#december 30 2017

[kingofmyborrowedheart]

The fact that Taylor has surpassed a billion streams this month alone and is #2 in the world on Spotify is absolutely insane.

[the-irrelevant-trumpeter]

i often wonder what the cornley drama society were doing during the christmases/decembers we didn’t see a show in

[multishipper-baby]

Since I already thought of birthdays for Jason and Rayray, I decided why not go through my OCs and give them all birthdays? And so I did.

[reasonsforhope]

"In one of Africa’s last great wildernesses, a remarkable thing has happened—the scimitar-horned oryx, once declared extinct in the wild, is now classified only as endangered.

It’s the first time the International Union for the Conservation of Nature (IUCN), the world’s largest conservation organization, has ever moved a species on its Red List from ‘Extinct in the Wild’ to ‘Endangered.’

The recovery was down to the conservation work of zoos around the world, but also from game breeders in the Texas hill country, who kept the oryx alive while the governments of Abu Dhabi and Chad worked together on a reintroduction program.

Chad... ranks second-lowest on the UN Development Index. Nevertheless, it is within this North African country that can be found the Ouadi Rimé-Ouadi Achim Faunal Reserve, a piece of protected desert and savannah the size of Scotland—around 30,000 square miles, or 10 times the size of Yellowstone.

At a workshop in Chad’s capital of N’Djamena, in 2012, Environment Abu Dhabi, the government of Chad, the Sahara Conservation Fund, and the Zoological Society of London, all secured the support of local landowners and nomadic herders for the reintroduction of the scimitar-horned oryx to the reserve.

Environment Abu Dhabi started the project, assembling captive animals from zoos and private collections the world over to ensure genetic diversity. In March 2016, the first 21 animals from this “world herd” were released over time into a fenced-off part of the reserve where they could acclimatize. Ranging over 30 miles, one female gave birth—the first oryx born into its once-native habitat in over three decades.

In late January 2017, 14 more animals were flown to the reserve in Chad from Abu Dhabi.

In 2022, the rewilded species was officially assessed by the IUCN’s Red List, and determined them to be just ‘Endangered,’ and not ‘Critically Endangered,’ with a population of between 140 and 160 individuals that was increasing, not decreasing.

It’s a tremendous achievement of international scientific and governmental collaboration and a sign that zoological efforts to breed endangered and even extinct animals in captivity can truly work if suitable habitat remains for them to return to."

-via Good News Network, December 13, 2023

[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.

[alyandajsource]

iamaly: Casa Los Constellaciones 💫🌙✨

[isupportzaynxliamxziam]

✒ Thursday, 30 December 2017

📷 Liam Payne: I've got to perform to some amazing crowds this year, starting with 80,000 people at Wembley Stadium! With the boys you had a chance to bounce off each other, when you're on your own it's just you and you have to get out and just do it! Each venue was different but the crowds brought it and helped me give the best performances I could!

[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!

[dontmean2bepoliticalbut]

On 7/31/2019 Trump has a private meeting with Putin. On 8/3/2019, just 3 days after his private meeting with Putin Trump issues a request for a list of top US spies. By 2021 the CIA reports an unusually high number of their agents are being captured and/or being murdered. During the search executed at Mar A Lago the FBI find nore documents with lists of U.S. informants on them.

A Timeline

• FBI wiretapped Russian gambling ring headquartered at Trump Tower for two years - March 21, 2017

• Trump revealed highly classified information to Russian foreign minister and ambassador - May 15, 2017

• Trump, Putin Meet For 2 Hours In Helsinki - July 16, 2018

• Rand Paul Goes To Russia And Delivers Letter For Trump, Marking Our Era Of Irony - August 9, 2018

• Following the Money: Trump and Russia-Linked Transactions From the Campaign to the Presidential Inauguration - December 17, 2018

• The US extracted a top spy from Russia after Trump revealed classified information to the Russians in an Oval Office meeting - September 10, 2019

• Trump’s Loose Lips Force US to Extract Spy From Kremlin - September 10, 2019

• Was Mar-a-Lago Trespasser a Tourist or a Spy? A Judge Said Her Story Didn’t Hold Up. - November 25, 2019

• Trump downplays massive cyber hack on government after Pompeo links attack to Russia - December 19, 2020

• Russia has been cultivating Trump as an asset for 40 years, former KGB spy says - January 29, 2021

• There was Trump-Russia collusion — and Trump pardoned the colluder - April 17, 2021

• Longtime GOP operatives charged with funneling Russian national’s money to Trump, RNC - September 20, 2021

• Captured, Killed or Compromised: C.I.A. Admits to Losing Dozens of Informants - October 5, 2021

• Files Seized From Trump Are Part of Espionage Act Inquiry - August 12, 2022

• Ex-Clinton aide implies 'President of France' file found at Trump's home during Mar-a-Lago raid could be valuable to Putin as 'kompromat' - August 13, 2022

• Inventing Anna: The tale of a fake heiress, Mar-a-Lago, and an FBI investigation - August 22, 2022

• Russians used a US firm to funnel funds to GOP in 2018. Dems say the FEC let them get away with it - October 30, 2022

• Trump makes shocking comments about trusting Putin over US 'intelligence lowlifes' - January 31, 2023

• Russia's Prigozhin admits links to what US says was election meddling troll farm - February 14, 2023

• GOP operative sentenced to 18 months for funneling Russian money to Trump- February 17, 2023

• Trump allegedly discussed US nuclear subs with foreign national after leaving White House: Sources - October 5, 2023

• 'So appalled': What witnesses told special counsel about Trump's handling of classified info while still president - April 24, 2024

🤔🤔🤔

[hannahleah]

Young and natural. Monica Bellucci photographed by Fabrizio Ferri in 1998.

