that sideline felt like you were wading through quick sand, the boos from the US side ringing in your ear as you tried to head to the tunnel.

Before the match had begun your brother had FaceTime’d you, at the time you imagined looking up at them at the final whistle, perhaps celebrating with them. Now you couldn’t face looking where you knew they would be sat. The disappointment from yourself was too much to handle right now never mind disappointing your idol, your father.

You can vaguely remember Karen Carney coming out to meet you on the touchline, a kiss being pressed to your head and a little muttering of “keep it together” in your ear. Maybe it was for the best that everyone else was busy trying to reshuffle the pack a few sympathetic faces were thrown your way but you knew football didn’t have time for sentiment. Maybe it was also for the best that Phil didn’t even look your way, your favourite kitman met you to head back into the changing rooms with you but the rest didn’t even bat an eyelid at you.

It was only when you got inside, when you were all alone that the emotion fully came out.

The anger, the pure sadness, the hatred you felt towards yourself. It started that day and it felt then like you’d received a life sentence. A life sentence hating yourself.

……

“Phil, a lot happened out there today. Can you tell us your overriding emotions right now?”

“Oh I’m just proud of every dingle girl out there who competed to the very end. They gave it their all tonight and this result shouldn’t tarnish their pride in themselves or in each other. They stuck in the game when it seemed like other people threw it away.”

“We can’t shy away from Y/N Beckham, what were your thoughts?”

“As football players we know that every tackle we put in can lead to a card and she made that decision. It’s hard because I know the talent is in there but talent can’t be everything.”

“Do you think it should have been a red?”

“Like I said the referee was put in a position where she had to make the decision. We can all wish for different outcomes on the pitch but sometimes we just have to accept them.”

“How is she doing now?”

“As a team we are all very disappointed right and I think it’s the team we should be focusing on right now.”

“Fucking bullshit.” If this was your own bedroom perhaps you would have thrown the remote at the TV, instead you calmly had to just turn it off.

Maybe it wasn’t the best decision to turn on the TV when you got back to the hotel room. England had lost in the end, going 2-1 down to an Alex Morgan winner, they’d given it there everything but it just wasn’t enough.

In the two hours since the game finished you couldn’t count the number of times you’d cried. Firstly on your own, then with some of the girls, then on your own again on the bus and yet not a single word had been said. You knew you’d never be able to say sorry enough times and they knew it was no use telling you anything right now. Though you were crying it was almost as if you were blank inside, you couldn’t take in anything else right now. Your usual spot on the bus next to Keira was left vacant, instead you found a little corner and tried to kid yourself and other that you were asleep when how could you be with all the thoughts swirling in your mind.

Your phone lay switched off on the other side of the room, that interview being the first real insight you’d got into any opinions on the matter. He was right, he might not have said it outright but it was obvious he blamed you. When Phil brought you in for your first senior camp fans were concerned about favouritism but if anything it was the opposite. He had this almost saintly view of your dad and you would never be anything compared to him.

You knew he would be worried, he tried to protect you from everything growing up but now he was powerless. Yet even knowing that you couldn’t bring yourself to switch the phone on, answer any of the messages or calls you’d received before you turned it off on the couch.

It was all too much.

…..

The plan was always for you to spend the 2 weeks you had off after the weekend in the south of France, a quaint villa in the middle of nowhere which you’d had since you were a child. This place was one of the only true places you could just be yourself. You could vividly remember the holidays there once a year being the only time you felt truly free. Your father would spend every second of the day just being a father and your mother could show you her true self, the fun and carefree woman she was away from the pressures of the public eye. This was the place where yourself, Brooklyn and Romeo would spend hours on the beach with a ball and jumpers for goalposts, where you all taught Cruz to ride a bike and Harper to swim. This place meant so much to you.

It felt wrong to tarnish this place with the thoughts you had right now.

