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I was just looking at Bram Stoker's Wikipedia page and ...

The original 541-page typescript of Dracula was believed to have been lost until it was found in a barn in northwestern Pennsylvania in the early 1980s. It consisted of typed sheets with many emendations, and handwritten on the title page was "THE UN-DEAD." The author's name was shown at the bottom as Bram Stoker.

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[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.

_ (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.

[thatweirdtranny]

you know? it’s really fucking wild that my actual opinions about israel/palestine — not the opinions people assume i have based off bad faith interpretations of my posts or what others have said my opinions are — are so fucking controversial???

my opinions:

a permanent ceasefire that everyone involved will adhere to needs to happen, and this ceasefire needs to at the very least include bringing the hostages home and allowing distribution of aid to palestinians

on that note, aid needs to be given to palestinian civilians in a manner that ensures they will actually receive it

netanyahu needs to go (not controversial but it needs to be said)

hamas needs to go (somehow this is a controversial statement?????)

tokenizing jews who agree with you while demonizing the other 80+ percent of jews is bad

palestinians and israelis are both entitled to this region of land and ideally a 2-state solution should be the goal, but any solution that a) respects the humanity and safety of both jews and palestinians, and b) is based in reality, is acceptable

the land of israel is the homeland of both jews and palestinians and both deserve to live there in peace

jews and palestinians deserve to safely visit their holiest places

people in general deserve not to suffer through wars, and i’d personally love if the next ceasefire doesn’t get broken and if this cycle of violence could be broken

the antizionist movement has a problem with antisemitism

there is an extreme amount of misinformation surrounding this conflict that gets spread widely without any consideration or scrutiny

oct 7 was a heinous and disgusting act of evil, and anyone justifying it as an act of resistance needs to understand that most jews are terrified of you and rightly so

NOT my opinions:

palestinian children deserve to die

palestinians don’t deserve a state

islamophobia is okay

anti-arab sentiment is okay

anything that could be described as kahanism

antizionist jews deserve to be targets of antisemitism

anyways!! i am once again begging people to support solidarity organizations that promote peace between israelis and palestinians like: standing together, allmep, eco peace, etc

[the-music-maniac]

Not that I read mpreg all that often (not really my thing generally speaking) but I came across some "Sanji is pregnant" fics in the sanzo/zosan tag, and not nearly the same amount for Zoro. It got me thinking about the trope. I think the lack of Zoro fics here is a tragic oversight. I think we as a fandom are absolutely and tragically ignoring the potential comedy gold of Zoro being the one to be pregnant instead.

Because when people write Sanji, the general trend I'm seeing (upon scanning through some of the fics quickly) is that he's cautious about it. Conscientious, careful to make sure things are okay. Which - arguably I could see, Sanji is probably the more practical of the two (not by a whole lot but still)and he didn't have a good childhood. Sanji being pregnant is usually a fic about his heaps of parental issues, childhood trauma and angst - which is fun to read. It's good. It's amazing, even.

Zoro being pregnant is ONE HUNDRED PERCENT gonna be a COMEDY. We're talking about a man who once tried to fight Kuina holding like 20 bokkens. We're talking about a man who got stuck in wax and thought the reasonable solution was to cut off his legs.

The entire crew spends the next 9 months tearing their hair out, preventing Zoro from doing stupid shit (exhibit A: cutting off his own limbs). They spend the same amount of time trying to stop Luffy from gum-gum-grabbing Zoro and yeeting him anytime he needs to get them out of a sticky situation.

The crew (mostly Sanji) is on 24/7 prevent-zoro-from-drinking-alcohol duty (impossible). Chopper is constantly stressed in the later months cause no one puts it past Zoro to get lost somewhere, give birth out in the woods and come strolling back with a baby tucked under his arm. They have to start hiding Zoro's dumbbells.

Franky and Usopp design and build a nursery and spends the entire time suspiciously teary eyed. Sanji tries to pretend he's unaffected but spends an entire night creating a 9 month meal plan of all the nutrients Zoro and the baby are gonna need. Not even a day later, one of the crew finds him up at 2 am making a mountain of food because Zoro made the mistake of offhandedly mentioning he had particular pregnancy craving within earshot of Sanji. In the end Zoro has to sit on him to stop Sanji from running himself ragged.