Photo from: Elle Italia December 2017 Cover: 30 Anni, Le Belle Modelle di Elle

[fandomtrumpshate]

Totals Time!

It's been a year of records and record-breaking. Of reaching new fandom spaces and building new community ties. It's been wild. And absolutely fantastic.

When we closed the auction signup window we had 981 offers —nearly 150 more than we'd ever had before. When we re-opened it for 4 more hours, hoping to find another 19 folks (because we wondered what an auction with 1000 offers would look like) you all came through in spades, boosting the auction everywhere and bringing back 100 new offers in 15 new fandoms, bringing us to 1081 offers this year - a 33% increase over our previous record.

And you all weren't done breaking records. Shattering them.

This is the first year that any of our supported nonprofit orgs has received a 5-digit sum. And? TWO of them did.

So. Are you ready to see what our community has done? Are you ready for the numbers?

This year

thanks to all of you

FTH raised…

$67,931.28

The breakdown of donations to orgs looks like this -

This brings our eight-year total to

$307,439.14

Huge thanks to our 797 creators offering 1081 auctions in more than 400 different fandoms and subfandoms, and to everyone who bid! And to our 17 fan crafters who brought in $4,127 of that total —60% more than our previous crafting record!

So, what's next?

Contact deadlines:

Creators, be sure you contact your bidders by April 1, and bidders, on your end please respond to their communication by April 15!

Bidders need to provide their creator with a workable prompt by June 30 (unless you've worked out a different timeline together) to ensure they have plenty of time to finish their fanwork.

Once the fanwork is posted, let us know via our form (can you believe FOURTEEN creators have already finished??) and if you’re posting it on AO3 be sure to add it to the Fandom Trumps Hate 2024 collection. If you’re writing a fic for FTH and need help from our Regiment of Fan Laborers, email us! As always, the deadline for completed fanworks is December 31.

We hope that for at least some people, your involvement in FTH will lead to continued action throughout the year. Sign up for our organizations’ email lists, check out their volunteer opportunities, and help boost their signals on social media!

And if you’d like to run your own fanworks auction for a good cause, we can help get you started!

We have a packet of organizational materials we’ve been sharing with other auction organizers since 2017; we’re planning to spend the month of April overhauling and updating these materials to incorporate many of the improvements we’ve implemented since then. If you’re thinking about organizing an auction or fanworks exchange in your fandom to raise money for a good cause, we would love to share those materials with you. Contact us at fandomtrumpshate at gmail.com and we can send you our auction playbook, as well as answer any questions you have about our process.

Your mods (@porcupine-girl, @captainbunnicula, @tiltedsyllogism, @anyawen, @renjunbabygirl, @trickybonmot, and @a-still-small-vox) are going to be going into post-auction hibernation mode (or, for most of us, post-auction deal-with-all-this-other-stuff mode) for a little while. So if you email us, don’t panic if we don’t get back to you immediately! We will start actively monitoring the inbox again by April 15 at the latest.

[mariacallous]

On Boxing Day pro-Palestine demonstrators met customers at the Zara sale in the Westfield shopping centre, in Stratford, east London. They were not there to wish them the compliments of the season.

‘Bombs are dropping while you’re shopping,’ they chanted, as police stood by to make sure the protests did not turn violent. ‘Zara is enabling genocide,’ their placards read.

Quite what they wanted bargain hunters to do about the Israeli forces bombing the Gaza Strip, they never said. Lobby their MPs? Politicians are on their Christmas holidays. Join the Palestinian armed struggle?  It was unclear whether the shopping centre had a Hamas recruitment office.

But on one point the demonstrators were certain: no one should be buying from Zara. Even though the fashion chain has not encouraged Israel’s war against Hamas, earned income from it, or supported Israel in any material way, it was nevertheless “exploiting a genocide and commodifying Palestine's pain for profit”.

Zara, in short, has become the object of a paranoid fantasy: a QAnon conspiracy theory for the postcolonial left.

The Zara conspiracy is an entirely modern phenomenon. It has no original author. Antisemitic Russians sat down and wrote the Protocols of the Elders of Zion in the early 20th century. There was an actual “Q” behind the QAnon conspiracy: a far-right activist who first appeared on 4chan message boards in 2017 to claim that a cabal of child abusers was conspiring against Donald Trump.

The Zara conspiracy was mass produced by social media users: an example of the madness of crowds rather than their supposed wisdom. The cause of the descent into hysteria was bizarre.