That’s why when you touched down in London the following day instead of rushing back to your apartment to pack and meet your family at the airport, you sat, staring at the clock. Time passed, they would have waited for you to arrive and slowly realised you weren’t coming. They would probably be worried and it was for that reason only that you finally turned your phone on. The messages flooded onto your lock screens, dozens of missed calls came through but you ignored them all simply sending a message to your mum claiming you were fine and didn’t want any company right now, only one of those statements being true.

Maybe you should have expected the phone call that immediately came up from your father but they also should have expected your immediate response, decline.

You always thought you were quite strong about the media. You’d grown up with famous parents, you sadly were used to comments about every aspect of yourself from your appearance to the way you spoke. In your time at Chelsea you’d had your fair share of stick from the fans about your place in football but before this you’d proved everyone wrong.

People called you dumb, you passed all your exams and were studying part time for a degree.

People commented on your appearance, your friends and family’s comments opposed that.

United fans taunted you in an FA cup match, you stuck the ball in the top corner and celebrated right in front of them.

All those times you’d known they were wrong and could do something about it. All that media training and yet in that moment you broke the number one rule and opened Twitter.

The results were more horrendous than you ever could have imagined. Not only were there comments about your performance, but they also came for your family, your friends, yourself. The death threats were constant, every other comment on an article link were suggesting this was punishable in unimaginable ways.

Instagram though more concentrated felt worse when you checked a post from your best friend outside of football, comments were left under her post for even just being associated with your name. Taunting her, taunting you and threatening the both of you. Not only had you disappointed everyone but now you were putting those you loved in danger.

Leaving Instagram, blurry eyed and shaking like a leaf, twitter was opened once again. You couldn’t stop and the more articled you read, the more the panic started to set in. People knew where you lived from media pictures, it wouldn’t be long before they came here again. You lived in a gated community but they’d find a way in. You’d never be alone.

Your throat was closing in, it was becoming harder to breath as you panicked more. The only thing you could do was phone the only person who would understand.

“Dad…. dad I need you.”

……

Everyone probably thinks they have the best family but in this moment you knew yours were the best. Thirty minutes on from that phone call you were in your old family living room, curled up in blankets next to your mum and dad, eating homemade chocolate cake and listening to your sister talk you through her week. The biggest drama in which being a girl who took the last apple juice carton and left her with orange juice, which to an eight-year-old felt like the end of the world.

You hadn’t even said another word on that phone call before your dad was ordering you to pack a bag and promised he would be with you in less than ten minutes.

“Why didn’t you go to France?” Your thoughts came out. “We were meant to go.”

“Like we were ever going to leave you here alone,” Your dad chastised you. “I know you well enough to know you might not have needed us in that moment but we were always going to be there when you did.”

“I didn’t mean to do anything, I thought I made the right decision and now people are threatening me. They’re going to find me.”

“They’re not.” Your mother immediately comforted you. “I’ve watched enough football over the years to know tackles like that are made every week and they never get punished. Football is a game, you live for it but it’s a game and people sometimes forget that. You were a big reason England even got to the semi-final and people need to remember that.”

“What did your teammates say?” Brooklyn asked from the next sofa with my other brothers.

“I haven’t spoken to them.”

“What? You flew home with them this morning.”

“I can’t look at them. They’re all sad because of me, everyone knows it, they were always on the back foot because of me and now they’re going home.”

“Millie messaged me this morning.” Brooklyn said. You were of course very close to the Chelsea girls and they’d met your family more times than you could count. You remember they exchanged numbers before you went away on a summer camp one year just in case they needed to contact your family. “She asked me to look after you, they’re not upset.”

“They’ll never admit it, at least not to my face but how can I play with them again after all this.”

“They’re your friends.” Your mum implored and she was right. You were the youngest in the world cup but yourself Leah, Keira and Georgia had formed a little England squad bond. Your sensible and often shy nature balancing out their craziness.

“They’re better off without me. I need to get out of here.”

“Out of where?”

“Out of England, I can’t stay.”

[matan4il]

On this Yom Ha'Zikaron Le'Chalalei Ma'rachot Yisrael (Memorial Day for Israel's Fallen Soldiers and Terror Victims), I figured it's important to remember that Israeli victims did not exist solely on Oct 7. We have lost loved ones before and since. Here's a list with just one random victim to represent each year. Please scroll down the list to see how far back it goes.

