#2 February 2015

[isupportzaynxliamxziam]

Monday, 2 February 2015

credits to Liam's Twitter

[aromanticgarbage]

"you are a good actor so you should act like it doesnt bother you." x

[fatliberation]

they have a point though. you wouldn't need everyone to accommodate you if you just lost weight, but you're too lazy to stick to a healthy diet and exercise. it's that simple. I'd like to see you back up your claims, but you have no proof. you have got to stop lying to yourselves and face the facts

Must I go through this again? Fine. FINE. You guys are working my nerves today. You want to talk about facing the facts? Let's face the fucking facts.

In 2022, the US market cap of the weight loss industry was $75 billion [1, 3]. In 2021, the global market cap of the weight loss industry was estimated at $224.27 billion [2]. 

In 2020, the market shrunk by about 25%, but rebounded and then some since then [1, 3] By 2030, the global weight loss industry is expected to be valued at $405.4 billion [2]. If diets really worked, this industry would fall overnight. 

1. LaRosa, J. March 10, 2022. "U.S. Weight Loss Market Shrinks by 25% in 2020 with Pandemic, but Rebounds in 2021." Market Research Blog. 2. Staff. February 09, 2023. "[Latest] Global Weight Loss and Weight Management Market Size/Share Worth." Facts and Factors Research. 3. LaRosa, J. March 27, 2023. "U.S. Weight Loss Market Partially Recovers from the Pandemic." Market Research Blog.

Over 50 years of research conclusively demonstrates that virtually everyone who intentionally loses weight by manipulating their eating and exercise habits will regain the weight they lost within 3-5 years. And 75% will actually regain more weight than they lost [4].

4. Mann, T., Tomiyama, A.J., Westling, E., Lew, A.M., Samuels, B., Chatman, J. (2007). "Medicare’s Search For Effective Obesity Treatments: Diets Are Not The Answer." The American Psychologist, 62, 220-233. U.S. National Library of Medicine, Apr. 2007.

The annual odds of a fat person attaining a so-called “normal” weight and maintaining that for 5 years is approximately 1 in 1000 [5].

5. Fildes, A., Charlton, J., Rudisill, C., Littlejohns, P., Prevost, A.T., & Gulliford, M.C. (2015). “Probability of an Obese Person Attaining Normal Body Weight: Cohort Study Using Electronic Health Records.” American Journal of Public Health, July 16, 2015: e1–e6.

Doctors became so desperate that they resorted to amputating parts of the digestive tract (bariatric surgery) in the hopes that it might finally result in long-term weight-loss. Except that doesn’t work either. [6] And it turns out it causes death [7],  addiction [8], malnutrition [9], and suicide [7].

6. Magro, Daniéla Oliviera, et al. “Long-Term Weight Regain after Gastric Bypass: A 5-Year Prospective Study - Obesity Surgery.” SpringerLink, 8 Apr. 2008. 7. Omalu, Bennet I, et al. “Death Rates and Causes of Death After Bariatric Surgery for Pennsylvania Residents, 1995 to 2004.” Jama Network, 1 Oct. 2007.  8. King, Wendy C., et al. “Prevalence of Alcohol Use Disorders Before and After Bariatric Surgery.” Jama Network, 20 June 2012.  9. Gletsu-Miller, Nana, and Breanne N. Wright. “Mineral Malnutrition Following Bariatric Surgery.” Advances In Nutrition: An International Review Journal, Sept. 2013.

Evidence suggests that repeatedly losing and gaining weight is linked to cardiovascular disease, stroke, diabetes and altered immune function [10].

10. Tomiyama, A Janet, et al. “Long‐term Effects of Dieting: Is Weight Loss Related to Health?” Social and Personality Psychology Compass, 6 July 2017.

Prescribed weight loss is the leading predictor of eating disorders [11].

11. Patton, GC, et al. “Onset of Adolescent Eating Disorders: Population Based Cohort Study over 3 Years.” BMJ (Clinical Research Ed.), 20 Mar. 1999.

The idea that “obesity” is unhealthy and can cause or exacerbate illnesses is a biased misrepresentation of the scientific literature that is informed more by bigotry than credible science [12]. 

12. Medvedyuk, Stella, et al. “Ideology, Obesity and the Social Determinants of Health: A Critical Analysis of the Obesity and Health Relationship” Taylor & Francis Online, 7 June 2017.

“Obesity” has no proven causative role in the onset of any chronic condition [13, 14] and its appearance may be a protective response to the onset of numerous chronic conditions generated from currently unknown causes [15, 16, 17, 18].

13. Kahn, BB, and JS Flier. “Obesity and Insulin Resistance.” The Journal of Clinical Investigation, Aug. 2000. 14. Cofield, Stacey S, et al. “Use of Causal Language in Observational Studies of Obesity and Nutrition.” Obesity Facts, 3 Dec. 2010.  15. Lavie, Carl J, et al. “Obesity and Cardiovascular Disease: Risk Factor, Paradox, and Impact of Weight Loss.” Journal of the American College of Cardiology, 26 May 2009.  16. Uretsky, Seth, et al. “Obesity Paradox in Patients with Hypertension and Coronary Artery Disease.” The American Journal of Medicine, Oct. 2007.  17. Mullen, John T, et al. “The Obesity Paradox: Body Mass Index and Outcomes in Patients Undergoing Nonbariatric General Surgery.” Annals of Surgery, July 2005. 18. Tseng, Chin-Hsiao. “Obesity Paradox: Differential Effects on Cancer and Noncancer Mortality in Patients with Type 2 Diabetes Mellitus.” Atherosclerosis, Jan. 2013.