In early December Zara launched an advertising campaign featuring the model Kristen McMenamy wearing its latest collection in a sculptor’s studio. It clearly was a studio, by the way, and not a war zone in southern Israel or Gaza. McMenamy carried a mannequin wrapped in white fabric. The cry went up that the Spanish company was exploiting the suffering of Palestinians and that the mannequin was meant to represent a victim of Israeli aggression wrapped in a shroud.

The accusation was insane. No one in the photo shoot resembled a soldier or a casualty of war. Anyone who thought for 30 seconds before resorting to social media would have known that global brands plan their advertising campaigns months in advance.

Zara said the campaign presented “a series of images of unfinished sculptures in a sculptor’s studio and was created with the sole purpose of showcasing craft-made garments in an artistic context”. The idea for the studio setting was conceived in July. The photo shoot was in September, weeks before the Hamas assault on Israel on 7 October.

No one cared. Melanie Elturk, the CEO of fashion brand Haute Hijab, said of the campaign, ‘this is sick. What kind of sick, twisted, and sadistic images am I looking at?’ #BoycottZara trended on Twitter, as users said that Zara was ‘utterly shameful and disgraceful”’.

To justify their condemnations, activists developed ever-weirder theories. A piece of cardboard in the photoshoot was meant to be a map of Israel/Palestine turned upside down. Because a Zara executive had once invited an extreme right-wing Israeli politician to a meeting, the whole company was damned.

Astonishingly, or maybe not so astonishingly to anyone who follows online manias, the fake accusations worked. Zara stores in Glasgow, Toronto. Hanover, Melbourne and Amsterdam were targeted.

What on earth could Zara do? PR specialists normally say that the worst type of apology is the non-apology apology, when a public figure or institution shows no remorse, but instead says that they are sorry that people are offended. Yet Zara had not sought to trivialize or profit from the war so what else could it do but offer a non-apology apology? The company duly said it was sorry that people were upset.

“Unfortunately, some customers felt offended by these images, which have now been removed, and saw in them something far from what was intended when they were created,” it said on 13 December, and pulled the advertising campaign

That was two-weeks ago and yet still the protests in Zara stores continue. On 23 December activists targeted Zara on Oxford Street chanting , 'Zara, Zara, you can't hide, stop supporting genocide', even though Zara was not, in fact,  supporting genocide. On Boxing Day, they were at the Stratford shopping centre.

Zara has apologised for an offence it did not commit. There is no way that any serious person can believe the charges against it. And yet believe them the protestors do. Or at the very least they pretend to believe for the sake of keeping in with their allies.

Maybe nothing will come of the protests. One could have argued in 2017, after all, that QAnon was essentially simple-minded people living out their fantasies online. Certainly, every sane American knew that there was no clique of paedophiles running the Democrat party, but where was the harm in the conspiracy theory?

Then QAnon supporters stormed the US capitol in January 2021. Will the same story play out from the Gaza protests? As far as I can tell, no one on the left is challenging the paranoia. I have yet to see the fact-checkers of the BBC and Channel 4 warning about the fake news on the left with anything like the gusto with which they treat its counterparts on the right.

To be fair, the scale of disinformation around the Gaza war is off the charts, and it is impossible to chase down every lie. But when fake news goes from online fantasies to real world protests, from 4chan to the Capitol, from Twitter to the Westfield shopping centre, it’s worth taking notice.

Sensible supporters of a Palestinian state ought to be the most concerned. No one apart from fascists, Islamists and far leftists believes that Israel should not defend itself. And yet the scale of its military action in Gaza is outraging world opinion. Mainstream politicians, who might one day put pressure on Israel, remain very wary about reflecting the anger on the streets.

They look at the insane conspiracy theories on the western left and see them as no different from the insane conspiracy theories that motivate Hamas, and they back away.

The Palestinians need many things: an end to the Netanyahu government, and an end to Hamas. But they could also use allies in the West who do not discredit their cause with dark, gibbering fantasies.

[usafphantom2]

Legendary Pilot Bob Pardo, Who Pushed A Damaged F-4 With His F-4 Over Vietnam, Has Died

December 20, 2023 Military Aviation

Bob Pardo

Bob Pardo in a 2017 photo by Senior Airman Ridge Shan. In the background, Pardo's Push in an artwork by S.W. Ferguson.

Bob Pardo passed away earlier this month at the age of 89. With his Phantom, he pushed a crippled F-4 outside the enemy airspace in one of the most heroic missions in the history of military aviation, known as “Pardo’s Push”.

“Pardo’s Push” is the name of an incredible maneuver carried out during the Air War over North Vietnam that, over the years, has become the symbol of heroism and a demonstration of courage and contempt for danger.

March 10, 1967.

Captain Bob Pardo is flying in an F-4C with Weapon Systems Officer 1st Lt Steve Wayne. Their wingman is the F-4C flown by Captain Earl Aman with Weapon Systems Officer 1st Lt Robert Houghton. The two Phantoms of the 8th Tactical Fighter Wing, based at Ubon Royal Thai Air Force Base, Thailand, are assigned the task to attack a steel mill in North Vietnam north of the capital Hanoi.

