#15/1/2017

[kairithemang0]

Ok ok so I got bored so I decided it was about time I get back into my Ducktales phase, so I started watching Ducktales 2017 like... yesterday? And now I'm at episode 24 of season 1 and I'd probably be halfway through season 2 now if I didn't have life and stuff

So as one does when Scrooge says his "I am" line I kinda started crying and this is the second time David Tennant has said a normal sentence and it's made me cry this is proof he's such a great actor if you for some reason need more proof of that

[bibleofficial]

who the FUCK is tattooing all these highschoolers oh my god i just popped on me fake ig & saw a recommendation was an acquaintance that i grew up w & he now does sports journalism … but for highschools … but point is that why in the HELL do these CHILDREN have TATTOOS - & MORE THAN 1 like these mfs have sleeves before they get hair on their arms 😭😭😭

[umseb]

📷 💬 @.vetteleclerc / twitter

[true-blue-sonic]

Personal headcanon that Espios' abrasive and dismissive attitude towards Knuckles comes from the Classic days where Knuckles was the leader of the Chaotix. It's not set in stone WHAT happened as I change it from time to time, but it always links back to that period.

It's funny, because Knuckles' Chaotix is just not on my radar at all, haha. The only thing I know about it is that the Espio of that time apparently liked camping, he had to occasionally be reminded of his manners by the much more polite Charmy, and Charmy was 16 or something? XD

Though, afaik the Modern Chaotix are reimagined from their Classic self and they aren't supposed to be the exact same characters. So I'm not sure if it can be argued they met Knuckles in the way they did in Chaotix, alas! But on the other hand, the idea of Espio's nerves just getting SO frayed by Knuckles' leadership that it evolved into a completely one-sided rivalry that's still going strong after like 4 years is definitely funny to me XD Makes you wonder about how things went in Forces with Knuckles becoming the Commander of the whole Resistance!

[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.

[doyoulikethissong-poll]

Dolly Parton - Jolene 1973

Dolly Parton is an American singer-songwriter, actress, and philanthropist. With a career spanning over fifty years, Parton has been described as a country legend and has sold more than 100 million records worldwide, making her one of the best-selling music artists of all time. She has had 25 singles reach no. 1 on the Billboard country music charts, a record for a female artist (tied with Reba McEntire). She has 44 career Top 10 country albums, a record for any artist, and she has 110 career-charted singles over the past 40 years. She has composed over 3,000 songs. She has founded a number of charitable and philanthropic organizations, chief among them is the Dollywood Foundation, which manages a number of projects to bring education and poverty relief to East Tennessee where she grew up. In response to the COVID-19 pandemic, Parton donated $1 million towards research at Vanderbilt University Medical Center, which funded the critical early stages of development of the Moderna vaccine.

"Jolene" was released on October 15, 1973, as the first single and title track from her the thirteenth solo studio album Jolene, and became Parton's second solo number one single on the country charts. "Jolene" became Parton's first top ten hit song in the UK, reaching number seven in the UK Singles Chart in 1976. It also re-entered the chart when Parton performed at the Glastonbury festival in 2014.

According to Parton, the song was inspired by a red-headed bank clerk who flirted with her husband, Carl Dean, at his local bank branch around the time they were newly married. In an interview, she also revealed that Jolene's name and appearance are based on that of a young fan who came on stage for her autograph.

During an interview on The Bobby Bones Show in 2018, Parton revealed that she wrote "Jolene" on the same day that she wrote "I Will Always Love You".

"Jolene" was nominated for the Grammy Awards for Best Female Country Vocal Performance twice, in 1975 and 1976. The first nomination was for the original recording, and the second was for a live recording from the TV series In Concert. It did not win either time, but in 2017, a cover by the a cappella group Pentatonix which featured Parton as a guest singer won the Grammy Award for Best Country Duo/Group Performance.