Fatness was associated with only 1/3 the associated deaths that previous research estimated and being “overweight” conferred no increased risk at all, and may even be a protective factor against all-causes mortality relative to lower weight categories [19].

19. Flegal, Katherine M. “The Obesity Wars and the Education of a Researcher: A Personal Account.” Progress in Cardiovascular Diseases, 15 June 2021.

Studies have observed that about 30% of so-called “normal weight” people are “unhealthy” whereas about 50% of so-called “overweight” people are “healthy”. Thus, using the BMI as an indicator of health results in the misclassification of some 75 million people in the United States alone [20]. 

20. Rey-López, JP, et al. “The Prevalence of Metabolically Healthy Obesity: A Systematic Review and Critical Evaluation of the Definitions Used.” Obesity Reviews : An Official Journal of the International Association for the Study of Obesity, 15 Oct. 2014.

While epidemiologists use BMI to calculate national obesity rates (nearly 35% for adults and 18% for kids), the distinctions can be arbitrary. In 1998, the National Institutes of Health lowered the overweight threshold from 27.8 to 25—branding roughly 29 million Americans as fat overnight—to match international guidelines. But critics noted that those guidelines were drafted in part by the International Obesity Task Force, whose two principal funders were companies making weight loss drugs [21].

21. Butler, Kiera. “Why BMI Is a Big Fat Scam.” Mother Jones, 25 Aug. 2014. 

Body size is largely determined by genetics [22].

22. Wardle, J. Carnell, C. Haworth, R. Plomin. “Evidence for a strong genetic influence on childhood adiposity despite the force of the obesogenic environment” American Journal of Clinical Nutrition Vol. 87, No. 2, Pages 398-404, February 2008.

Healthy lifestyle habits are associated with a significant decrease in mortality regardless of baseline body mass index [23].  

23. Matheson, Eric M, et al. “Healthy Lifestyle Habits and Mortality in Overweight and Obese Individuals.” Journal of the American Board of Family Medicine : JABFM, U.S. National Library of Medicine, 25 Feb. 2012.

Weight stigma itself is deadly. Research shows that weight-based discrimination increases risk of death by 60% [24].

24. Sutin, Angela R., et al. “Weight Discrimination and Risk of Mortality .” Association for Psychological Science, 25 Sept. 2015.

Fat stigma in the medical establishment [25] and society at large arguably [26] kills more fat people than fat does [27, 28, 29].

25. Puhl, Rebecca, and Kelly D. Bronwell. “Bias, Discrimination, and Obesity.” Obesity Research, 6 Sept. 2012. 26. Engber, Daniel. “Glutton Intolerance: What If a War on Obesity Only Makes the Problem Worse?” Slate, 5 Oct. 2009.  27. Teachman, B. A., Gapinski, K. D., Brownell, K. D., Rawlins, M., & Jeyaram, S. (2003). Demonstrations of implicit anti-fat bias: The impact of providing causal information and evoking empathy. Health Psychology, 22(1), 68–78. 28. Chastain, Ragen. “So My Doctor Tried to Kill Me.” Dances With Fat, 15 Dec. 2009. 29. Sutin, Angelina R, Yannick Stephan, and Antonio Terraciano. “Weight Discrimination and Risk of Mortality.” Psychological Science, 26 Nov. 2015.

There's my "proof." Where is yours?

[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.

Like this essay? Tip me on Ko-Fi, pledge to my Patreon, or commission an essay on the topic of your choice!

_

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.

[midnightsslut]

A Guide to Red - The Quintessential Taylor Swift Album

After the release of The Manuscript, the role of Red and Red (Taylor’s Version) in Taylor’s life and discography has been highly discussed. A lot of people have referred to it as her magnum opus and most formative album. I have decided to compile a condensed list of about a dozen key interviews, performances, speeches, posts, and videos from 2011 all the way until 2024 that illustrate the importance of this record for Taylor’s personal life and career. I’m putting the list under a cut because it got pretty long. You don’t have to go through all of these, obviously, but I would suggest at least one per era. The bolded ones are essential in my opinion.

Pre-Red - These interviews hint at Taylor’s emotional state at the time and thus the content that will be explored on the Red album

2011 The New Yorker profile

Taylor Swift reveals new album is all about heartbreak - Extra TV

Bonus: an article going through Taylor’s arm lyrics on the Speak Now World Tour, which she described as mood rings for any particular show

Lover diary entries from the making of Red (credit to @cabincreaking for the scans)

- All Too Well lyrics first draft (February 2011)

- Random bursts of happiness and anxiety during the Speak Now Tour (June 17, 2011)

- Red (September 8, 2011)

- Holy Ground (February 2012)

- Nothing New (March 2, 2012)

- Working with Max Martin (June 10, 2012)

Red era - Listen to the original sixteen songs on the Red album at this point.

Red announcement livestream + Q&A

Red prologue

2012 Rolling Stone interview

2012 The Guardian interview

2012 Billboard interview

2012 Esquire interview

Sirius XM Town Hall - an hourlong interview from the day Red came out

Good Morning America - this is the first mention of the ten-minute version of All Too Well

Red track-by-track descriptions

Random interview where she discusses the connection between writing Speak Now and Red

I Knew You Were Trouble music video

Diary entry about how love is fiction and she might move to New York after all (January 6, 2014)

Diary entry from Grammy night (January 25, 2014)

Red Tour London performance of All Too Well - any performance of this song from 2013-14 will work here, but this one has a pretty comprehensive speech

Final performance of All Too Well on the Red Tour - just listen to the speech here

Post-Red era - Over the course of these interviews, you’ll see her relationship to the album evolve.