During the approach to the target, both F-4 is hit multiple times by enemy’s anti-aircraft fire. The North Vietnamese flak causes significant damage to Capt. Aman’s aircraft whose fuel tank begins to leak fuel forcing the crew to abort the mission. While hit too, Pardo’s F-4 is able to continue its mission.

On their egress route, at 20,000 feet, Aman and Houghton determine that they do not have enough fuel to reach a tanker or Laos, where they could eject and avoid capture. Although his F-4 is still efficient and has enough fuel to reach a tanker, Pardo decides to remain with his wingman.

At a certain point, while still inside North Vietnamese airspace, Aman’s Phantom flames out. To save Aman and Houghton, Pardo decides to do something he believes no one has ever done before: he attempts to push the other F-4 to Laos.

Initially, Pardo tries to push the other F-4 by gently making contact with the drag chute compartment. However, turbulence interferes with the maneuver and after several failed attempts, Pardo opts for an extreme solution: he instructs Aman to lower his tailhook, then he positions his F-4 behind the other Phantom leaning his windscreen against the tailhook. The contact is made but the “solution” is quite unstable and, as a consequence of turbulence, Pardo needs to reposition his F-4 every 15 to 30 seconds. Nevertheless, the push works and rate of descent of Aman’s Phantom is considerably reduced.

As if the situation was not complicate enough, Pardo’s F-4 suffers an engine fire, forcing him to shut it down.

Try for a second to visualize the situation: a flame-out F-4 is somehow pushed by means of its tailhook by another F-4 powered by a single engine. In enemy airspace. Incredible.

Ezoic

Pardo pushes Aman’s F-4 for another 10 minutes until his Phantom runs out of fuel too. With both planes safely inside Laotian airspace, at an altitude of about 6,000 feet, the aircrews of both F-4s ejects (they will be rescued by SAR helicopters and evade capture).

Although he saved another aircrew, Pardo was initially reprimanded for not saving his own F-4. Until 1989, when the episode was re-examinated and both Pardo and Wayne were awarded the Silver Star.

Retired Air Force pilot Lt. Col. Bob Pardo poses in front of a static display model of an F-4 Phantom II, one of the many fighter aircraft he has flown, at Luke Air Force Base, Ariz., Dec. 12, 2017. (U.S. Air Force photo/Senior Airman Ridge Shan)

Pardo and Aman both continued serving and retired from the U.S. Air Force in the rank of lieutenant colonel. Years later, after learning that Aman had lost his voice and mobility because of Lou Gehrig’s disease, created the Earl Aman Foundation that raised enough money to buy Aman a voice synthesizer, a motorized wheelchair, and a computer. The foundation later contributed to raise funds to pay for a van, which Aman used for transportation until his death. In other words, Pardo never left his wingman behind, not even after retiring.

Ezoic

Noteworthy, as told by John L. Frisbee in his 1996 article for Air Force Magazine, Pardo’s push was not the first time a U.S. pilot pushed another jet out of enemy airspace: in 1952, during the Korean War, fighter ace Robbie Risner pushed his wingman out of North Korea in an F-86. However, pilots were ordered to refrain from attempting the hazardous maneuver again, and the episode had faded from memory and was almost completely unknown within the Air Force by the time Pardo and Wayne pushed Aman and Houghton outside of North Vietnam’s airspace.

Bob Pardo passed away aged 89, on Dec. 5, 2023. His courage and ingenuity, along with the legendary “Pardo’s Push“, will be remembered forever.

About David Cenciotti

David Cenciotti is a journalist based in Rome, Italy. He is the Founder and Editor of “The Aviationist”, one of the world’s most famous and read military aviation blogs. Since 1996, he has written for major worldwide magazines, including Air Forces Monthly, Combat Aircraft, and many others, covering aviation, defense, war, industry, intelligence, crime and cyberwar. He has reported from the U.S., Europe, Australia and Syria, and flown several combat planes with different air forces. He is a former 2nd Lt. of the Italian Air Force, a private pilot and a graduate in Computer Engineering. He has written five books and contributed to many more ones.

@Aviationist via X

[sleepyconfusedpotato]

I don't know if you ever received this ask or had this idea before but here goes nothing Since Ghost already met Jade's family, what if she meets his? ....angst material. Sorry not sorry.

Oh my God... Anon... You sparked something in me, and I cannot go to sleep now without posting this. Thank you so much for the idea.

(I think I'm gonna make a full on comic out of this, and I will make an art at some point for this fic, but let's use this lovely GIF of Ghost first)

She's The One

Jade meets Ghost's family.

Pairing : Simon “Ghost” Riley x Charlotte “Jade” Le Jardin (OC) Word Count : ~ 1.8k words Warning : Medium to heavy angst and mentions of death, but ends with a full on fluff because you know me mate I want Ghost to be happy ok.

Title and story inspired by the song 'She's The One' by Robbie Williams

"...How's your family, Simon?" 