Robin keeps spouting morbid childbirth facts and quotes from parental advice books in equal measure. Nami keeps going on shopping sprees for cute baby clothes and adding the cost of them to Zoro's debt. Brook keeps writing lullabies and trying to sing them to Zoro's stomach. Zoro 100% uses his pregnancy belly as an excuse to walk around without a shirt 24/7 without getting nagged.

Somehow word gets out that the famous pirate hunter Zoro is pregnant, and at the next big fight with the Marines, half the soldiers refuse to fight him and instead start telling him to sit down, take it easy, shouting advice at him etc. Etc. Zoro loses his shit a little bit and cuts their boat in half.

Mihawk, upon finding out, tells Zoro in no uncertain terms that that is his grandchild and he's expecting them to visit so he can meet the baby when they're born. Zoro vehemently denies that Mihawk is his father (he is). Zeff upon finding out, is almost as bad as Sanji when it comes to being a mother hen. Perona buys even more baby clothes for the baby. She buys one singular shirt for Zoro as a joke, and it coincidentally happens to be the exact same brand of "mama" crop top he was forced to wear in that one filler episode. Zoro tries to chuck it into the ocean (he fails).

I'm essentially saying it would be absolute chaos, and it would be the funniest thing I've ever read. 9 months of Marimo wrangling. Can you imagine the look on Zoro's face if one of the opponents he was fighting were to tell him that he's "glowing"?

PLEASE, I would actually wheeze myself to death. The best part is you can still have plenty of Sanji angst. He still has parental issues except now they're flavoured with "I'm not ready to be a father" and "I'm terrified I'm gonna become my biological sperm donor" and "please don't die because of childbirth complications, that happened to my mother(sort of, I know she died after but it kinda counts), and I can't handle that happening again to you". Lots of cute/tender moments of Zoro comforting and reassuring Sanji. We can even have Zoro angst. He probably views protecting his crew as the one and only job he's good for (not true but that's probably what he thinks). Not being able to fulfill that is probably not helping his self esteem, and that sense of uselessness warring with his need to protect the baby - but the contradictory thing here is that to protect the baby he HAS to sit back and let other people do that FOR him. That plus all the other restrictions, people treating him differently, but him at the same time refusing to view his own child as a weakness. Imagine the havoc that would wreak. Oh my god.

Y'all don't understand, I don't even read mpreg that often and yet this is literally my ideal fic HAHAAAAA

[artbyblastweave]

Okay, Time for that belated Shrinking Rae post-

In the comics, Shrinking Ray's "arc" (bearing in mind an extremely liberal definition of that term, they had exactly one scene showcasing this) was that he was implied to be developing an inferiority complex; he's not necessarily incompetent, but he's out of his niche, his clever shrinking-based plans kept getting upstaged by brute-force solutions from the more conventionally powerful heroes like Invincible. He's the scrawny, nerdy little guy with the joke powers, he never gets a win, and in most fights he literally isn't visible. In the fight with the Lizard League his death is framed as pathetic and ineffectual- there's one or two panels between "I'll make you pay!" and getting eaten alive by Komodo. All of this is doing a couple of things- it's emphasizing that again, this is in fact a story and setting where superheroes sometimes just die really badly with limited fanfare- a thing that IIRC hadn't happened since the original Guardians team wipe in issue 7. Second, it's an indicator that the new Guardians are structurally kind of on the ropes. They're heavily staffed by second stringers, they exact second they have to split their forces they suffer a 66 percent casualty rate, and that's with backing from two capes who aren't actually part of the team. Grim! Anyway, when they do the adaptation Shrinking Ray becomes Shrinking Rae, because they want to tweak the gender balance of the cast and the pun is too good to pass up. But I think that there was a reasonable reluctance to transfer the "arc" from the comics one-to-one, because to be blunt, "Ineffectual Nebbish Glasses-wearer who whines a lot and dies pathetically," paired with absolutely nothing else, is gonna read as misogynistic if the character is a woman now. So in the adaptation Rae is markedly more competent. We're introduced to her taking down a much larger opponent by fucking around inside his ear canal, which becomes a favored trick of hers. There are traces of the self-esteem thing- the visual gag where she physically shrinks about a foot when getting chewed out in the briefing- but the overall throughline isn't "look at this loser who somehow ended up on the guardians." In the Lizard League fight, she doesn't get eaten- she's deliberately trying to execute a Thanus maneuver and just fucks it up, seconds after successfully killing a different villain the same way. And there's a second where it looks like it might work, too, before hope is cruelly yanked away. Which makes for a markedly cooler death scene- but who died? What was actually going on with her? Anything? In some sense she's cooler, but it's kind of an undifferentiated cool. She had what, Six lines? Seven? On balance I think Rae is still doing her fundamental job in the story, which is to pad the Guardians roster for a while and have someone who actually dies and stays dead as a result of the Lizard League fight- but I think they definitely missed an opportunity to give her some more texture than her comic counterpart had. Part of me thinks that the show would have been a good place to go even harder on Shrinking Rae being in over her head, but in a considered way, to emphasize that the Guardians aren't well managed- maybe tie it into the tensions between Robot and Immortal regarding sustainable team management practices. Part of me thinks you should go the other way, that if you're gonna do away with the idea she's underwhelming you should blow up her role, have her actually say and do some things that affect the story or the team dynamic in any noticeable way, because as it stands she's kind of visibly siloed as the designated mauve shirt. I'm definitely of one mind that this showcases something I suspected was gonna bite the show in the ass, which is that they're (laudably) diversifying a secondary and tertiary cast whose main role in the source material is often to die badly or fade out of focus.