Taylor’s description of Clean (skip to 11:18)

2014 BBC Live Lounge interview

1989 World Tour interview where she mentions thinking she’d never sell as many albums as she did with Red before 1989 came out

Clean speech - a lot of these will work, but these two best describe her relationship with the Red era and heartbreak in general

All Too Well (The 1989 World Tour live)

2015 GrammyPro interview

All Too Well Super Saturday Night performance

Reputation Tour All Too Well speech

Red into Daylight performance - 2019 City of Lover concert in Paris

Re-recordings era - at this point, listen to the red vault

2020 Rolling Stone podcast

Red (Taylor’s Version) prologue

2021 Saturday Night Live performance

All Too Well: The Short Film + Behind the Scenes

Seth Meyers interview

2022 Tribeca film talk OR TIFF (both are equally good. I have a slight preference for the former, but there are some interesting new details in the latter). You could also watch directors on directors from the same year as a bonus, but it’s less comprehensive.

2022 Graham Norton - How All Too Well (10 Minute Version) came about + how the re-recordings inspired Midnights

Also listen to Midnights

The Eras Tour

All Too Well speech (Glendale Night 2 & Atlanta Night 1) - any of the speeches from March and April 2023 will work, but these two really illustrate how she feels about this time in her life now and how the fans changed the Red album for her. Obviously credit to @cages-boxes-hunters-foxes for the transcripts!

Maroon first ever live performance (‘This is a song about something that happened a long time ago, but it took place in New York’)

Aaaand finally listen to The Tortured Poets Department, especially The Manuscript

This is a lot, but it’s worth it. Enjoy!

[ardentguilt]

@plaguedocboi

Looked up a few more dangerous Aussie places both water, caves and other places so here’s a selection for perusal should you be interested.

Delta varient cave mount field national park Tasmania -Australia’s deepest cave. Yes it’s named after the covid varient.

Links to previous record holder Niggly Cave and Growling Swallet cave

Nullarbor caves - huge cave system under the desert

Tank cave - mount gambier. Massive underground network of flooded passages around 7010 metres long. At least 1 death

K’gari/fraser island - dingoes on land, feeding ground for young great white sharks, at least 2 species of dangerously toxic jellyfish and deadly riptides with no warning signs of lifeguards. I think it’s the largest sand island too.

Gunnamatta beach - dangerous riptides and large swells ~113 rescues a year

Mount Augustus Western Australia - warnings not to climb between November and February after a series of deaths where climbers literally cooked to death in the Aussie summer heat

Munga-thirri Simpson desert national park - takes on average 4 days to cross by vehicle. Extreme temperatures and winds kick up dust storms. Temperatures are so dangerous the whole area is off limits between 1st December and 15th March during which temps can reach 50+°C

Cahills crossing - a water crossing in the Northern Territory that is considered the most dangerous crossing in Australia due to its high water flow and the abundance of large saltwater crocodiles which have been known to attack people attempting to cross. Generally closed during the wet season as the water volume is far to dangerous the dry season allows for more opportunities to cross. Crossing at the wrong time can overturn vehicles and deaths have been recorded here.

Wittenoom Western Australia - a former mining town build to cater to a large Crocidolite mine. Crocidolite is what we know more commonly as Blue Asbestos and the fibres of this varient are very tiny making it widely considered the most dangerous asbestos varient and was found to be responsible for the most deaths and illnesses relating to asbestos exposure.

The contaminated zone is 50,000 hectares and is the largest contaminated zone in the southern hemisphere.

Mining for asbestos here began around the 1930’s and Wittenoom was established around 1950 to cater to the miners and their families.

The mine was later shut down in 1966 after rising awareness of the toxicity of asbestos though residents still remained.

In 2006 the official status of the town was removed and in 2007 it was removed from official maps and road signs. Again residents still remained. In 2013 the towns closure was finalised though again residents remained and refused to leave.

2015 had 6 residents remaining, 4 remained in 2017, 3 in 2018, 2 in 2021 and as of September 2022 nobody remained.

Even now a century after the closure this area is still massively contaminated and access is forbidden.

I….actually have a mineral specimen of Crocidolite with a bit of Tremolite (white asbestos) from this site but I keep it in a completely sealed display box well out of reach which I NEVER open. Short of finding someone selling off a piece from an old collection you can’t get specimens from this site anymore because nobody’s allowed anywhere near the place.

[louisaguy]

slow horses timeline stuff

because i'm procrastinating doing work.

disclaimer: this is all for show timeline & show canon. the books are their own thing and have a different timeline. this is show only.

FORMAT: dates we know // how we know it

the show:

s1- likely february 2016 // february: struan's line "it's february!" when louisa suggests christmas drinks. 2016: estimate based off of time of s2

s2- 2016 // min's plaque reads 2016

s3- 2017 // between s2 and s4. also, spider flosses. ergo 2017.

s4- early january 2018 // early january: right after christmas (roddy's mishap with the christmas party, christmas decorations still up). 2018: catherine's calendar in her flat is on january 2018.

backstory things:

bad sam gets isobel from les arbres- "early nineties" // via giti's dialogue. i will circle back to this

charles partner's death- 1996 // partner's plaque has 1996 as death date at the end of s2

rose's (river's grandmother's) death- 2010 // her gravestone in s4

stansted- july/summer 2015 // 8 months pre s1

timeline errors / things that bother me:

river's age- so, you have two options here. option one, via dialogue: we take giti's "bad sam only went to france once in the early nineties" as truth. therefore sam gets a pregnant isobel out of les arbres in the early nineties (let's say 1990/1991, but you can place it anywhere in the early nineties you like). then river is born a few months later (judging by the fact that isobel was already starting to show when sam picked her up). so river's birth date: 1991? or some other point in the early nineties.