In 2023 she released her forty-ninth solo studio album, Rockstar, a collaborative project with a variety of rock musicians and where "Jolene" is sung by Italian rockband Måneskin, listen to it here!

"Jolene" received a total of 94,3% yes votes!

[55szn]

always and forever - cs55

carlos sainz x fem!reader smau

summary an instagram timeline of carlos and yn’s 8 years long relationship warnings too much fluff fc dua lipa taglist @jaydaaasworld notes i have more requests to get to but i’ve had this idea for a while and let’s just say i needed to write some carlitos fluff🥲

INSTAGRAM

carlossainz55

liked by pierregasly, yourusername and 10.302 others

carlossainz55 Always a good time with this one 😜❤️

tagged yourusername

view all 52 comments

yourusername t quiero Carlitosss (love you)

carlossainz55 te quiero más ynnnn (love you more)

user scrolled all the way down to carlos first post and of couse it’s yn

user he’s always been so in love with her is so cute

user so pretty

april 20, 2016

yourusername

liked by carlossainz55, yourbsf and 4.291 others

yourusername Feliz cumpleaños a mi persona favorita 💕😘 #birthdayboy (Happy birthday to my favorite person)

tagged carlossainz55

view all 43 comments

carlossainz55 muchas gracias preciosa 💓😘 thank u so much beautiful

yourusername por muchos más cumpleaños juntos 💘 here’s to many more birthdays together

yourbsf feliz cumpleaños!!

user so we are all just stalking their instagrams after their last post, right?

user how can you not

user and they posted each other sooo often it’s so sweet

user i’ve been a fan of carlos for so long and they’ve ALWAYS been there for each other i love yn

september 1, 2017

carlossainz55

liked by yourusername, fernandoalo_official and 24.289 others carlossainz55 Quick getaway to celebrate two years and counting with my soulmate by my side 🌅❤️

tagged yourusername

view all 98 comments

yourusername oh carlitos 🥺

yourusername you sure know how to make a girl swoon

yourusername i’ll love you forever <3

user STAWWWWPP

user his caption and her comments i might die 😣

user they’ve been together for a lifetime oh my god

august 15, 2018

yourusername

liked by carlossainz55, landonorris and 12.210 others

yourusername my boy and his new boyfriend 🙄

tagged carlossainz55, landonorris

view all 73 comments

landonorris sorry i’m just that charming 💁🏻

yourusername he was mine first 😠

carlossainz55 don’t fight i’ll choose yn anyway

landonorris damn 💔

user bro was so down bad he couldn’t even play along to the joke

user omg i never knew it was yn who posted these iconic carlando pics

user well it makes sense she’s carlando’s no. 1 fan

user supporting her boyfriend’s boyfriend iktr 😌

may 22, 2019

carlossainz55

liked by landonorris, yourusername and 368.291 others

carlossainz55 i would have gone insane without you during this crazy year, feliz año nuevo mi amor😘💘 (happy new year my love)

tagged yourusername

view all 1.308 comments

yourusername gotta admit quarantine sucked a little bit less with you by my side

carlossainz55 just a little? 😏

yourusername okay maybe it didn’t suck at all 🤐

user oh to be carlos a be able to lay on yn all day long

user she looks so cute in the third pic 🥺

user from when they were FINALLY (yn’s words) able to see each other after spending two weeks apart 😭

user most in love mfs i’ve ever seen

december 31, 2020

yourusername

liked by carlossainz55, scuderiaferrari and 15.291 others

yourusername already knew he looked good in red but thanks for the confirmation @ scuderiaferrari 😝

tagged carlossainz55

view all 119 comments

carlossainz55 you’re making me blush ☺️

scuderiaferrari you’re more than welcome yn! 😌

user this pic is so sjdiaq

user i don’t want to speak of the things i would do if carlos looked at me like that with those big ass eyes 🫠

user yn is such a lucky girl

user SHE is lucky??!?!? have you seen her??? carlos should be thanking every god above

user i’m pretty sure he does that everyday 😭

march 12, 2021

carlossainz55

liked by yourusername, maxverstappen1 and 456.412 others

carlossainz55 guess i’m a tatted man now, i just can’t say no to that face 😶

tagged yourusername

view all 1.302 comments

yourusername you have to admit it’s pretty cute

carlossainz55 whatever you say🫡

user oh my god carlos get up!!