Jade asked Ghost. They had been having a small outing, which included watching the cinema together and going around the streetside shops to find new wardrobes for Ghost to wear. He initially thought that it was unnecessary, but as Jade insisted, he went anyway – as long as he could spend his off-duty time with her.  

He'd met her parents, and though he was apprehensive about it at first, they turned out to be pleasant and strong people. It was such an unfamiliar feeling for him, to have a family to come home to, a supportive family and kind and can take care of their own. He's foreign to that concept.

Ghost just stayed silent to her question, his expression which was usually unreadable turned sorrowful, his eyes gazing down at the pavements they walked. She thought she should change the subject before Ghost muttered,

"You want to see them now?" 

Jade opened her eyes wide in surprise, not expecting him to say anything about meeting his family this fast, and the way he said 'now'...

The woman knew Ghost wouldn't ask her that question if he was adamant as he was a straightforward person. And so, she answered, "Of course, if you don't mind it." He then proceeded to enter his car that was parked not far from where they just watched a movie in a cinema, not forgetting to open the passenger door for Jade beforehand. 

They drove for a full 30 minutes of silence, save for the sound soft songs on the radio. As Ghost drove, Jade looked out the window and understood that they were going to a familiar place that she had passed by a few times in her life. He drove to the nearest available parking area, parking his car flawlessly before stopping the car engine, leaving the both of them in complete silence. 

Jade felt the atmosphere around him grow heavy, his hands still on the steering wheel as if he was still pondering whether or not he wanted to get out of the car. He let out a soft sigh, took his keys and got out of the car. Jade got out of her own and looked at the surrounding area.

Cemetery.

The sun had disappeared behind the heavy grey clouds that constantly covered the England skies. Tiny drops of water had touched her cheek, in such a way it reflected Ghost's inner thoughts right now. 

The man looked at her, "Over here." He walked with Jade following right behind him. After about 10 minutes of walking and treading through the tall grasses, Ghost stopped in front of a group of gravestones, four of them, which were placed more tightly together than the other. The grasses were tidily short, a sign that the keepers attended to these graves properly.

Jade then looked down, reading the engravings on the stones, and her heart shattered to pieces.

"Susan Riley, November 17th, 1965 - December 24th, 2017"

"Thomas Riley, July 21st, 1990 - December 24th, 2017"

"Elizabeth Riley, May 8th, 1991 - December 24th, 2017"

"Joseph Riley, March 19th, 2013 - December 24th, 2017"

It was his mother's birthday. 

She looked up to find Ghost's eyes gazing down at the names as well, noticing that the ground he was standing on was right at the front of his mother's grave. No tears in sight, only sadness, and as an MI6 agent of two decades, she could deduce an expression of regret. Jade didn't need to wonder why, as the dates of their deaths were all the same - the reason he hid his identity, lived as no one, avoided any relationship with anyone, and the reason why he was adamant about meeting her parents – His past came to haunt, and it's target was not him. 

Jade couldn't say anything. What could she say? That she's sorry this happened? She knew Ghost hated that phrase the most, of someone pitying him, that they wished things could be different. But what use is it to wish? It happened. His entire family died because something happened during one of his missions, and his family paid the price for it.

As if on cue, she heard a small sniff from him the same second the raindrops started to grow more frequent, falling harder, creating white noises and wet spots on their clothes. Being the Londoner she was, knowing that sunny days were never really sunny, Jade fished out her floral purple umbrella, holding it above Ghost's head beside her, making sure to cover his broad shoulders fully as her left shoulder grew wet. 

She saw his face, and it was enough reason to stay silent and let him grieve. She didn't know if this was the first time he'd visited their graves after years or if he always come here at some time every year, but no matter which one the answer was, if she could see one thing, it was that his tears never seemed to run out, even after years.

Jade let him cry, the sound of his sobs completely drowned by the white noises of the heavy rain. 

She knew that he wasn't a big fan of any physical touch, nonetheless, she lifted her other hand softly and rubbed at his back, going up and down in an attempt to soothe his sorrow. And after a minute of him not flinching away from her touch, Jade mustered up her will to slowly encircle her arm around his own on his side, their sides touching as she rubbed his bicep, and going even further as she leaned her head to touch his shoulder. 

Ghost's shoulder still shook for a few minutes as he cried his heart out, Jade kept doing what she did as he let his sorrow out. 

Soon after, another surprise hit her when she heard and saw that the rain started to slow down, albeit still going down on both of them. Her other arm started to grow sore after moments of holding the umbrella high to accommodate his height, yet what alleviated the pain was the fact that she felt a small weight on her head, realizing that Ghost had eased his cries, now only soft sniffs, and that he leaned his head on top of hers as well.

He still stayed silent, not a word spoken ever since they arrived, but she knew that this was a good sign that he knew that she would be there for him, even when he was vulnerable.

"Happy birthday, Mrs. Riley." 

Jade muttered softly, the man beside her still looking down on his mother's grave even though he was slightly dazed at her words. 

"This is our first meeting, but I can tell that you were a kind person, and an even more amazing mother and grandmother."