option two, via props: river says his mother left him postcards for his "seventh, eighth, and ninth birthdays". one of said cards has the date 1994 written on it (can be seen in the scene where he's looking at them in the shoebox). if we assume that's the one for his seventh birthday, that puts him being born around 1987.

the difference between these doesn't matter that much (it's the difference of him being 27 in s4 vs 31 in s4), except for how it shifts river's relation to other events-- e.g., option one says he'll be left with david and rose around 1997 (or maybe a few years later if you put his birth date in 1992/93, since "early nineties" is vague), AFTER partner's death. vs theory two puts him being left with his grandparents in 1993, solidly before partner is killed. i do think it's interesting to consider whether david already had a cute little blonde boy doting on him at home when he was planning charles' assassination or not. so depending on which river-age theory you choose to follow, river's relation to other backstory events may change (or you could always just do the old "river's age is nebulous and he is however old i need him to be for this specific fic i'm writing" thing lol).

it also means he was sososo young in s1 if you follow theory #1. him being born in 1991 would mean he would be like 23/24 when stansted happened 🥺🥺🥺 BABYYYY. an actual INFANT. (theory 2 would have him at 27/28 during stansted).

characters headstones say they're too young to make sense- partner and rose- partner's plaque says his birth date is 1948... and so if he died in 1996... he would have been 48 years old when he died................. i'm sorry but this man is NOT under fifty. the actor they cast to play him in the flashbacks is like 75 lmfao. i think this is just an error-- him being 48 when he died would make him more of a contemporary with lamb (who would have been in his 40s at partner's death) rather than with david (and considering lamb kinda came up under partner's wing-- at least from the books, but that's the vibe i get from the show too-- i think partner should be at least a decade or so older than lamb). it would also make him like 20 years younger than david (who'd be in his 60s when partner died). i just don't think it makes sense. i would bump his birth date back to 1938 or maybe even 1928, to make him more of a contemporary with david (who was born sometime in the 30s, since louisa says he's 80-something in s4(2018)).

as for rose, her headstone in s4 says 1953-2010. that 1953 date is suspect to me. we know david is 80-something in s4. let's take him to be the youngest possible to give ourselves the greatest margin of error. then he'd be born in 1938. now let's follow theory 1 of river's age (again providing the kindest possible interpretation to rose's age), making him born around 1991. assuming isobel was around 20 when she had river, this means she would be born in ~1971. which would make rose... 18. when she had isobel. which would be fine, except that in 1971 david would be... 33. hmmmmmm.

and remember this is the kindest POSSIBLE interpretation, assuming david is the youngest possible (just barely 80 in s4) and that river is also the youngest possible (born 1991). if you interpret either or both of them as older than that, then isobel's birth shifts earlier and/or david's age shits older, making david and rose's age gap at her birth even more suspect. for example taking river's birth date in 1987 (a la theory 2) would make rose only 14 when isobel would have to be born (assuming isobel was 20ish when she had river). i mean, it's POSSIBLE this was an intentional implication that rose and david had a skeevy age gap? but i doubt it. considering they were trying to claim that the 75 year old james faulkner was playing a 48 year old charles partner in the flashback, and river's age is already an ambiguous mess, i'm more inclined to say that this was just a mistake. i would just bump rose's birth date to be 1943 instead-- still younger than david (who was born sometime in the 30s), but not, uh. illegally so.

fwiw, i think a lot of these timeline errors come from the confusing detail that while the show is AIRING in the early 2020s, its SET in the late 2010s. so like, river's birth date for example, i think they wanted him to be 31ish in s4, and someone correctly subtracted that from 2018 for the postcards (2018-31 = 1987, so river's 7th birthday would be 1987+7=1994). meanwhile, for the dialogue, someone else accidentally subtracted it from modern day instead (2024-31= 1993, so sam fetching pregnant-isobel from les arbres would be just before that in "the early nineties"). partner's age error i also think comes from subtracting from the modern day when s2 was airing (2022-74=1948) without accounting for the fact that the 75 year old man we're seeing as him is meant to be that old in 1996, not in the modern day (because he's only seen in flashbacks).

and also a lot of this comes from the fact that these are all "flashes-on-screen-for-one-second" props and brief lines of dialogue, and they didn't expect someone to care enough to come along and try to do the math.

but too bad! i'm here! i want to do the math!

my personal interpretation of character ages:

some based on textual evidence, others just estimating based on actors' ages. in general, take what you like and ignore what doesn't work. the timelines are already fuzzy enough that you can fudge it in any direction you like haha, just use whatever works best for your current fic/project. but here are my takes:

river- born 1987/1991 (both interpretations are equally valid imo). makes him either 29-31 or 25-27 for the run of the show.

louisa- mid 30s likely? mostly going by rosalind eleazar's age.

catherine- late 50s/early 60s (going by saskia reeves' age, and also would make her late 30s/early 40s when partner died, which sounds right [& is consistent with the book, though that doesn't count for much imo since the book and show are such divergent things timeline-wise])

lamb- early-mid 60s (gary oldman's age, and him being a contemporary of catherine seems right)

roddy- early/mid 30s?

shirley- early 30s, marcus- late 30s (an inversion of their actors' ages, but necessary because marcus says in the show he's 5 years older than shirley)

min- mid 40s

(i do love that no matter how you slice it, river is def the baby of the slough house family haha. that feels right. oh EXCEPT maybe sid!!)

sid- probably young like river, late 20s/early 30s.

david- 80ish. i'd put him at 81-83 throughout the run of the show (birth date 1935ish), but you could go younger and say 79-81 or something like that. importantly of a different and older cohort than lamb/catherine/sam etc.