landonorris i don’t think that’s enough ink to call yourself a tatted man mate

yourusername maybe i should make another appointment 🤔

carlossainz55 don’t give her ideas you muppet 🤦🏻

user i didn’t know they had matching tattoos that’s so cute 😭

user sleeping on the highway tonite

october 17, 2022

yourusername

liked by carlossainz55, lilymhe and 732.819 others

yourusername how could i say no when my date looked like that? 🤭

tagged carlossainz55

view all 3.995 comments

carlossainz55 can’t wait to spend forever with you mi amor ❤️

maxverstappen1 congratulations you two! 😘😘

carmenmmundt so so thrilled for you both! love you 🫶🏻

yourusername i love you my girl, get ready to try on a loooot of dresses 😅

user EVERYONE remembers where they were when this post dropped

user i remember dropping my phone on my face when i opened instagram

user i cried happy tears, had been waiting for that day for years 🥹

august 15, 2023

carlossainz55

liked by yourusername, georgerussell63 and 3.281.819 others

carlossainz55 can’t believe i finally get to call you my wife. just you and me, always and forever, te amo yn ❤️

tagged yourusername

view all 10.371 comments

yourusername te amo y te amaré por siempre, mi carlitos (i love you and i’ll you forever, my carlitos)

user “mi carlitos” oh god i’m sobbing

landonorris congratulations, you two were made for each other ! 🥰

yourusername your boyfriend is now my husband 😜

landonorris don’t even remind me about it.

charles_leclerc so happy for you two ❤️❤️

user can’t believe i’ve been following carlos since the beggining of their relationship and now they’re married

user omg don’t even talk to me abt it i feel like a proud mother

september 28, 2024

the end

[thinking-emoji]

DnP Interview Masterlist

This is a work in progress! If you have any other links, send them to me!

Jan 2025

Shut Up I'm Talking Podcast (video) 26/1/2025 | mirror | add-on

Dec 2024

RNZ (audio) 10/12/2024 | mirror

Radio Adelaide (audio) 10/12/2024 | mirror | mirror

Junkee (article) 6/12/2024

Junkee (video) 6/12/2024

Today Show (video) 5/12/2024 | mirror | mirror

Nov 2024

Buzzfeed (article) 22/11/2024 | mirror | mirror

People (article) 1/11/2024 | mirror

Oct 2024

People (article) 6/10/2024

YourEx (article) 5/10/2024 | mirror | mirror

Master up to 2023 (courtesy of @stillarchivingdnp)

YWGTTN promo master (courtesy of @dailydnp)