[mariacallous]

Since the start of the Israel-Hamas war, the Biden administration has tried to toe a delicate line: backing Israel’s war against the group in Gaza, while pushing Israel to ease the humanitarian toll of its operations and take the Palestinians’ legitimate political grievances seriously. By all accounts, toeing this line has been a frustrating and thankless endeavor—and, increasingly, a lonely one. Today, even the United States’ closest allies are calling for an “immediate ceasefire” that would put an end to Israel’s operations in Gaza. At home, the White House is facing increasing pressure from Democrats in the U.S. Congress and parts of the Democratic base to change its current tactics in dealing with Israel.

And yet, what the Biden administration understands—and what Israel’s many critics miss—is that the international community cannot dictate a solution to Israel-Hamas war by fiat. If the international community wants Israel to change strategies in Gaza, then it should offer a viable alternative strategy to Israel’s announced goal of destroying Hamas in the strip. And right now, that alternate strategy simply does not exist.

There is a brutal logic to Israel’s actions in Gaza. By its own estimates, Israel has destroyed three-quarters of Hamas’ battalions and killed two of five brigade commanders, 19 of 24 battalion commanders, more than 50 platoon leaders, and 12,000 of Hamas’ 30,000 foot soldiers. American intelligence estimates are lower, but not by much: Between 20 to 30 percent of Hamas’ fighters and 20 to 40 percent of its tunnels are estimated to have been destroyed as of mid-January. It’s also worth remembering that Hamas is structured more like a conventional military than a pure terrorist group. As a rule of thumb, conventional forces are considered combat ineffective once they lose more than 30 percent of their strength and destroyed once they lose 50 percent.

Even if Israel does not stamp out Hamas entirely but merely succeeds in driving it out of power and underground, from Israel’s view, that is still a win—even if stops well short of its goal of destroying the group, for doing so would likely prove sufficient to prevent Hamas from launching another 3,000-man complex assault like the one Israel saw on Oct. 7. Finally, it’s worth remembering that it took the United States several years to defeat the Islamic State. Israel is just over five months into what its leaders promised will be a very long war.

To be sure, there are serious drawbacks to the Israeli approach. This war will encourage long-term radicalization of the Palestinian population, damage Israel’s relationship with its Arab neighbors, and tarnish Israel’s global reputation in a pretty serious way. Yet all of these problems are long term. Too often, states and politics live in the here and now.

At the same time, Israel’s critics have failed—and continue to fail—to offer a coherent alternative way forward. Instead, more often than not, there are vague references for the need for some ill-defined “political solution” to the conflict. To the extent that there is a coherence to this alternate strategy, it revolves around using the threat of diplomatic isolation alongside economic threats that might force Israel to agree to an “immediate ceasefire.” That ceasefire, in turn, would pave the way for a longer-term political settlement, likely around a two-state solution. Problem solved. Or not.

For starters, international pressure and sanctions will not likely compel Israel to compromise. Israelis from the leadership on down are keenly aware that their country was born out of the ashes of Holocaust as a safe-haven for Jews after millennia of persecution. Israel then spent its first quarter-century fighting for its very existence. The idea that the world is aligned against Israel is deeply embedded in the nation’s collective DNA, and chants of “from the river to the sea,” coupled with surging global antisemitism, only ensure that those fears remain very much alive today.