partner- fuck it i'm going against the plaque let's say he's born 1928, would put him at age 68 when he died in 1996. more consistent with the actor's age, and puts him solidly as a contemporary of david, NOT of lamb. plus the way catherine talks about him like a sweet old man it makes more sense for there to be more of an age gap between her and partner. so say he was 68 when he died in 1996, meanwhile david was 61, lamb would be mid 40s and catherine would be ~40. that seems right to me.

if david was born in 1935 i'll put rose at 1943. would make her late 20s when isobel is born, late 40s when river is born, 67 at her death (and river would be 19/23 at her death btw depending on which river age theory you subscribe to, in case that's helpful for angst/backstory reasons)

idk everyone else can just be the age of their actors i guess, but if you're writing stuff in the past remember to subtract correctly from the late 2010s not the early 2020s!! or i mean don't. it doesn't really matter. none of this actually matters lol

anyway. whew. that was a lot. sorry i just spat a million words about pointless timeline shenanigans all over you. i do this for fun.

(pspspspsps slow horses creative team let me proofread your timeline math i'll do it for free this is fun for me pspspspsps)

[https-rediation]

A Complete and (Hopefully) Accurate Timeline of Carmen Sandiego

During my second rewatch of this show (I only found it in December okay) I suddenly found myself with a burning question, when the hell is all of this going on?

I quickly realized I could go and find out

So I began my 3rd rewatch, and a month later here we are

Each date is bolded with a brief description of the event and the episode in which you can find the information. Any quotes are taken from what is said within the show and only altered in order to flow with my sentence structure

As a disclaimer this is my first pass at the timeline and what I've immediately noticed while rewatching the show, please tell me if I've missed anything 🙏

March 01, 1999 - Carmen Sandiego is born (Season 2 Episode 10)

Carmen's birthday in previous media has been declared as March 1st, so I'm keeping that for simplicities sake. The year 1999 comes from Vera Cruz's tombstone; Vera Cruz "died" two weeks before her estate burned down, and as Carmen was beginning to walk at this time it places her at anywhere between 9-18 months of age.

This does give leeway for her to be born in 1998 (born in March 1998, house burns in Jan-Sep 1999) or 1999 (born in March 1999, house burns around December 1999) I chose 1999 because it would mean Carmen would be 20 (what Duane has declared Carmen's age during the events of the show) in 2019 (when the show aired) which I found fitting.

December 1999 - Vera Cruz's estate in burns down, Dexter Wolfe is killed. (Season 2 Episode 10)

June 2000 - Carlotta Valdez opens an orphanage (Season 4 Episode 8)

Chief relays while going over Dexter Wolfe and Carlotta Valdez's files that Valdez founded an orphanage 6 months after Wolfe's death.

March 01, 2015 - Carmen turns 16 (Season 1 Episode 1)

September 2015-February 2016 - Carmen receives her first call from Player (Season 1 Episode 1)

Duane has stated that Carmen was 16 when Player first called. Under the assumption that VILE follows a standard school year for the area (September-June), Carmen has to get this call after September so she enrolls in the following year, when she's instead 17. If she starts her first year at 17 as opposed to 16 it gets her closer to 20 when the show starts.

tl;dr: Player calls Carmen after the school year begins in September but before she turns 17 in March so it's as close to accurate to Duane's estimation of age later in the timeline.

March 01, 2016 - Carmen turns 17 (Season 1 Episode 1)

September 2016 - Carmen's first year at VILE Academy begins (Season 1 Episode 1)

December 01, 2016 - Cookie Booker arrives at VILE Island, Carmen and her classmates pull prank and get detention. (Season 1 Episode 1)

March 01, 2017 - Carmen turns 18 (Season 1 Episode 1)

June 2017 - VILE final exams, graduation, and Casablanca Caper (Season 1 Episodes 1-2)

July 2017-August 2017 - Carmen spends her summer under close scrutiny by the Faculty for her actions in Casablanca (Season 1 Episode 2)

Player, once Carmen retrieves her phone as she's attempting to escape the island, claims that Carmen hadn't "called [him] all summer long". Player is Canadian, their school years typically follow the September-June schedule, further implying that this same schedule is implemented at VILE Academy.

September 2017 - Carmen's holdover year begins (Season 1 Episode 2)

December 01, 2017 - Cookie Booker arrives with VILE hard drive, Carmen escapes the island (Season 1 Episode 2)

March 01, 2018 - Carmen turns 19

March 2018-May 2018 - Events of the Boston Tea Party Caper (Season 2 Episode 5)

Carmen recalls that the Boston Tea Party Caper had "been a few months since [she] escaped from VILE Island" and that "months of preparation were about to be put to the test" "A few months" is pretty vague, I'd say it's more than 2 months but less than 6. With graduation presumably happening in June, and El Topo being confused in his confrontation with Carmen because she "did not graduate", we can assume the new year had not yet concluded. This makes the cutoff for the Caper's events May.

May-June 2018 - Switzerland, Cairo, and Shanghai Capers (Season 1 Episode 1)

Carmen engaged in at least 3 additional Capers following the Boston Tea Party Caper (Season 2 Episode 5) but prior to the events of the first episode, information given to us courtesy of Devineaux and Julia's conversation at the beginning of the first episode.

Devineaux claims that "in just the last few weeks, this Carmen Sandiego has managed to rob millions of euros combined". A few weeks is a broad range of time, but likely not more than a month or so, which is why I've placed these three capers only slightly before the Poitiers robbery.

June 2018 - Carmen robs Cleo's vault in Poitier, runs into Crackle on train to Paris (Season 1 Episodes 1-2)

This event is 18 months prior to ACME taking Graham into custody and restoring his memories. As Devineaux is questioning him in the Big Bad Ivy Caper (Season 4 Episode 2), he asks if Graham would "care to tell [him] what [he was] doing on the train from Poitiers to Paris 18 months ago".