May 2024

Dan: Times Radio (video) 11/5/2024

2023

Dan: Anthony Padilla (video) 17/1/2023

Dan: DNA Magazine (article) 9/1/2023

2022

Dan: Santa Barbara Independent (article) 30/11/2022

Dan: Gay Times (article) 11/11/2022

Dan: heatworld (video) 1/11/2022

Dan: Hits Radio (video) 21/10/2022

Dan: The Star (article) 5/10/2022

Dan: Buzz (article) 12/9/2022

Dan: Manc Union (article) 18/8/2022

Dan: Square Mile (article) 29/7/2022

Dan: metro.co.uk (article) 9/6/2022

2021

Dan: How To Academy (video) 1/7/2021

Dan: 1883 (article) 30/6/2021

Dan: RNZ Nine to Noon (audio) 30/6/2021

Dan: GQ (article) 30/5/2021

Dan: Waterstones (video) 24/5/2021

Dan: Amazon (article) 12/5/2021

2020

Dan: Guardian (article) 26/12/2020 | mirror

Dan: Pink News (article) 4/12/2020

Dan: Attitude (article) 7/10/2020 | mirror | mirror | preview

Dan: ITV Britain Get Talking (audio) 7/10/2020 | mirror

Phil: Evening Standard (article) 3/2/2020

2019

Dan: BBC (video) 5/9/2019 | mirror

2018

HMV (article) 10/12/2018

Toy News (article) 5/3/2018

2017

Edinburgh TV Festival (video) 24/8/2017

2016

Penguin Platform (video) 10/11/2016

Stand Up to Cancer (video) 15/10/2016

Variety (article) 4/10/2016

The Big Wakeup Call (audio) 21/4/2016

2015

Star Sessions (video) 20/11/2025

Huffington Post (video) 19/11/2025

WOCA Radio (audio) 17/11/2015

Sunday Times (article) 8/11/2015

SugarScape, Pt. 2 (video) 11/10/2015

SugarScape (video) 9/10/2015

2014

Rock Forever Magazine (video) 19/4/2014

2013

The Independent (article) 1/6/2013

The 4:01 Show (video) 17/3/2013

Dan: Elision (article) 13/1/2013

2012

Dan: Huffington Post (article) 26/11/2012

[a-kind-of-merry-war]

A poll designed to make you recoil at the passage of time

cheat sheet with dates/years under the cut

if you joined in 2007 -  17 years

if you joined in 2008 -  16 years

if you joined in 2009 - 15 years

if you joined in 2010 - 14 years

if you joined in 2011 - 13 years

if you joined in 2012 - 12 years

if you joined in 2013 - 11 years

if you joined in 2014 - 10 years

if you joined in 2015 - 9 years

if you joined in 2016 - 8 years

if you joined in 2017 - 7 years

if you joined in 2018 - 6 years

if you joined in 2019 - 5 years

if you joined in 2020 - 4 years

if you joined in 2021 - 3 years

if you joined in 2022 - 2 years

if you joined in 2023 - 1 years

if you joined in 2024 - 0 years

[bunabi]

Whoever sent me that ask saying the devs contributed nothing but 'abysmal dogshit':

As someone who didn't enjoy her time with DAV for the most part I'm just gonna drop all these here and leave you to ask yourself who was responsible for Veilguard being a major departure from past games and where Bioware would be without people who genuinely care:

It helped that the Dragon Age team was full of veterans, and that over the years they’d developed a fair amount of chemistry as a team. “Muscle memory is incredibly influential at this point,” said Cameron Lee. “Through the hellfire which is game development, [we’re] forged into a unit, in that we know what [everyone’s] thinking and we understand everyone’s expectations and we know what needs to get done and just do it.”

From around the time of Trespasser’s release in 2015 to late 2017, the fourth Dragon Age was developed within an atmosphere that was apparently one of the most positive that some at BioWare had experienced.

“(...) some of the big changes included: 1) laying down a clear vision as early as possible, 2) maintaining regular on-boarding documents and procedures so new team members could get up to speed fast; and 3) a decision-making mentality where “we acknowledged that making the second-best choice was far, far better than not deciding and letting ambiguity stick around while people waited for a decision.

While BioWare’s publisher and parent company, Electronic Arts, tends to give its studios a fair amount of autonomy, there are still mandates to follow. By 2017, EA had not been secret about its desire to make all of its major products into “games as a service,” best defined as games that can be played—and monetized—for months and years after their release. Traditional Dragon Age games did not fit into that category.

By the latter half of 2017, Anthem was in real trouble, and there was concern that it might never be finished unless the studio did something drastic. In October of 2017, not long after veteran Mass Effect director Casey Hudson returned to the studio to take over as general manager, EA and BioWare took that drastic action, canceling Joplin and moving the bulk of its staff, including executive producer Mark Darrah, onto Anthem.