(part 1/5, all parts in the reblogs)

2024: On Jan 7, we lost 19 years old Shai Garmai

2023: On Oct 7, we lost 28 years old Osama abu Madiam

2022: On Nov 23, we lost 18 years old Tiran Faro

2021: On May 12, we lost 5 years old Ido Avigal

2020: On Aug 26, we lost 39 years old Shai Ochayon

2019: On May 5, we lost 49 years old Zaid al-Chamamda

2018: On Dec 12, we lost Amiad Israel Yish Ran, who was murdered in his mother's womb

2017: On Nov 22, we lost 21 years old Hodaya Nechama Assoulin

2016: On Oct 25, we lost 14 years old Rami Namer abu Amar

2015: On Feb 17, we lost 4 years old Adelle Biton

2014: On Oct 22, we lost 2.5 months old Chaya Zissel Brown

2013: On Dec 24, we lost 22 years old Salech al-Din abu al-Atayef

2012: On Jul 18, we lost 28 years old Yitzchak Idan Kolangi

2011: On Apr 17, we lost 16 years old Daniel Aryeh Viplich

2010: On Feb 26, we lost 52 years old Netta Blatt Sorek

2009: On Apr 2, we lost 13 years old Shlomo Nativ

2008: On Mar 6, we lost 26 years old Doron Trunach Mahareta

2007: On Jun 17, we lost 85 years old Meir Cohen

2006: On Aug 10, we lost 4 years old Fatchi Assdi

2005: On Jul 12, we lost 16 years old Nofar Horvitz

2004: On Sep 29, we lost 2 years old Dorit Massarat Binsan

2003: On Sep 9, we lost 20 years old Naava Appelbom

2002: On Nov 10, we lost 4 years old Noam Levi Ochayon

2001: On Dec 12, we lost 42 years old Ester Avraham

2000: On Nov 21, we lost 19 years old Itamar Yefet

1999: On Jun 24, we lost 34 years old Tony Eliyahu Zanna

1998: On Dec 2, we lost 41 years old Osama Moussa abu Aisha

1997: On Mar 13, we lost 13 years old Natali Alkalai

1996: On Feb 25, we lost 57 years old Yitzchak Elbaz

1995: On Jul 24, we lost 60 years old Zehava Oren

As Tumblr limits a post to 30 images... part 1/5 - the next parts will be posted in the reblogs momentarily. Please check out the full list.

(for all of my updates and ask replies regarding Israel, click here)

[mariacallous]

Updated vaccines against Covid-19 are coming, just as hospitalizations and deaths due to the virus are steadily ticking up again.

Today, the US Food and Drug Administration authorized new mRNA booster shots from Moderna and Pfizer, and a panel of outside experts that advises the Centers for Disease Control and Prevention voted to recommend the shots to everyone in the United States ages 6 months and older. Once Centers for Disease Control and Prevention director Mandy Cohen signs off on the recommendations and the vaccines are shipped, people can start getting the boosters.

The recommendation is projected to prevent about 400,000 hospitalizations and 40,000 deaths over the next two years, according to data presented at the meeting by CDC epidemiologist Megan Wallace.

This year’s mRNA vaccines are different from the 2022 booster in a key way. Last year’s shot was a bivalent vaccine, meaning it covered two variants: the original one that emerged in China in 2019, plus the Omicron subvariant BA.5, which was circulating during much of 2022. This fall’s booster drops the original variant, which is no longer circulating and is unlikely to return. It targets just the Omicron subvariant XBB.1.5, which was dominant throughout much of 2023.

Pfizer and Moderna’s vaccines work by introducing a tiny piece of genetic material called messenger RNA, or mRNA, that carries instructions for making SARS-CoV-2’s characteristic spike protein. Once it is injected, cells in the body use those instructions to temporarily make the spike protein. The immune system recognizes the protein as foreign and generates antibodies against it. Those antibodies stick around so that if they encounter that foreign invader again, they will mount a response against it.