Economic pressure—such as sanctioning settlers or restricting military aid—is unlikely to work, either. In general, sanctions have a poor track record of compelling states to abandon core national security interests. And given the Oct. 7 attacks, this war is nothing if not a core national security interest for Israel. Even if pressure did work initially, for a political solution to be sustainable, Israelis must voluntarily agree, not be pressured into it.

But let’s just say, for the sake of argument, that Israel caved to outside pressure and agreed to an immediate ceasefire. What would the day after look like? Hamas—as Israel and Hamas both acknowledge—would be left with a considerable military force, numbering in the thousands. Israel would then need to engage in another very lopsided deal to free the remaining hostages. In early February, Hamas wanted 1,500 prisoners freed from Israeli jails, including at least 500 serving life sentences for murder and other crimes, in exchange for the hostages.

So, at minimum, the group’s ranks would soon swell. And invariably, some of those released would be quite dangerous. After all, Yahya Sinwar—the head of Hamas in Gaza and alleged mastermind of the Oct. 7 attacks—was freed from an Israeli prison, where he was serving a life sentence for murder, in the 2011 trade of 1,027 prisoners for one captured Israeli soldier, Gilad Shalit. None of this recent history bodes particularly well for long-term peace.

In all likelihood, Israel would respond to a ceasefire by tightening its blockade of Gaza, citing Hamas’ continued existence as one reason for doing so. In particular, Israel would likely put severe limits on the quantities and types of building materials allowed into the Strip. After all, Hamas diverted an estimated 1,800 tons of steel and 6,000 tons of concrete to build its tunnel networks, and Israel would not want to see them rebuilt. The net consequence would be that desperately needed reconstruction would be severely delayed or even brought to standstill.

The fighting would not stop, either. Fearing that Hamas will make good on its promise to repeat the Oct. 7 attack “again and again,” Israel would step up its preemptive strikes on Gaza and the West Bank, particularly whenever it got the first whiff that Hamas might be planning an attack. At the same time, Hamas would continue to attack Israel, if only to reinforce its legitimacy and divert attention away from the likely dismal conditions in Gaza (thanks, in no small part, to the stymied reconstruction effort). In all likelihood, the situation would be right back where it started.

Ah, but wait: Won’t a two-state solution solve this? Probably not. Even before Oct. 7, the majority of Israelis didn’t believe in a two-state solution, or that peace was even possible. There are likely even fewer who believe that now, especially if a Palestinian state were to include Hamas in some form. Consider how unfathomable it would have been for most Americans to support the creation of a state with al Qaeda at its helm just five months after 9/11. There is no reason to believe that the Israeli public should be any different. Given considerable support for Hamas among the Palestinian population, it would be politically impossible to exclude Hamas from a new, democratic Palestinian government. And even if the new state’s government is less than democratic, it would have trouble excluding Hamas entirely—even if it wanted to—if the group still has thousands of men under arms.

But even assuming that overwhelming international pressure forced Israel to agree to a two-state solution, it’s not going to guarantee peace in the short or medium term. There are still a host of thorny issues—including borders, water rights, air rights, the demilitarization of the Palestinian state, and the partition of Jerusalem—that would need to be resolved before a second state could come into being. Then there is the problem that only one-third of Palestinians favor a two-state solution themselves, and nine in 10 don’t trust the Palestinian Authority. For its part, Hamas has made it abundantly clear that it wants one state without Jews under an Islamist banner. None of this means that the international community shouldn’t push for a political settlement, but this is at best a long-term solution, not a near-term fix.

If a two-state solution did come about, it may not bring an end to hostilities. Two states did not solve hostilities between India and Pakistan, or North and South Korea, or North and South Vietnam. Israel would be under no obligation to grant Palestinians—now citizens of a separate country—workers’ permits, which would likely tank the nascent state’s economy, just as it wouldn’t have to provide electricity and other services to Gaza, as it did before the war. At the same time, Palestinians would rightly wonder why their state should be demilitarized and not entitled to the sovereign privileges of a “normal state.” There would perhaps still be Jewish settlers living on the territory of the new Palestine, creating all sorts of problems. Absent genuine buy-in from both sides, a two-state solution would simply turn a local conflict into an international one.

There is a lot to hate about Israel’s war in Gaza. It is a bloody, destructive war that has killed far too many innocents and upended far too many civilian lives. It is by any measure a human tragedy that will reverberate across the region for years to come. But if the international community is not simply grandstanding and actually hopes to solve the tragedy playing out in Gaza, then it needs to begin by offering feasible solutions that address both Palestinian grievances and Israeli security concerns.