He then glanced at Jade as she continued, "Your son is a very skilled and intelligent man, traits which I assume he got from you. He's confident, a great leader-- oh! And he's handsome as well, so that's a plus." 

That prompted a scoff out of his mouth. Nevertheless, she went on. "He's not much of a social person. He's a little bit intense and stiff - We can work on that. He shot my hand once! I have the scar to prove it. His choices of words are sometimes foul, though, again, we could always work on that." Jade joked lightheartedly, seeing him softly smile above her.

"But if there's one thing about him that I love, is that he's a strong man with a warm heart, and I don't have to assume to know that he got it from you." Jade continued. "Your son is the strongest man I know, and I will stop at nothing to protect him and make him happy."

Ghost looked down at her, astounded at her words. "Thank you for bringing him into this world. Happy birthday, Mrs. Riley." 

As she finished her message, Jade looked up with a soft smile, "I'll be sure to bring some flowers the next time we visit, and every year after that." 

She thought he was going to say something, until the arm that was intertwined with hers moved, though nervously, gliding across her back and found its home on Jade's shoulder, before lightly pressing and pulling her towards him. Jade blushed, not only at the warmth of his body but also at the fact that he initiated the touch. 

"Thank you, Lottie." He muttered in his deep voice, "So much." 

"Anytime, Love." 

After about 15 minutes of standing in front of the graves, the rain had stopped, and the sun showed up to light the rest of the day as the sky turned orange. Jade had stored the wet umbrella back in its container and hung it on her wrist before she walked back to the car per his request. Jade figured he wanted some alone time with his family, and so she obliged.

"How's she, Mum? She's a beautiful bird, isn't she?" 

Ghost finally spoke, his hands tucked inside his pockets. He then glanced at his brother's grave, smirking. "What about you, Tommy? You think she's the one?" He asked no one, not expecting any answer anyway, yet he just wanted to let it out.

"I thought I'm gonna bite the dust on some fucking rathole somewhere, and that was what I wished at some point, but..." Ghost sighed, shifting his weight on his hip, "I kind of want to die an old man, after living my life to the fullest with her-- Fuck, I can't believe I'm saying this." Ghost chuckled at his own words, not expecting it to be this heartfelt. "I'm arse over tit for her. Yeah, you're gonna laugh at me for this Tommy, but at least I didn't laugh when you said the same thing about Beth." 

"And Mum, knowing you, I think you'd like her. She's a bit like you, in a way." Ghost confessed, still eyeing her name on her gravestone, "She cares too much. In a good way, and I find it endearing." He suddenly recalled the memories he had with Jade, from the first moment they met to this moment, replaying them over and over and being surprised about how much she reminded him of his mother. 

"I want to protect her with all my life. I love her, Mum."

And with that, a burden on his shoulders felt like no more. He'd never said those words to anyone, and he might be insane to be in love with someone considering how he'd lived his life, but he'd made a promise to protect her, and if he'd be a fool, then a fool he would become.

"Anyway, she's waiting back there, and I'm hungry. So I'm going to leave you now." Ghost then stood up straight, his hands still in his pockets. He glanced at every single one of the gravestones, before looking at his mother's.

"Happy birthday, Mum." 

-----

(All of the Riley's birthdays are entirely made-up. Their date of death was also made up, but I remembered there were something with Christmas, so I'll just place December 24th to make my heart hurt more) ಥ_ಥ

Anyway, thank you for reading, and hope you love this! (❁´◡`❁)

[digimonarchive]

Digimon in all animated media - Anime, Movies and OVA

1st pic = Digimon Adventure anime (Japan: March 7, 1999 - March 26, 2000; USA: August 14, 1999 - June 24, 2000)

2nd pic = Digimon Adenture 02 anime (Japan: April 2, 2000 - March 25, 2001; USA: August 19, 2000 - May 19, 2001)

3rd pic = Digimon Tamers anime (Japan: April 1, 2001 - March 31, 2002; USA: September 1, 2001 - June 8, 2002)

4th pic = Digimon Frontier anime (Japan: April 7, 2002 - March 30, 2003; USA: September 9, 2002 - July 14, 2003)

5th pic = Digimon Savers / Data Squad anime (Japan: April 2, 2006 – March 25, 2007; USA: October 1, 2007 - November 2, 2008)

6th pic = Digimon Xros Wars / Fusion anime (Japan: July 6, 2010 - March 25, 2012; USA: September 7, 2013 - August 16, 2015)

7th pic = Digimon Xros Wars: The Evil Death Generals and the Seven Kingdoms anime (a.k.a Digimon Xros Wars part 2) (Japan: April 3, 2011 - September 25, 2011; USA: March 8, 2015 - August 16, 2015) **

8th pic = Digimon Xros Wars: The Young Hunters Who Leapt Through Time anime (a.k.a Digimon Xros Wars Hunters or Digimon Xros Wars part 3) (Japan: October 2, 2011 - March 25, 2012) ***

9th pic = Digimon Adventure Tri OVA (Japan: November 21, 2015 - May 5, 2018; USA: September 15, 2016 - September 20, 2018)