Since the start of the Covid-19 pandemic, the virus has acquired new mutations in its spike protein and elsewhere. These mutations result in new variants and subvariants that diverge from the original virus. When enough mutations accumulate, these new versions can more easily evade the antibodies created by previous vaccine doses or infections.

The constantly evolving nature of the virus is the reason health regulators decided last year to update the original mRNA vaccines, which were designed against the version of the virus that first appeared in 2019. This year, once again, the virus has changed enough to warrant an updated booster.

In June, an advisory committee to the FDA recommended that this fall’s booster be a monovalent vaccine—targeting only the then-dominant XBB.1.5 subvariant.

At that meeting, committee members reviewed evidence suggesting that the inclusion of the original variant may hamper the booster’s effectiveness against newer offshoots. “The previous bivalent vaccine contained the ancestral spike and thus skewed immune responses to the old spike,” says David Ho, a professor of microbiology at Columbia University whose research, which is not yet peer-reviewed, was among the evidence the FDA panel reviewed. “This is what we call immunological imprinting, and it results in lack of immune responses to the new spike.” He thinks taking out the old variant should optimize the immune response.

But over the past few months, even newer Omicron offshoots have arrived. Currently, EG.5.1, or Eris, is the dominant one in the United States, United Kingdom, and China. Meanwhile, a variant called BA.2.86, or Pirola, has been detected in several countries. Pirola has raised alarm bells because it has more than 30 new mutations compared to XBB.1.5.

Even though the new boosters were formulated against XBB.1.5, they’re still expected to provide protection against these new variants. “The reason is, while antibodies are important in protection against mild disease, the critical part of the immune response that’s important for protecting against severe disease is T cells,” says Paul Offit, a professor of vaccinology at the University of Pennsylvania and member of the FDA’s vaccine advisory committee.

These cells are a different part of the immune response. Unlike antibodies, which neutralize a pathogen by preventing it from infecting cells, T cells work by eliminating the cells that have already been invaded and boosting creation of more antibodies. Both the Moderna and Pfizer-BioNTech Covid vaccines produce long-lasting T cells in addition to antibodies.

It’s why, Offit says, when the Omicron wave hit in late 2021 and peaked in January 2022, the US didn’t see a dramatic increase in hospitalizations and deaths even as cases rose significantly: People’s T cells kicked into gear, even when their antibodies didn’t recognize the Omicron variant.

“In some ways,” says Offit, when it comes to vaccine booster development, “it almost doesn’t matter what we pick to target” because the coronavirus has yet to evolve away from T cell recognition. “Everything works.”

Scientists think T cells are able to protect against severe Covid because they’re recognizing parts of the virus that have remained unchanged throughout the pandemic. “I suspect that as we continue to vaccinate, there are some conserved regions [of the virus],” says Jacqueline Miller, Moderna’s head of infectious diseases. “So even with the accumulation of mutations, we’re still building on previous immunity.”

People who have hybrid immunity—that is, have had a Covid infection and have also been vaccinated—seem to have the best immune responses to new variants, she says, which suggests that previous exposure shapes and improves immune responses to new variants. Preliminary studies show that antibodies generated by previous infections and vaccinations should be capable of neutralizing Pirola.

Earlier this month, Moderna issued a press release saying that clinical trial data showed that its updated booster generated a strong immune response against Pirola, as well as the more prevalent Eris variant.

In a statement to WIRED, Pfizer spokesperson Jerica Pitts said the company continues to closely monitor emerging variants and conduct tests of its updated monovalent booster against them. Data presented at Tuesday’s CDC meeting showed that Pfizer-BioNTech’s updated booster elicited a strong neutralizing antibody response against both Eris and Pirola.

The FDA expects that Covid-19 vaccines will continue to be updated on an annual basis, unless a completely new variant emerges that requires a different approach. “We will always be a little behind the virus,” says Ho. “In this instance, we won’t suffer too much, but that might not be the case going forward. Surveillance is imperative.”