“I actually cannot count the amount of ‘stress casualties’ we had on Mass Effect: Andromeda or Anthem."

How did they manage to ship it in 15 months? The dev mentions working about 90 hours a week for 15 months. Many other devs on the team were also doing so and they think that others were doing 90 hours a week prior to the 15 month mark.

[trinewthings]

dan and phil + 15 years of violence

2009 | 2012 | 2014 | 2017 (1, 2) | 2023 | 2024

[robertreich]

Trump’s Tax Scam: Why Nothing Trickled Down 

The Trump tax cuts were a YUGE scam.

But this November we have a chance to end this trickle-down hoax once and for all.

Donald Trump’s biggest legislative achievement (if you want to even call it that) was the 2017 Tax Cuts and Jobs Act.

The law permanently slashed corporate taxes and temporarily cut income tax rates mostly for rich individuals through the year 2025. The results were worse than I could have imagined.

Trump and his officials claimed the tax cuts would lead to corporations hiring more workers and would “very conservatively” lead to a $4,000 boost in household incomes.

What actually happened in the years since?

In AT&T’s case, the company saw its overall federal tax bill drop by 81%. It spent 31 times more on dividends and stock buybacks to enrich wealthy shareholders than it paid it in taxes. Meanwhile, it slashed over 40,000 jobs.

That was par for the course with Trump’s tax cuts.

Like AT&T, America’s biggest corporations didn’t use their tax savings to increase productivity or reward workers. Instead, they increased their stock buybacks and dividends.

Many of them, including AT&T, even ended up paying their executives more in some years than what they paid Uncle Sam.    

Those executives (along with other high earners) then got to keep more of their earnings because Trump’s tax cuts for individuals were heavily skewed toward the rich. The lowest earners? They got squat.

And many middle-income families saw their taxes go up.

And those supposed $4,000 raises, did you get one?

The bottom line is that Trump’s tax law fueled a massive transfer of wealth into the hands of the rich and powerful. Corporate profits have skyrocketed. U.S. billionaire wealth has more than DOUBLED since 2018.

The tax cuts have also added $2 trillion to the national debt so far, but that hasn’t stopped Trump and the so-called “party of fiscal responsibility” from doubling down on renewing them.

If Trump is reelected and Republicans take control of Congress, they’re planning to renew the expiring tax cuts for individuals that primarily benefited the rich. This would cost $4.6 trillion over the next decade, more than double the cost of the original tax cuts.

Trump has also threatened to lower the corporate tax rate even further from 21% to 15% — which would cost another $1 trillion.

It’s trickle-down economics on steroids.

All of this would cause the federal deficit and debt to soar — which Republicans will then use as an excuse to cut spending on government programs the rest of us rely on.

But the Democrats have their own tax plan. We can make it a reality this November. What would it do? Just the opposite of Trump’s tax plan.

ONE: It would increase taxes on wealthy individuals with incomes in excess of $400,000 a year, while cutting taxes for lower-income Americans.

TWO: It would make billionaires pay at least 25 percent of their incomes in taxes, still leaving them with plenty left over.

THREE: It would raise the corporate income tax to 28 percent, which is about what it was in 1990.

LASTLY, it would quadruple the tax on stock buybacks to get corporations to invest more of their earnings in workers’ wages and productivity instead of windfalls for investors.

So the real choice is between the Republicans’ plan to make the rich much richer, and the Democrats’ plan to make the rich pay their fair share and provide what Americans need.

Which do you want?