The events of the Big Bad Ivy Caper happen in December 2019, which if we track to 18 months prior, would be June. December 2019 is explained later in the timeline.

June-August 2018 - Events of the Sticky Rice Caper (Season 1 Episode 3)

August 2018 - Julia Argent and Chase Devineaux transfer employment from Interpol to ACME (Season 1 Episode 4)

In the French Connection Caper (Season 1 Episode 9), Devineaux's transfer from Interpol is stated to be "nearly 6 months ago" by Bellum as the Faculty observes the data they had managed to collect on him. With the French Connection Caper taking place in February 2019 (right before Hot Rocks of Rio Caper (Season 2 Episodes 1-2), which is Carnival, which is celebrated in February), August is "nearly 6 months" prior to that.

August 2018-February 2019 - Events of Season 1 Episodes 5-8

February 2019 - Events of the French Connection Caper (Season 1 Episode 9)

Early-Mid February 2019 - Events of The Hot Rocks of Rio Caper (Season 2 Episodes 1-2)

Mid February 2019 - Events of The Daisho Caper (Season 2 Episode 3)

February 19, 2019-February 25, 2019 - Events of The Fashionista Caper (Season 2 Episode 4)

To explain the previous five dates, the Hot Rocks of Rio (Season 2 Episodes 1-2) and Fashionista Capers both have events that only happen at a specific time of year, that being Carnival and Milan's Fashion Week respectively. They happen in late February to early March depending on the year. As Season 2 is set in 2019, this happens to be a bit inconvenient. Carnival actually happens in March while the fashion show occurs in February during 2019.

Since these dates conflict with the linearity of the show I've decided to push back Carnival to be sometime earlier in February as it has been in past years to fit with the show's continuity. I kept Milan's Fashion Week as it was in the real world because it's easiest that way.

It's entirely unsurprising to me that this kind of conflict has occurred as Season 2 was released in 2019 itself, meaning it was most definitely developed prior with general estimates of dates in mind.

With these capers directly following the French Connection Caper (as Devineaux is still in the hospital when Carmen is in Rio) that places The French Connection Caper in February as well.

March 01, 2019 - Carmen turns 20

March 2019-April 2019 - Events of Season 2 Episodes 6-7

April 2019 - Events of The Stockholm Syndrome Caper (Season 2 Episode 8)

The Need for Speed (Season 2 Episode 6) and Crackle Goes Kiwi (Season 2 Episode 7) Capers don't really have any indicators of when they occur, but The Stockholm Syndrome Caper happens while snow is still falling in Stockholm, Sweden. This places it in April at the latest, which is likely actually the month it takes place because at the end of the episode when Maelstrom and the rest of the faculty are addressing VILE's final graduating class Maelstrom mentions Valborg, a Swedish holiday that is celebrated at the end of April to announce the end of winter and coming of spring.

May 2019 - Shadowsan's goes on Capers during Carmen's recovery (Season 2 Episode 9)

As Valborg happens at the end of April, and so too does presumably the Stockholm Syndrome Caper (Season 2 Episode 8) as well, this means that Shadowsan's capers occur throughout the duration of May. He goes on at least four capers during Carmen's recovery period, which we can discern through what is briefly relayed by Player. These Capers take place in Belgium, Poland, Taiwan, and an area in the Austrian Alps; their cities being Antwerp, Krakow, and Taipei respectively. Her absence likely spans the majority of this month between the amount of rest she needed and the time it took to train so that she would be in the best condition to return to capers.

June 2019 - VILE Headquarters is blown up (Season 2 Episode 10)

June 2019 (1 week after explosion) - Devineaux arrives at VILE Island (Season 2 Episode 10)

June 2019 - Events of The African Ice Caper (Season 2 Episode 9)

June-July 2019 (1 week after Devineaux's arrival) - Carmen arrives at VILE Island (Season 2 Episode 10)

VILE Headquarters is blown up following the graduation of VILE Academy's final class. Back at the end of the Stockholm Syndrome Caper (Season 2 Episode 8), Coach Brunt tells the students that "upon graduating, it will be [their] prime directive to take [Carmen] down". This implies that at the time of the faculty's speech, those students were not yet graduating, so VILE would have to wait until after the school year had closed to wipe the island.

Since this school year likely ends in June, as previously gone over in this timeline, that means that the events occurring in the African Ice (Season 2 Episode 9) and Deep Dive (Season 2 Episode 10) Capers were sometime in June as well. This is further supported by the fact that in the Luchadora Tango Caper (Season 3 Episode 1), VILE had seen "no sign of [Carmen] all summer long" and ACME had not "heard nor seen any sign of her for weeks". Her last appearance until the Luchadora Tango Caper was when she stole information from ACME directly after the African Ice Caper, right at the edge of summer.

October 30, 2019 - Events of The Luchadora Tango Caper (Season 3 Episode 1)

We know this caper has to take place sometime in the fall, as per the summer statements made by VILE and ACME. It's clarified that this is specifically October because at the end of the episode Maelstom mentions that "Halloween is nearly upon [them]". As Halloween is at the end of October, you can put two and two together. 30th is further defined in the Day of the Dead Caper (Season 3 Episode 2), which takes place on the 31st (VILE is dressed up for Halloween), when you see Julia and Chase talking to Chief directly after the events of the Luchadora Tango Caper.

October 31, 2019 - Events of The Day of the Dead Caper (Season 3 Episode 2)

The Day of the Dead is traditionally celebrated November 1st and 2nd, though dates prior and post can also be included depending on the location. In this case, the episode showcases the celebrations on October 31st, aka Halloween.