[henrykathman]

The Miraculous Horror of Stop Motion

From the same artform that brought you Coraline and Rudolph the Red-Nosed Reindeer, comes three stories that evoke the existential fear of art.

Original Music by Molly Noise

Bibliography below

Atrocity Guide. “The Animators Who’ve Spent 40 Years on a Single Film.” YouTube, 9 Oct. 2021, www.youtube.com/watch?v=73hip3pz0Xs&pp=ygUMdGhlIG92ZXJjb2F0. Accessed 19 June 2024.

Brubaker, Charles. “The Japanese Studios of Rankin/Bass.” Cartoon Research, Jerry Beck, 14 Apr. 2014, cartoonresearch.com/index.php/the-japanese-studios-of-rankinbass/.

Bute, Paris. “Introduction to “a Rankin/Bass Retrospective from a New Perspective.”” Citizen Jane, Stephens College, 19 Nov. 2021, www.citizenjane.org/home/cwwicd2ucb2fvs64kgfaocfykjhaum. Accessed 19 June 2024.

Crome, Althea. “Coraline.” Althea Crome | Micro Knitter, 2012, www.altheacrome.com/coraline. Accessed 19 June 2024.

Harold Halibut. Directed by Onat Hekimoğlu, Slow Bros., 16 Apr. 2024.

Hekimoglu, Onat, and Gabriel Schmitz. “Unite Berlin 2018 - Harold Halibut and Making a Stop Motion Game.” Unity, YouTube, 6 Aug. 2018, youtu.be/9usssSQc0wQ. Accessed 6 May 2023.

Jon "Sikamikanico" Clarke. “The Making of Harold Halibut.” XboxEra, YouTube, 21 Mar. 2024, youtu.be/WMyxM9t3o7A. Accessed 19 June 2024.

LAIKA Studios. “Sweater and Gloves: Knitting Coraline by Hand.” YouTube, 11 July 2017, youtu.be/zUvkfcGR-7U. Accessed 19 June 2024.

Mad God Productions. “Phil Tippett’s “Mad God.”” Kickstarter, 17 May 2012, www.kickstarter.com/projects/madgod/phil-tippetts-mad-god/posts.

Olson, Mathew. “Report: Michel Ancel Accused of Abusive, Disruptive Practices on beyond Good & Evil 2.” VG247, 25 Sept. 2020, www.vg247.com/report-michel-ancel-accused-of-abusive-disruptive-practices-on-beyond-good-evil-2. Accessed 19 June 2024.

Ono, Kosei. “Tadahito Mochinaga: The Japanese Animator Who Lived in Two Worlds.” Animation World Network, AWN, Inc, 1 Dec. 1999, www.awn.com/animationworld/tadahito-mochinaga-japanese-animator-who-lived-two-worlds.

Orland, Kyle. “Claptrap Voice Actor Accuses Gearbox CEO of Assault, Underpayment.” Ars Technica, 7 May 2019, arstechnica.com/gaming/2019/05/claptrap-voice-actor-accuses-gearbox-ceo-of-assault-underpayment/. Accessed 19 June 2024.

Pilling, Jayne. A Reader In Animation Studies. Indiana University Press, 1998. Project MUSE muse.jhu.edu/book/40033.

Prehistoric Beast. Directed by Phil Tippett, Tippett Studios, 1984. https://www.youtube.com/watch?v=hlaXIRTjNfo

Randles, Jonathan. “VFX Studio with Star Wars, Jurassic Park Credits Goes Bankrupt.” Bloomberg Law, 1 May 2024, news.bloomberglaw.com/bankruptcy-law/vfx-studio-with-star-wars-jurassic-park-credits-goes-bankrupt. Accessed 19 June 2024.

Shanley, Patrick. “Gearbox Software CEO Accused of Contempt in Latest Filing.” The Hollywood Reporter, 27 Aug. 2019, www.hollywoodreporter.com/business/digital/gearbox-software-ceo-accused-contempt-latest-filing-1235064/. Accessed 19 June 2024.