10th pic = Digimon Universe Appli Monsters anime (a.k.a Appmon) (Japan: October 1, 2016 - September 30, 2017)

11th pic = Digimon Adventure: (a.k.a Digimon Adventure 2020 or Digimon Adventure reboot) (Japan: April 5, 2020 - September 26, 2021; USA: November 19, 2022 - April 13, 2023)

12th pic = Digimon Ghost Game (Japan: October 3, 2021 - March 26, 2023)

13th pic = Digimon Adventure (Movie) short film (Japan: March 6, 1999; USA: October 6, 2000 as the first segment part of Digimon The Movie)

14th pic = Digimon Adventure: Our War Game! movie (Japan: March 4, 2000; USA: October 6 2000 as the second segment part of Digimon The Movie)

15th pic = Digimon Adventure 02: Vol. 1: Digimon Hurricane Landing!/Vol. 2: Transcendent Evolution! The Golden Digimentals movie (a.k.a Digimon Adventure 02 Vol 1 and 2) (Japan: July 8, 2000; USA: October 6, 2000 as the third segment part of Digimon The Movie) ****

16th pic = Digimon Adventure 02: Diablomon Strikes Back / Digimon: Revenge of Diaboromon movie (Japan: March 3, 2001; USA: August 5, 2005)

17th pic = Digimon Tamers: The Adventurers' Battle / Digimon: Battle of Adventurers movie (Japan: July 14, 2001; USA: October 16, 2005)

18th pic = Digimon Tamers: The Runaway Digimon Express / Digimon: Runaway Locomon movie (Japan: March 2, 2002; USA: October 2, 2005)

19th pic = Digimon Frontier: Revival of the Ancient Digimon!! / Digimon: Island of Lost Digimon movie (Japan: July 20, 2002; USA: October 23, 2005)

20th pic = Digital Monster X-evolution movie (Japan: January 3, 2005; USA: August 1, 2020)

21st pic = Digimon Savers The Movie: Ultimate Power! Activate Burst Mode!! movie (Japan: December 9, 2006)

22nd pic = Digimon Adventure 3D: Digimon Grandprix! short film OVA (Japan: July 20, 2000)

23rd pic = Digimon Savers 3D: The Digital World in Imminent Danger! short film OVA (Japan: July 8, 2006)

24th pic = Digimon Adventure 20th Anniversary Memorial Story Project OVA short films (Japan: November 22 2019 - December 25, 2020)

25th pic = Digimon Adventure: Last Evolution Kizuna movie (Japan: February 21, 2020; USA: September 29, 2020)

26th pic = Digimon Adventure 02: The Beginning movie (Japan: October 5, 2023; USA: November 8, 2023)

** This is the 2nd part of Digimon Xros Wars saga with Taiki, Kiriha and Nene on their adventure while Akari and Zenjirou are left out.

*** This is the 3rd part of Digimon Xros Wars saga with Tagiru, Yuu and Taiki as the protagonists. This 3rd part has the overly long title so we fans prefer to call it 'Digimon Xros Wars: Hunters' or 'Digimon Young Hunters'.

**** Yes, this movie has an overly long title. I had a hard time deciding whether to highlight it in bold or not.

Happy Digimon Day!

[lilyginnyblackv2]

What are Kazuki and Rei’s Options? - Buddy Daddies - Episode 10 - SPOILERS!

In Japan, same-sex couples cannot adopt children:

Text:  Adoption and parenting Same-sex couples are not allowed to legally adopt in Japan. Lesbian couples and single women are unable to access IVF and artificial insemination.

(From the Wikipedia page on LGBT rights in Japan, which will be linked in the comments.)

However, fostering children is currently an option for same-sex couples:

Now, in another sign of increasing acceptance of the LGBT+ community, it’s come to light that the city of Osaka has awarded foster care of a child to a same-sex male couple. While city administrators confirmed the couple’s foster parent status on April 5, 2017, the pair, consisting of one man in his 30s and another in his 40s, were approved as foster parents back in December of last year. Foster parent certification falls under the jurisdiction of local authorities, but Japan’s central Ministry of Health, Labor, and Welfare says that it has no previous record of a same-sex couple being awarded foster parent status, so the decision by Osaka appears to be the first of its kind in Japan. The Ministry also confirmed that its guidelines regarding foster parent selection make no specifications barring or giving preferential treatment to same-sex couples.

(Source: All About Japan - “Same-Sex Couples Can Now Be Foster Parents,” full article will be linked below in the comments.)

This is basically what we see Kazuki and Rei do, as of right now, with Miri. They foster her for a year, and she has returned back to her birth mother.

Now, what will happen next is unknown. There are options like Miri never returning to them/staying with her mom, one or both of them dying, etc. etc., but we aren’t going to be looking at those possibilities right now. Let’s look at ones where Miri is a part of their lives.

If they want Miri back in their lives then Kazuki and Rei will have to take care of the Organization and their connection to it, and then find alternative jobs to support themselves. Buddy Daddies takes place in modern day Japan, that is the setting, and they are treating the situations as functioning within the framework of what can and cannot be done in modern day Japan, in regards to childrearing, childcare, and so forth.