Vlad and Boris are seen "trick or treating" and VILE is dressed up for the occasion, with it decidedly being Cleo's "worst Halloween ever" after Spinkick and Flytrap's failure at the end of the Caper.

Player also directly addresses the fact that "festivities typically begin the night before, on All Hallows' Eve", with All Hallows' Eve being an alternative name for Halloween.

On a slightly different note, the episode also addresses part of VILE's school year, as there were "delays caused by the move", they were forced to begin classes in "the winter quarter [that] year". This further proves their September-June schedule as it implies that the school year typically begins in the fall.

November 02, 2019 - Events of The Haunted Bayou Caper (Season 3 Episode 3)

The "Crawfish King", local celebrity chef in New Orleans, hosts a costume gala at his historic mansion "the first Saturday after Halloween" every year, stated in the episode by CK himself. With Season 3 presumably occurring in 2019, this makes Halloween a Thursday and the first Saturday thereafter November 2nd.

November 04, 2019 - Events of the Masks of Venice Caper (Season 3 Episode 4)

At the beginning of the episode, the VILE Faculty are seen eating excess Halloween candy; while Cleo complains about their indulgence, Maelstrom addresses "last night's bayou fiasco", and that they're looking forward to Cleo's "mask-themed scheme".

Since the operatives were "preparing to rendezvous as [they spoke]", this means the caper happens directly after they address it in conversation. This also means both Devineaux and Carmen are flying to Italy the morning of November 3rd, after the Bayou Caper. As this flight is about 12 hours, they would have landed in the evening/very early morning in Italy, meaning that their exploration around the city and actual Caper would have had to have happened the next day, November 4th.

November 05, 2019 - Events of The Jolly Good Show Caper (Season 3 Episode 5)

Player clearly says in the episode that "it's the 5th of November, a British holiday" when Carmen asks why VILE would want to steal the British crown jewels on that specific day.

You can also deduce that it's the 5th because a the end of the Masks of Venice Caper as Mimebomb is reporting the night's events, Roundabout reassures the faculty that "before the day [was] over, [they would] have Neal the Eel slithering free, and Carmen Sandiego in [their] clutches". As this report is happening the morning after the failed caper, this would place the Jolly Good Show Caper the ensuing night of November 5th as well.

November 2019 - Events of the Beijin Bullion Caper (Season 4 Episode 1)

The fourth season begins with Roundabout and Neal's mind wipe, though it goes awry. As it's presumably the morning after the Crown Jewels disaster, very little time passes between the Jolly Good Show and Beijing Bullion Caper.

Early December 2019 - Events of The Big Bad Ivy Caper (Season 4 Episode 2)

Player begins attending school this episode in December (with the Big Bad Ivy Caper happening on his first day of school).

We can deduce this month based on the calendar in Julia's office, observable in the V.I.L.E. History (Season 4 Episode 5) and Egyptian Decryption (Season 4 Episode 6) Capers. The month they are in during this time is composed of 5 weeks, with the last four days grayed-out, presumably cutting into the next month. This makes the month 31 days, lining up well with December.

Originally I had believed that this calendar had perfectly lined up with that of December 2019 (with the 1st of the month being a Sunday and the 31st a Tuesday), but then I realized the calendar Julia has is likely one that follows the month by Monday-Sunday rather than Sunday-Saturday.

This does mean that is is slightly off from what I thought previously, but still rather fitting nonetheless. Friday the 26th, as Julia had marked for her and Devineax's meeting, would instead be Friday the 27th on the 2019 calendar, so everything still more or less works out.

Now, to explain how this all relates to Player in school and the Big Bad Ivy Caper, we need to actually look forward into the Himalayan Rescue Caper (Season 4 Episode 4) as well. During the Himalayan Rescue Caper, Devineaux attempts to talk to Julia about Carmen and she postpones their conversation until "next Friday, at noon". This places the Himalayan Rescue Caper a week prior to the Egyptian Decryption Caper (when Devineaux arrives for lunch and finds Julia missing).

It is also addressed in the Himalayan Rescue Caper that Carmen didn't want to involve Player on the mission because he had "already been sent to detention on [her] account, and [it was] only his first week in school". THIS means that the Big Bad Ivy Caper (Player's first day of school) was about a week prior to the Himalayan Rescue Caper which is a week prior to the Egyptian Decryption Caper

tl;dr 2nd Week of December: Player starts school, Big Bad Ivy Caper

3rd Week of December: Robo + Himalayan Rescue Caper ("it's only his first week in school")

4th Week of December: V.I.L.E. History and Egyptian Decryption Capers (calendar lines up with Dec 2019, Devineaux lunch meeting marked for 26th)

Mid December 2019 - Events of The Robo Caper and The Himalayan Rescue Caper (Season 4 Episodes 3-4)

These events are back to back, with Graham's kidnapping and then ensuing rescue being a time-sensitive issue. Reason for December already explained.

Mid-Late December 2019 - Carmen acquires the ancient VILE relics (Season 4 Episodes 5-6)

Carmen hunts the VILE relics in two episodes, likely only a few days prior to her escapade in Egypt as she's actively racing VILE from location to location.

December 27, 2019 (~1 week post Himalayan Rescue Caper) - Devineaux goes to Julia's office for lunch, Carmen and Devineaux save Julia in Egypt (Season 4 Episode 6)

The calendar on Julia's desk is marked for the 26th, with it likely following the month from Mon-Sun as opposed to Sun-Sat (previously gone over in the Big Bad Ivy Caper). This would in fact make the 26th a Friday, though in 2019 this was not actually the case. The 26th was a Thursday and 27th a Friday, so I've pushed the date a day forward to match.