The Making of “Jurassic Park.” Directed by John Schultz, Amblin Entertainment, 1995. https://youtu.be/8r01mk6F_Pk

The Making of Mad God. Directed by Maya Tippett, Shudder, 2021. https://youtu.be/sfUOHh0xmwc

The Tale of the Fox. Directed by Irene Starewicz and Ladislas Starevich, UFA GmbH, 10 Apr. 1941. https://youtu.be/Us_Pn6Q1dBQ

Wikipedia contributors. "List of films with longest production time." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 12 Jun. 2024. Web. 19 Jun. 2024.

Wikipedia contributors. "List of media notable for being in development hell." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 19 Jun. 2024. Web. 19 Jun. 2024.

Wikipedia contributors. "List of Rankin/Bass Productions films." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 9 Jun. 2024. Web. 19 Jun. 2024.

Wikipedia contributors. "Tadahito Mochinaga." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 28 Nov. 2023. Web. 19 Jun. 2024.

Wilson, Josh. “Phil Tippett: 24 Frames per Second < the Fabulist Words & Art.” The Fabulist Words & Art, 5 Nov. 2021, fabulistmagazine.com/24-frames-per-second-the-phil-tippett-interview/.

Worse than the Demon. Directed by Maya Tippett, Shudder, 2013. https://youtu.be/ghKqvDNRe4c

[sapchat]

IDK if this has been done but I went through the 3 reboots and did a timeline of events so you wouldn't have to!

Side notes: sometimes I use the first initial for who it is! also some of MW3 has timestamps. I also apologize for spelling. Also, lots of this shit happens over like 7-12 days April 6, 2019 Makarov bombs Verdansk Price, Ghost and Soap know each other at this point, have NOT met Gaz

Start of MW1 Oct 24 2019 'Al Qatal' moves gas Oct. 25 2019 Piccadilly Square Oct. 25 2019 Price meets Gaz Oct 26 19 Alex & Farah blow Barkov's bombs Same day destroy one of B's bases Oct. 27 19 Price and Gaz go to Picc Safe house Oct 28 19A&F go to Urzstan hospital for "The Wolf" Oct 28 19 P&G meet up w/ A&F for the Wolf Oct 29 19 Plan ambush for Butcher & Wolf - Hadir uses the gas, learn Hadir stole the gas Oct 29 19 PGAF Go to kill W, & get H Oct 29 19 PGAF kill the wolf, H is 2 Russia Oct 31 19 PGN go 2 Russia, Capture Kill Butcher (and traumatize a family) Nov 1 19 Hadir is handed over to Russia Nov 3 19 Take down Barkov's gas production plant & K Price meets Kate @ Tea shop makes TF 141 w/ Ghost, Soap, & Gaz END of MW1 - May 22, 2022 Soap goes side questing, turns green (idk I didn't watch the trailer (I did but I just know there's like green gas)) Start of MW2 July 15 22 Ghost Blows AlMazrah base (Honestly didn't get the point of us seeing this) Oct 28 22 GS Kill/Cap Mission for Hassan -> Find American Missiles not Hassan Oct 28 22 PG in Amsterdam for Missile info (Think they used it as an excuse to swim) Oct 29 22 Capture a cartel mem 4 info Oct 29 22 Alej. Go for cartel jumping border Oct 30 22 GSAlej go 4 Hassan safehouse They capture Hassan (picnic in the desert omg!) Oct 31 22 PG in Spain for Hassan info Kate gets caught Shepherd tries to abandon her Nov 1 22 PG meet with F to get Kate (they get her and get juicy gos on Shep) Nov 1 22 Soap goes into Casa de Sin Nombre Nov 2 22 Gulf oil rig, blows up by G&S (philip was here too) Nov 3 22 Soap & Ghost are fighting Shadow co Nov 3 22 SG go for Alej w/ Rodolfo. PG meet up Nov 3 22 141 goes for Graves Nov 4 22 Go 2 Chicago 4 Hassan & missile kill both END of MW2 - Kate (& tech. Gaz) learn about Makarov