To its credit, the Biden administration is at least trying to move in this direction. It is pushing Israel to curtail civilian casualties, set up safe zones, increase humanitarian aid, and move to a longer-term political solution—all while still backing (or at least not outwardly opposing) Israel’s ongoing operations to root out Hamas. Some might call such a balanced approach overly tactical and unable to quickly end the war, but a good strategy is built on sound tactics.

Unfortunately, the Biden administration’s nuance is the exception both internationally and in the domestic debate over U.S. policy. Just as the political right needs to be continuously reminded that the Palestinian population is not going anywhere and Israel cannot kill its way to victory, the political left needs to be reminded that Israelis are also not going anywhere and their equities must also be taken seriously.

Ultimately, if Biden’s critics on the political left want a different war, then they need to offer an alternative strategy and subject that strategy to the same sort of analytical rigor that it trains on Israel’s current military effort. If not, the brutal logic of the current war will remain, and the ongoing tragedy will continue.

[urbancripple]

To able‐bodied people, wheelchair users have a certain mystique. They’re constantly asking us about how our bodies do or don’t work, whether we can have sex, why we haven't just killed ourselves yet. But despite their intrusive questioning, there is one area that ableds seem to be absolutely certain about: the existence of ultra‐convenient readily‐available accessibility modifications and mobility aids.

As wheelchair users, how many times have we been told to “put some chains on that thing!” As we struggle through the snow? How often is it suggested that we get a hand‐bike so that we can cycle to work like our coworkers? If I had a nickel for every time someone suggested I attach some tried‐and‐true motor to my chair, I’d have enough money to pay someone to invent it.

People are constantly sending me links to articles and videos to supposed life‐changing mobility aids that can climb stairs or move over rough terrain. They tell me that things can’t be that difficult with a constant stream of new, convenient doo‐dads being put out in the world. Hell, when discussing how difficult it is to find a single‐story home in Seattle (existing or custom), the suggestion was made that I simply build a multi‐story home but also put an elevator in.

Here’s the thing though: has anyone, wheelchair‐user or otherwise, actually seen any of these so‐called solutions in person? The stair‐climbing wheelchair? The magical snow tires? The super fast motor? I haven’t. As for the elevators and hand bikes, I can count the number I’ve seen on one hand and I’d need way more fingers and toes to show you the price tag.

Despite their near non‐existence or insurmountable financial cost, people keep telling me I just need to “get me one of those…” and continue to cast my existence and the problems that come with it in a mythical light.

An elevator for your house starts at around six‐thousand dollars. If you want one that doesn’t look like the rickety stair‐lift at your local Eagle’s Club, it’ll cost you upwards of sixty‐thousand.

The price of an average, entry‐level bike is four‐hundred bucks. If you want an accessible hand bike, you’re going to start around a grand.

Custom wheelchair tires can vary anywhere from two to five thousand, often times costing more than the chair they’re attached to.

That stair climbing chair? Eleven grand. Want something that’s a little more “every day”? That’ll cost you seventeen grand. Just need a motor for your day chair? Six grand and it weighs fifteen pounds.

Now, some folks might be thinking “sure, it’s expensive now, but the price will come down as technology improves and more people buy these devices”. But with an employment rate of roughly 7 percent (before COVID) and rules governing the amount of money disabled people on SSI can have in the bank (no more than two-thousand dollars), most wheelchair users can’t even save up to buy one of these devices. And no, insurance won’t cover any it.

A lack of accessibility is not something we can just “tech” our way out of and disabled people should not expected to purchase access to a world that everyone else gets for free. Talking about mobility aids you’ve never used or seen when someone is trying to explain to you the barriers they face in their day to day life due to a lack of accessibility isn’t helpful, it’s dismissive. Quit doing it.

[consult-sherlockholmes]

You will be okay, you always make it through everything! After all... You are the smartest of them all, you find solutions to everything. 🫀

Yes, although some of those solutions are in a concentration of 7 percent and that's what landed me in the current problem, out of which I do not know a solution.