[felassan]

Mark Darrah video: 'Dragon Age: The Veilguard Has Shipped. Now What?? #/masseffect'

Video description:

"Dragon Age: The Veilguard has shipped. What happens at BioWare now? BioWare structurally finds itself in uncharted territory as it only has a single Project (Mass Effect) active. Chapters: 0:00 Veilguard is out, now what? 0:22 BioWare Structure and History 1:57 Growth 4:45 Consumption 6:28 Sustain 7:27 Contraction 11:14 Leadership Discontinuity 1 12:48 Leadership Discontinuity 2 14:14 One Project At A Time 16:33 Mass Effect 18:50 Will The People Be There? 22:18 FOCUS"

[source]

Key notes from the vid and the comments underneath:

"Up front I should say that I have every confidence that Mass Effect [5] is in fact being worked on and that that project is going to receive all of the support from EA that it might need."

Slowly and painfully BioWare is figuring out that it simply can't do more than one project at a time anymore. It's now a single-project studio. Mark Darrah expects that both Edmonton and Austin will be working on ME5 together

ME5 effectively paused production for 15 months in order to help DA:TV ship

Right now other than some DA:TV clean up/final patches, everyone at BW is working on ME5

However ME5 isn't yet ready to suddenly have a team of 250-300 people working on it, so while some DA:TV devs moved onto it, some DA:TV devs were moved to/are moving to other parts of EA instead. The ME5 team started, but there is a long way between "start" and "ready to scale" up

The ME5 team is figuring out what ME5 is going to be & its structure, then will get ready to ramp up to a much bigger team size

"BW, for the first time really ever, is able to singularly focus on a single project, is able to put everything it has towards a single goal, which is making the best ME it possibly can."

But it remains to be seen whether BW will be able to get its people back when it needs them and is ready for them. There are a few reasons why this might prove difficult. Alternatively, on the flipside, this degree of focus might be exactly what BW needs to move it into the next phase of its life. "Maybe EA is going to prove to be incredibly effective at moving people around and when ME5 looks to start to grow maybe there will be no troubles".

We will probably have hints of what's going on [with ME5] within the next two years. "I have high hopes for ME. I think that once they figure out staffing, BW being focused on one game at a time is probably great for the studio" (though there may be growing pains to get there)

Does Mark Darrah foresee similar issues in the ME5 dev cycle to what DA:TV had? No, because ME5 hasn't had the same two big directional shifts, and it has had no leadership discontinuity (ME5 paused when they went to help DA:TV i.e. it didn't continue without a leader). But we should only really start counting ME5's dev cycle from today. "It really hasn't been that long with a significant team"

The ME5 teases in recent N7 Days were made by a "very small team"

There are still lots of veterans at BW

Mark Darrah doesn't expect to be involved in what BW makes next

More under cut due to length.

BW has existed in different ways/structures through its history. We're currently entering into an "unprecedented time" for BW

The purchase of BW by Elevation Partners, the purchase of BW by EA, when Ray Muzyka & Greg Zeschuk left BW, and the year 2017 in general are the 4 most important events (not including shipping games) that Mark Darrah feels have affected BW the most in its history

BW's strategy over time could be seen as having had 4 different phases: grow, consume, sustain, contract. In the contract phase, though BW maybe didn't realize it yet, the number of projects it was capable of running simultaneously was decreasing slowly/gradually. Why? Projects were getting more expensive, requiring more people/resources/time, and by this point BW had essentially burned off all its 'reserves' from the growth phase i.e. there was no longer any fat left to burn off

After DA:I shipped, Mark Darrah experienced that it was very difficult to find resources if your project wasn't the next project that was due out the door

DLC is a safety valve for processes and staff; a place for devs to work when other projects aren't quite ready for them yet; a place for the next gen of leaders to be grown. These things disappear as DLC does. Mark Darrah is pretty sure that the move away from DLC is coming from EA

In the contract phase, in 2013-14 Anthem was starved out by DA & ME:A. ME:A was also somewhat starved out by DA. Then when ME:A was in the driver's seat, it consumed most of the resources