Start of MW3 Nov 10 23 Makarov is broken out of jail 2am Nov 10 23 Farah is ambushed Konni got missiles around 6am Nov 10 23 141 go for Nuc Power Plant, P get gased 9am Makarov has been out for 6 hours Nov 11 23 They go for Missiles in Urzikistan Nov 11 23 Kate is going 4 intel on Makarov meets Yuri @ 3pm Nov 11 23 Makarov crashes plane, blames Farah and Alex go there 7:30-9:30pm meet with Kate and Nikolai in hanger Nov 12 8am Nov 12 23 they go for Milena 7pm Nov 13 23 they get Makarovs right hand man Nolan 11am Nov 14 23 They find Shepherd swimming at some point 9:30 Nov 16 23 SG stop Verdansk dam bombing Same time PG are at airsti Nov 21 23 141 go after Makarov Hacker Nov 21 23 They stop Makarov bomb, Soap gets killed. Price kills Shepherd after spreading Soap's ashes.

[covid-safer-hotties]

Alarm bells ring in Japan as experts warn of fast-spreading new Covid variant KP. 3 - Published July 19, 2024

Paywalled at the South China Morning Post: Unpaywalled by Covidsafehotties.

The country reported a 39 per cent week-on-week surge in infections from July 1 to 7, with Okinawa the hardest hit

Japan is grappling with a new and highly contagious coronavirus variant that is fuelling the country’s 11th wave of Covid-19 infections, health experts warn. The KP. 3 variant is spreading rapidly, even among those who are vaccinated or have recovered from previous infections, according to Kazuhiro Tateda, president of the Japan Association of Infectious Diseases.

“It is, unfortunately, the nature of the virus to become more resilient and resistant each time it changes into a different form,” Tateda told This Week in Asia. “People lose their immunity quite quickly after being vaccinated, so they have little or no resistance.”

Tateda, who sits on Japan’s advisory panel formed at the start of the pandemic, said the coming weeks will be critical as authorities monitor the variant’s spread and impact.

While hospitals have reported a sharp uptick in Covid-19 admissions, Tateda said he is “relieved that not many of these cases are severe”. Typical symptoms of the KP. 3 variant include high fever, sore throat, loss of smell and taste, headaches, and fatigue.

According to the health ministry, medical facilities across Japan logged a 1.39-fold – or 39 per cent – increase in infections from July 1 to 7, compared to the previous week.

Okinawa prefecture has been the hardest hit by the new strain of the virus, with hospitals reporting an average of nearly 30 infections per days. The KP. 3 variant has accounted for more than 90 per cent of Covid-19 cases nationwide, the Fuji News Network reported, leading to renewed concerns about bed shortages at medical facilities.

Since Japan’s first detected Covid-19 case in early 2020 involving a man who returned from the Chinese city of Wuhan, East Asian nation has recorded a total of 34 million infections and around 75,000 related deaths. The country’s Covid-19 caseload peaked on August 5, 2022, when more than 253,000 people were receiving treatment.

Japan’s uptick in cases coincides with similar increases being observed globally. In the US, the Centres for Disease Control and Prevention reported a 23.5 per cent week-over-week rise in the number of people visiting hospitals with Covid-19 symptoms during the week ending July 6.

High-profile US.figures such as President Joe Biden and Doug Emhoff, husband of Vice-President Kamala Harris, have recently tested positive and gone into isolation. Meanwhile, several riders in the ongoing Tour de France cycling race have also returned positive test results.

Experts say it is too early to determine the full impact of the new variant on Japanese businesses or cross-border activities like travel. Precautionary measures are already in place at the country’s air and seaports to monitor the health of incoming arrivals. However, the global spike in cases may deter some Japanese from venturing abroad this summer.

A recent survey by Nippon Life insurance found that just 3.2 per cent of Japanese plan to travel abroad in the coming months, which is likely to depress annual travel figures once again. In 2023, Japan saw 9.62 million outbound travellers, a recovery after three years of extremely low pandemic-era numbers, but still far below the 20.01 million outbound travellers recorded in 2019.