[zvaigzdelasas]

A new poll has found that 96 percent of Saudis believe that Arab countries should cut all ties with Israel to protest the war in Gaza, posing a significant challenge to the Biden administration’s push for Saudi Arabia to establish diplomatic relations with Israel. According to the poll, 40 percent of Saudis expressed positive attitudes toward Hamas, compared with 10 percent in a poll several months before the war began. Only 16 percent of Saudis surveyed in the poll said that Hamas should stop calling for the destruction of Israel to accept the creation of Palestinian and Israeli states side by side — the “two-state solution” to the conflict that the Saudi government publicly supports. The poll, by the Washington Institute for Near East Policy, a generally pro-Israel research organization, surveyed 1,000 Saudis from Nov. 14 to Dec. 6.[...]

The positive views of Hamas that the poll found, while still a minority, are notable given that Saudi citizens can face prosecution for sympathizing with the Palestinian armed group, which launched the Oct. 7 attacks on Israel.[...]

In the poll, 87 percent of Saudis said that the war had shown “that Israel is so weak and internally divided that it can be defeated some day.”[...]

Three-quarters said that they supported the idea of an Arab diplomatic effort to make peace between the two sides.

22 Dec 23

[lisbeth-kk]

Day 21 of Fluffbruary photography - pepper - truffles

Sherlock fandom

A Personal Touch

Summary: They've had a lovely dinner at Mycroft and Greg's, but on the way home John doesn't say a word. He's clearly disappointed with Sherlock, but Sherlock has no clue what's caused it. After John has gone to bed, Sherlock retreats to his mind palace to find a solution to this awful situation. What he finds, makes him devastated. How can he fix this?

@fluffbruary @totallysilvergirl @keirgreeneyes @calaisreno @phoenix27884 @a-victorian-girl @safedistancefrombeingsmart @gregorovitchworld @topsyturvy-turtely @helloliriels @raina-at @peanitbear @7-percent @ninasnakie

[the-garbanzo-annex-jr]

AKIVA VAN KONINGSVELD

Slightly more than three in four Palestinians have a positive view of Hamas in the wake of its Oct. 7 terrorist attacks in Israel, according to a survey by the Arab World for Research and Development (AWRAD) research firm.

The Ramallah-based institute polled 668 Palestinian adults in the southern Gaza Strip, Judea and Samaria between Oct. 31 and Nov. 7. (The margin of error is plus or minus 4 percentage points, AWRAD said.)

The Palestinian poll—the first of its kind since the Oct. 7 attacks—found that 48.2% of respondents characterize Hamas’s role as “very positive,” while 27.8% view Hamas as “somewhat positive.” Almost 80% regard the role of Hamas’s Al-Qassam Brigades “military” wing as positive.

The Al-Qassam Brigades killed more than 1,200 people, mostly civilians, and wounded thousands in the Oct. 7 attack on southern Israel. In addition, terrorists took some 240 people hostage.

When asked whether they supported or opposed Hamas’s actions on Oct. 7, 59.3% of the Palestinians surveyed said they “extremely” supported the attacks and 15.7% said they “somewhat” supported the murderous spree.

Only 12.7% expressed disapproval with 10.9% saying they neither supported nor opposed the attack.

Almost all (98%) of the respondents said the slaughter made them feel “prouder of their identity as Palestinians,” with an equal percentage saying they would “never forget and never forgive” the Jewish state for its ongoing military operation against Hamas.

Three-quarters said that they expect the Israel-Hamas war to end in a Palestinian victory.

In response to the question “What would you like as a preferred government after the war is finished in Gaza Strip,” 72% said they favor a “national unity government” that includes Hamas and Palestinian Authority chief Mahmoud Abbas’s Fatah faction.

Approximately 8.5% said they favor a government controlled by the Palestinian Authority.

In addition, more than 98% of Palestinians surveyed by AWRAD hold negative views of the United States.

On Nov. 8, U.S. Secretary of State Antony Blinken said that Gaza must be handed over to the P.A. following hostilities. The solution “must include Palestinian-led governance and Gaza unified with the West Bank under the Palestinian Authority,” stated Blinken.

During an Oct. 18 visit to Tel Aviv, U.S. President Joe Biden delivered a speech in which he claimed that “Hamas does not represent the Palestinian people.”

AWRAD said that “the poll’s sample includes all socioeconomic groups, ensuring equal representation of adult men and women, and is proportionately distributed across the West Bank and Gaza.”

[eretzyisrael]

By BEATRICE SAYERS

An event in London last week to mark the exodus and expulsion of Jews from Arab countries became an opportunity to counter the current far-left narrative that paints Israel as a country of white settlers.