In late 2016/early 2017 during the push to ship ME:A, as part of that BW began to experience leadership discontinuity. As the DA leader, Mark Darrah led a team of DA people onto ME:A to help it ship (the Dragon Age Finaling Team) for a few months. this sort of thing had happened at BW before but this was the first time when senior leadership moved off the projects they led to do this. this caused a change in philosophy in terms of the way that projects were run

When ME:A shipped and Casey Hudson came back to lead BW, there was then a much much larger leadership discontinuity with Anthem. The Montreal studio was supposed to move over onto Joplin to help kickstart it but it ended up getting taken away and given to the leadership in Montreal. but even if this had happened as it was supposed to, BW may not have been able to be in a place where it was going to be able to ship Anthem and Joplin simultaneously

Three quarters of the senior leadership on Joplin moved to Anthem or left BW. DA continued and became Morrison. The discontinuity had massive consequences for DA4

In 2021/22, this happened again in the opposite direction. The leadership team moved onto DA to help it ship, though rather than leaving some of the team in place, everyone moved. The other project (next Mass Effect) effectively ceased to exist for 15 months in order to help DA4 ship. In 2023 for the first time since 1995 BW was only working on 1 project (DA:TV) & there was nobody working on ME5 or remasters or side projects at that time. Now that DA:TV has shipped, apart from some people on cleanup and final patches, there is no plans for DA:TV DLC and "there is only Mass Effect". "Everyone at BW will be working on Mass Effect."

DA:TV being a 'direct sequel' would have been an unlikely path

With BW now focusing on a single project, Mark Darrah does worry that EA will get "itchy"

It'll be a [long] while to DA5 [hypothetically speaking, if it gets made]

MELE involved a lot of external devs

Shadow Realms was BioWare Austin and was due to: "partially places for people, partially a desire for Austin to get something new."

Mark Darrah expects that the devs are hearing everything being said about DA:TV

BW focuses more on consoles because of sales numbers

Unreal Engine 5 (which ME5 is on) is moving onto other EA projects as well, which may help

There are reasons why DA:TV is the way it is

BW has had external consultants on leadership and structure over the years

Mark Darrah expects that the next Dragon Age will once again be pretty different to the last iteration

BW Austin were brought in to help make Anthem. "What didn't happen (that should have) is that they should have had more directional control over the live service direction."

BW has had difficulty learning from previous games because at least one title was too far along TO learn. but a single game leads to staffing issues

Mark Darrah pitched a dev structure back in 2016/17 which would have had "3 fast follow games then a period of retooling"

EA doesn't really sell IPs

Chance of DA:TV DLC? "That's an EA question. And I expect EA's answer to be no". "I don't think we will see DLC. A new DA would be in the future."

"DA has been looking for larger audiences in every iteration. EA has never understood the franchise"

Remake DA:O or ME1? "While I think it would do well, I don't expect it to happen at any time soon. Also the skillsets required don't really over lap"

"The 3 previous games DAVe was are leaking through in places"

Diagram from the video which shows the flow of people throughout BW's history, made by a member of Mark Darrah's community.

[source]

[azzifuddsgirlfriend]

Ok I’ve never seen anyone with the same pazzi timeline as me so here it is lol also this is long asf and very detailed (yes I’m bored)