Despite the latest surge, infectious disease expert Tateda insists there is no need for panic in Japan. However, he emphasised the importance of following precautions implemented during the pandemic’s peak, such as mask-wearing in public, handwashing, and social distancing.

Tateda also stressed that anyone testing positive should immediately isolate themselves.

[doctorofmagic]

Doctor Strange's disability: a (much needed) chronological review

In view of recent ableism and drama on the other social hellsite involving Doctor Strange's disability, here's my response, based on *CANON* material. (link to the thread on said hellsite here)

Stephen disability is established since 1963, back in Strange Tales #115. The story is focused on a flashback which portrays his journey from the decay of his medical career because of a car accident to his path towards the mystic arts.

Note that, in this very same issue, the Ancient One never says he would heal Stephen's *hands*, but perhaps Stephen would find the cure within. In other words, Stephen was supposed to heal his heart and soul from arrogance and egoism through magic, not a physical cure.

Also note that there are limitations within every aspect of comic books' universes. In this case, we're talking about magic. Magic is not a miracle thing. It demands training and, most recently as established by v4, a cost (Doctor Strange v4 #4).

Another clue that "magic can heal anything because it's fantasy" is not a valid argument within Marvel's magic world, as seen in The Oath. Stephen had access to the Otkid's Elixir, which could heal any disease, but the formula was lost in order to save Wong's life.

One last example comes from Spider-Man Family #5 (2007), featuring Morbius and Spidey. It establishes that healing demands the exact same price when it comes to magic.

Long story short, it's clear that the magic side of Marvel does not offer a solution to diseases through magical miracles. So this argument is totally invalid ~within~ this established universe.

Now back to Doctor Strange... No, he isn't using magic to heal his hands unlike some misleading accounts are claiming. In fact, there are several panels which show that he's actually in constant pain. Here's some examples:

- Doctor Strange - Sorcerer Supreme #48 (1992).

- Captain Marvel v10 #6 (2019)

- Doctor Strange v4 #1 (2015)

He also struggles to hold a pen and write, relying on magic to do so, as seen in the Book of the Vishanti.

Then comes the stupid argument I saw.

"Oh, but Google says his hands are healed!" is not a gotcha moment you think it is. We had FOUR MAIN BOOKS after that (Surgeon Supreme, DODS, Strange v3 and current v6). Allow me to clarify the details in chronological order.

Stephen indeed made a "magic" gamble and healed his hands. That much is correct. But it's not all (panels from Doctor Strange v5 #19 - 2019).

Waid continued this storyline in a new book called Dr. Strange (Surgeon Supreme), which would portray Stephen's duality as the Sorcerer Supreme and a brilliant surgeon. Except the book was cancelled at issue #6 (2020), leaving the character in a kind of limbo. Now enter MacKay.

MacKay kept a little bit of the former storyline as seen in Death of the Doctor Strange #1 (2021). On top of that, his hands appeared healed. However, that lasted only until Kaecilius murdered Stephen and stole his hands.

Stephen's temporal duplicate used a regenerative spell to bring original Stephen back through Kaecilius' body and the stolen hands. In here, we can see that his hands are scarred just like after the car accident (DODS #5 - 2022). OG Stephen died a second time with scars as well.

Stephen is indeed seen writing in v6 but it's not clear if he's using magic or not. Besides, he's not working as a surgeon anymore. Moreover, MacKay considers Stephen disabled as seen in this recent issue of v6 (#7 - 2023): "My own connection to the aether, the magic of the world, the power of the Vishanti, the power of the Sorcerer Supreme... Gone. Without all of that? I am just an old man with useless hands and a blade in his stomach."

In conclusion,

As of CURRENT DOCTOR STRANGE RUN by Jed MacKay and Pasqual Ferry, in the year of our lord Vishanti, 2024, Stephen Strange is a disabled character and no magic or ableism will erase that. Thank you very much.