Organiser Lyn Julius, who runs Harif, the association of Jews from the Middle East and North Africa, told the audience at JW3 that 50 percent of Jews in Israel have roots in Arab and Muslim countries. They had not left those countries willingly, she added, and many left as a result of massacres.

“Families butchered like sheep, bodies buried in the debris of homes in which pogromists had locked the families before setting them on fire. Jewish girls raped, their breasts cut off. No, I am not describing 7 October 2023,” Julius said. “We have been here before. It’s an anti-Jewish atrocity which occurred in Constantine, Algeria, in 1934. But I could have cited any number of similarly barbaric atrocities: in Fez, Morocco, in 1912, in Tripoli, Libya, in 1945, in Iraq in 1941 the Farhud, which claimed the lives of at least 179 Jews.”

She pointed out that Israel was “the solution to pre-existing antisemitism” that had led to pogroms across the region. “In a generation and a half almost all the ancient, pre-Islamic Jewish communities of the Middle East and North Africa have been ethnically cleansed. Hamas simply wants to finish the job. From almost a million Jews in 1948, only about 4,000 remain, and that number dwindles year by year.”

Julius herself is the child of parents who came to Britain from the Iraqi capital Baghdad in 1950. A film shown at the event presented testimony from Jews who had been forced out of their native counties in the Middle East and North Africa.

Jocelyne Shrago is one of the four people interviewed in the film, commissioned from Daisy Abboudi, deputy director of the oral history archive Sephardi Voices UK.

Shrago, who was born in Algeria, told how during the Constantine pogrom her parents and sister went over the wall to the Arab family who lived next door, who saved them. She recalls the bombing campaign during the Algerian war of independence in the 1950s, when she covered her baby niece with her body to protect her. “People had to leave in ‘62 because on the walls there was graffiti that said ‘La valise ou le cercueil’, ‘the suitcase or the coffin’.” Some went to Israel. Her family on both sides went to France, where she lived until 1968, when she moved to the UK.

Other speakers at the event last Thursday, the ninth that Harif has organised, included Baroness (Ruth) Deech, Joseph Dweck, senior rabbi of the S&P Sephardi Community, Marie van der Zyl, president of the Board of Deputies, Claudia Mendoza, chief executive of the Jewish Leadership Council, and the Israeli ambassador Tzipi Hotovely. The ambassador said Mizrachi Jews were not just 50 percent of Israel’s population but had shaped her history. “Israel today is a very healthy mix between west and east.”

Mendoza spoke movingly about her mother’s family, who are from Aden. They were forced to flee and her grandfather was murdered. “The clarity with which my family speak when they talk about threats to your life because you’re a Jew resonate more than ever today. They have seen it before and they do not have the luxury of denalism.”

But she also had a powerful and uplifting message to the Jewish community, and warned it not catastrophise or retreat into itself.

“The polling that we’ve done at the JLC [Jewish Leadership Council] after the October 7 attack shows that while there may be a small number of extremists in the UK who support Hamas, and they must be called out, the vast majority of British people recognise them for the murderous terrorists that they are and they reject those that wish to target jews here in the UK.

“If we fight as if we are surrounded exclusively by enemies, we risk by that very attitude making enemies we didn’t previously have, and losing friends whose sympathies we fail to notice. We have so many friends, I promise you that.”

[twilight-at-midnight]

Twilight Writing Prompt

***

Angst:

1) “I was only pranking you!”

2) “What? Can’t take a harmless joke?”

3) “If you’re looking for sympathy, you can find it in the dictionary. It’s between shit and syphilis.”

4) “You are my greatest regret to ever have come into my life.”

5) “I can’t think of anything worse! You are nothing but selfish!”

6) “I need some alone time, get over it!”

7) “Over it!”

8) “So, everyone in the world is deceived except for you?”

9) “That’s not what I’m saying!”

Bonus: “We can’t be friends anymore.”

10) “You didn’t do anything wrong. Don’t you dare try and apologize for something you haven’t done or anything to do with!”

11) “Come here, let me hold you.”

12) “You have nothing to apologize for.”

13) “I know you’re hurt, (Y/n). You can’t lie to me, show me where it hurts so I can help you.”

14) “Here, hold my hand.”

15) “Sure we can cuddle, if that’ll make you feel better.”

Bonus: “Did you not sleep again last night, (Y/n)?”

16) “Let me take care of it, alright? You need to rest.”