I think Paige prob had a crush on Azzi first, especially with her being a little bit older she might have already known she liked girls before meeting Azzi. I think Paige was probably azzi’s “gay awakening” if you will lol. But I think Paige might have even seen Azzi/thought she was cute before they officially met given how interconnected the basketball world is plus there was something on here about them having an overlap in Atlanta I think about a year before they officially met. But I think they became more than friends sooner than most people seem to think. I think they became more than friends (talking/fwb/situationship) whatever you want to call it, like almost immediately after meeting. Paige seemed to really be glued to Azzi during team USA era. So I think they became “more than just friends” in like 2017/early 2018. But especially being so young (Azzi would have been like 14/15 and Paige 15/16) and being long distance, and basketball being your #1 priority, AND coming to terms with your sexuality so young and with another person can make things complicated. But I believe they were only talking to/seeing each other all throughout high school. If someone tries to mention vinnie hacker to me, my answer is I just think Paige was trolling tbh 😭. But she obviously wasn’t out to the public yet in hs, and still isn’t technically but I mean it’s obvious lol, bc of her saying a guy as her celebrity crush in an interview I think her senior year. But I mean most of her family and close friends prob knew ab her and Azzi in hs given how close p & a were and how often they saw each other, while living states away. But yeah I’d say around 2020ish it became more serious, especially quarantining together they kinda got to play gfs/house together. I’m not quite sure if they were officially gfs at this time or just non official gfs, but I mean I’ve never named someone I’m just talking to or just fwb with as “💗” or called them my other half if we weren’t dating so… I think even when Paige first got to college they were just seeing each other bc of Azzi commenting how she missed Paige or something on tik tok and how she wanted to see her. Plus with Paige recruiting Azzi so hard I don’t think she would do that if they had “broken up” lol. But I guess sometime Paige’s freshman year she might have talked to other people. I wouldn’t be surprised if it happened or if it didn’t happen tbh. I’ve never seen solid proof of her talking with anyone else and I feel like if someone was talking to someone so famous we would all know about it lol. What I’m trying to say is she might have talked to other ppl but wasn’t really in a “talking stage”/in a relationship with anyone else ever. Also they both pretty much liked all of each others Instagram pics through hs and college so I don’t think they ever had a big fight/argument/falling out/breakup or whatever you want to call it. But yeah from my personal experience being so young and seeing a girl can kinda be confusing as to how that dynamic works (ex: who asks who out? How does it become official? Should we even tell anyone?) so it was probably just a kinda known thing that they were together in hs/early college years without the official label. But they both might have seen/talked to other people in like 2020/2021 but I don’t think they ever stopped seeing each other. Also I honestly would not be surprised if either of them have never really talked to/seen other people either so idk. But I think around mid 2022 (so like Azzi going into her sophomore year and Paige her junior year) they became officially girlfriends. This being because of how they interacted/posted with each other. Like the pic in Paige’s photo dump on tik tok of the old man with the flowers and her saying “how I’m trynna be” was crazy lol. So yeah and obviously the longer they date the more serious and obvious it’s going to be for the public and this summer idk if they had a conversation about being more open or if it just happened naturally that way but it’s quite obvious that they are together and have been for awhile.

[doyoulikethissong-poll]

Céline Dion - Pour Que Tu M'aimes Encore 1995

"Pour Que Tu M'aimes Encore" (meaning "so that you'll love me again") is a song by Canadian singer Céline Dion, released as the lead single from her thirteenth studio album, and tenth French-language album, D'eux (1995). It was written by Jean-Jacques Goldman, and produced by Goldman and Erick Benzi. It received positive reviews from music critics and won the awards for Song of the Year at the Victoires de la Musique and Most Popular Song of the Year at the Félix Awards. The English-language version of the song, "If That's What it Takes", was included on Falling Into You in 1996.

"Pour Que Tu M'aimes Encore" became Dion's biggest French-language hit and her signature song. It topped the charts in France (number 1 for 12 weeks), Belgium Wallonia (number 1 for 15 weeks) and Quebec, and became her first French-language song to enter the top 10 in the UK. Elsewhere, it peaked at number two in Belgian Flanders and Iceland, three in Sweden and the Netherlands, four on the European Hot 100 Singles, six in Ireland, seven in Scotland, 15 in Hungary, 17 in Switzerland, 30 in Austria, 31 in Lithuania and 39 in Germany. In May 2017, the Guinness World Records awarded "Pour Que Tu M'aimes Encore" as Best-selling Single in Canada with 2.1 million units and Best-selling Single in France with another 2.1 million copies sold.

"Pour Que Tu M'aimes Encore" received a total of 56,7% yes votes.