Unless they go the route of having Kazuki forge paperwork to be her birth father, since they look very similar:

Of course, this option would be a bit more convoluted. He couldn’t take on Miri’s birth father’s actual identity because he was a mafia boss and is currently, very much so, dead. But, they might be able to change it so that Miri would be Kazuki’s daughter. Then, Kazuki and Rei would be able to raise her, since she would be Kazuki’s birth child. 

But, unless Misaki were to pass away due to her cancer (which is a possibility, especially since she mentioned that it was spreading), the end result would still be a blended family situation:

Because even if Misaki had given Miri up for adoption or had abandoned her, the birth mother is still the legal guardian of their child. Unless the birth mother dies or goes completely MIA or the child isn’t put into the system at all (essentially just living on the streets), then there isn’t a way, in current Japanese society, for a birth mother to be completely divorced from their child.

That being said, blended families do exist in Japan, especially in the modern day when divorce, remarrying, and same-sex relationships being recognized are all becoming more common place. But, we rarely see blended families being portrayed in anime (specifically, I’m sure there is some exploration of this found in manga), and certainly not at a central level of any kind (like with what we have been seeing with Buddy Daddies and how it has been centralizing its focus on childcare and childrearing).

An blended family ending would still be just as queer and progressive as before. This sort of family dynamic would exist outside of the norm, and outside of the nuclear family expectation. The framing has been interesting too, because Miri’s mother is the one that essentially has to prove herself to both Kazuki and Rei and to Miri. She was brought back into the picture because it was the safer option for Miri at this moment, not just because she is Miri’s birth mother.

So I feel like, if a blended family situation does end up happening in the end, they won’t approach it in quite that way. Though, I also think that would be a point of contention at times (especially between Misaki and Kazuki) that wouldn’t be that uncommon for a blended family situation. Navigating issues like that is very common, I see my friends who are step-mothers and step-fathers have to navigate those waters often. If it were depicted in anime, even if it were for a brief bit (or in more depth if there were a second season and this is the route the series ultimately goes down), then that would be pretty neat.

Something else to note is that when Misaki states: “If you consider yourselves her parents as well,” she uses the word “parents,” 親 (oya), not guardians, 保護者 (hogosha) or other similar/related words. 保護者 (hogosha) does mean parent, but in a more inclusive way that is also referencing legal guardians as well. But she is acknowledging them as parents, the same as her.

Of course, there are some who are weary and skeptical of the integrity of Misaki. I think she is talking honestly and sincerely here, along with the rest of the episode, but if she’s not, then what will happen to Miri is that she will likely go to live with her grandparents or, like I mentioned before, the series goes a bit more of a convoluted and complex route with making Kazuki’s Miri’s “birth” father through forgery and the like. Or, they break the more realistic boundaries they’ve been working within so far, and make it so that Kazuki and Rei can just magically adopt Miri, but given the “realistic” mentions in a lot of the interviews with Uchiyama and Toyonaga, I don’t think that is likely.

If the series does go the route of having Miri go to live with her grandparents or mother and Kazuki and Rei aren’t brought into the family in a blended family way, but more so kept out (maybe with only the occasional visit or something). Then another possibility, especially if they do end up leaving the Oraganization and kind of “starting over” with new jobs and the like, is them becoming foster parents in general. 

Miri would be the first and the most precious one to them, but then they find a “normal happiness” with each other and become foster parents to other kids in the future. It would be a nice way to really show them changing right, in the sense of, instead of taking human lives, they would be caring for and fostering children - the future, and hopefully helping them turn out to be good people. That’s always a possibility, especially if there is some kind of large time skip in the last episode. 

Of course, the series could instead go in the direction of criticizing the cruelty that same-sex couples cannot adopt and therefore are basically only left with the option of fostering, unless they have a blood-related child through natural means of birth. That is always a possibility as well, and is something that I feel they do kind of hit on a bit in Episode 10, especially with Rei’s line here:

(Rei: “To say that after we’re all attached...it’s cruel.”)

But yeah, thinking about it, when it comes to positive outcomes, in the sense of Kazuki, Rei, and Miri living and Kazuki and Rei being able to escape the Organization, then I think the ending options are going to be one of the above. Everything in this post is pure speculation, since the series is anime original, we don’t know for sure what direction it will ultimately go in.

But these options here are the ones sticking out the most to me at the moment (once again, if we only look at potentially happy endings, rather than any potential overly tragic/bad end ones). It’s also possible that they may be critical of something (like with Rei’s words on the cruelty of it all), while also still painting an option, like Kazuki and Rei deciding to become foster parents, as something that is still an overall good and positive change for them, specifically. 

I like there is a potential messiness to the situation and overall premise that is presented in Buddy Daddies, because it makes it feel like the series is properly exploring the realities of the situation and the options that are open and available to Kazuki and Rei. It’s bleak in some ways, hopeful in others, and I am intrigued by what direction they will ultimately go in.

As always, feel free to add your thoughts to this as well! :D I always love reading them! <3