17) “I don’t need a babysitter! I’m (y/a) years old!”

18) “I’m here to take care of you, (Y/n).”

19) “Don’t you roll your eyes at me!”

20) “You’re starting to sound like my father.”

21) “Where the hell have you been?!”

22) “None of your business!”

23) “(Y/n), we’re just really worried about you!”

24) “Well, don’t worry about me! I’m fine!”

25) “You have just kicked over a hornets nest.”

Fluff/angst:

1) “What makes you think I’d do something like that?”

2) “Please… leave me alone.”

3) “You play the M/I so beautifully.” (M/I = Musical Instruments)

4) “Why should I follow your plan? What’s in it for me?”

5) “I never thought I’d get to live up to the day where I actually get to witness your first curse word.”

6) “It’s not funny!”

7) “To hell, it’s not!”

8) “Can I take you for a ride?”

9) “Sounds like something I need.”

10) “Don’t be too upset, (Y/n). I believe and I always will.”

11) “It seems to me that you’re the only supporter I’ve got and you have no idea how much you mean to me. It’s hard to describe just how much.”

12) “As in, you mean the world?”

13) “Not even that can put words together in the right way.”

14) “Your cuteness is making everyone stare, stop it.”

15) “You make me proud. You know that, right?”

16) “Can we just get in bed?”

17) “I don’t want to take a chance on the possibility that would make you as sick as I am.”

18) “Any time without you is far too long. I’m not going to get sick, just let me hold you until you fall back asleep.”

19) “I’m reaching the level where I don’t give a fuck.”

20) “I don’t care, I’m not letting you get up until your one hundred percent better.”

21) “What did you just do?”

22) “You’re the most important thing in the world to me. You’re my absolute world.”

23) “Give me a hug!”

25) “God, I missed you so much!.”

26) “Hey, let me in! I’m out here with your favorite pizza!”

Funny/angst:

1) “When it comes to pranks, you have to know when to start as well as you know where to stop. Don’t take it too far.”

2) “Here, take my arm. I don’t want you to fall.”

3) “You know I’ll always be here for you, right?”

4) “Let me kiss it better.”

5) “I know you’re mad at me, but would a kiss change your mind?”

6) “I don’t care what they think and neither should you. They win if you allow them to have the satisfaction they’re looking for, whatever you do, don’t give them that.”

7) “Even when you annoy the hell out of me, I still love you.”

8) “You call this a problem? I call it a solution.”

9) “Not cool, (Y/n). It’s not cool!”

10) “Well, what can I say? I’m a badass.”

11) “Do I get bonus points if I pretend to care?”

12) “Where was I when you dropped on your head?”

13) “Don’t talk to me like that!”

14) “I could banish you, you know. Watch yourself!”

15) “How the hell did you survive that?”

16) “Excuse me, I have to go make a scene.”

17) “I’m gonna need some therapy after this.”

18) “I already know that I’m going to hell. At this point, it’s really go big or go home.”

19) “Just stay near me, alright? I don’t like the way everyone’s staring at you.”

20) “You still don’t have to be incredibly rude about it. I was just asking, it was just a question. It really doesn’t mean anything.”

21) “Did you not sleep again last night?”

22) “Did you see that? You saw that, right?”

23) “You’re like a drug to me.”

24) “You might wanna reconsider your tone of voice, sometimes you make me so mad!”

25) “It seems as though everyone has taken a shine to you.”

26) “Kiss me again.”

All the above:

1) “I’ve got this handled, alright? You don’t need to butt in every time.”

2) “You’re ruining everyone’s good time. Keep quiet.”

3) “I didn’t know you could sing.”

4) “Have you lost your mind? I’ll help you find it!”

5) “It’s been ages! It’s amazing to see you again! How have you been!”

6) “You’re the absolute best! Thank you for coming!”

7) “What sounds good to you that you’ll eat?”

8) “Don’t let them get to you. If they were your friends, they would be sticking up for you instead of going along to make fun of you.”

9) “You promise that you’ll call me if you ever need anything?”

10) “I love you more!”

11) “I’ve been an idiot through this whole thing.”

12) “Darn right you have.”

***

@twilight-reader-inserts

Requests: open

Characters include:

• Carlisle Cullen

• Edward Cullen

• Emmett Cullen

• Jasper Cullen

• Jacob Black

• Aro Volturi

• Caius Volturi

• Jane Volturi

• Riley

•,Rosalie Hale

• Alice Cullen