I doubt the creators were observing a 2019 calendar in order to precisely select a date for this event so I'm just rolling with what I've got.

Devineaux leaves Oxford for Egypt sometime after noon (when he was meant to meet Julia), and he and Carmen rendezvous at the pyramids to save Julia later in the day as the sun is setting, not quite cutting into the 28th.

December 28, 2019 - Julia and Devineaux give statements to the reporters for their historic find in the pyramids, Julia meets with Chief (Season 4 Episode 6)

It is the following morning when Julia and Devineaux talk to the press, as it's now light out.

Julia is seen in her office later in the day (back in Oxford), observing the footage when Chief appears to speak to her and schedule a meeting with Carmen.

December 29, 2019 - Carmen and Chief meet, Carmen is kidnapped (Season 4 Episode 6)

When Player analyzes Julia's most recent blog post, he tells Carmen that "if you line it up like a date and time, it's tomorrow, at 8 AM", in reference to the coded numbers at the end of each paragraph.

After Carmen and Chief's brief conversation on the 29th Carmen sits on a bench sometime later observing the city, and is subsequently kidnapped by VILE.

December 30, 2019 - Team Red hunts for clues about Carmen's location, Julia rejoins ACME, Carmen is brainwashed (Season 4 Episode 7)

It is late when we see Shadowsan at the grounds in which Carmen was captured in Seattle. Player claims to have "spent the last 24 hours hacking into every surveillance feed in Seattle [he] could find", meaning Carmen had been missing for an entire day.

In that same time frame across the city, Julia reunites with Devineaux as an ACME agent once again

We proceed to jump to Carmen whose memories are forcibly wiped in order to turn her into a VILE operative, all within the same evening.

January 20-January 26, 2020 - Shadowsan returns to the ruins of VILE Island (Season 4 Episode 7)

The show says that Shadowsan's return is three weeks after Carmen's kidnapping, but it's unclear how long "three weeks" refers to, as it could be exactly 21 days or bordering on four weeks with up to 26.

January 21-January 27 - Carmen goes on her first caper as a VILE Operative (Season 4 Episode 7)

The Caper is held the day after Shadowsan acquires information about the plan while on the island, so depending on when the three week jump is, this is the day after.

March 01, 2020 - Carmen turns 21 July 2020 - Carmen joins VILE faculty (Season 4 Episode 7)

Six months time jump, ACME has been assessing Carmen's crimes and is back to putting all their assets into taking her down.

VILE recognizes Carmen as their finest operative, and votes to have her join the Faculty.

??? 2020 - Carmen attempts to steal the Eye of Vishnu, memories restored (Season 4 Episode 8)

We don't know exactly when this caper happens. There's enough time for rumors about Carmen's plans to circulate, Gray to contact Chief, and Chief to pull strings to get the Eye of Vishnu back on display.

I would give this a few months preparation wise, but not an exponential amount of time.

2022 - Uptick in criminal activity due to prison breaks, Carmen's (presumably first) sighting (Season 4 Episode 8)

2 years after VILE began to crumble, they begin to show signs of activity once again following some prison breakouts. Julia, Devineaux, Zack, and Ivy (now apart of ACME) arrive at the scene of a supposed heist, only to find the culprit (Paperstar) already tied up with Carmen's silhouette on the rooftop.

Ending Ages for Characters with Confirmed Ages During the Show:

Carmen: 23 (20 during most of show)

Ivy: 22 (19 during most of show)

Zack: 21 (18 during most of show)

Player: 19 (16 during most of show)

Anyways that's it guys thank you for reading all my nonsense please again tell me if I missed anything 👍

[the-garbanzo-annex-jr]

When we were led into the gas chamber, YOU said nothing.

When we were forcibly converted, YOU said nothing.

When we were thrown out of a country just for being Jews, YOU said nothing.

When we now defend ourselves all of a sudden, YOU have something to say.

How did we take our revenge on the Germans for their Final Solution?

How did we take revenge on the Spanish for their Inquisition?

How did we take revenge on Islam for being Dhimmis?

How did we take revenge on the lies of the Protocols of Zion?

We studied our Torah

We innovated in medicine

We innovated in defense systems

We innovated in technology

We innovated in agriculture

We made music

We wrote poetry

We made the desert bloom

We won Nobel prizes

We founded the movie industry

We financed democracy

We fulfilled the word of Hashem by becoming a light unto the

Nations of the Earth.

So World, when you criticize us for defending our heritage and our ancestral homeland,we the Jews of the world do exactly what you did, we ignore you.

You have proven to us for the last 2,000 years that when the chips are down you don’t care.

Now leave us alone and go sort out you own back yard whilst we continue our 5784-year-old mission, enhancing the world we share.

--by Howard Klineberg, in the Jerusalem Post of February 2, 2015.

[tmsource]

THE MENTALIST APPRECIATION WEEK 2025

10 years ago, on February 18, 2015, the finale of The Mentalist aired! To celebrate the 10th anniversary and show some love for our beloved show, @tmsource is excited to host an appreciation week with daily prompts from @profwonderbearthementalista. The event will run from Wednesday, February 12 - Tuesday, February 18! To participate, share your creations using the tag #tmfinale10.

DAY 1 (2/12) - Season 1 or Favorite Character DAY 2 (2/13) - Season 2 or Favorite Ship DAY 3 (2/14) - Season 3 or Favorite Episode or Season DAY 4 (2/15) - Season 4 or Favorite Location or Prop DAY 5 (2/16) - Season 5 or Favorite Platonic Relationship DAY 6 (2/17) - Season 6 or Favorite Arc or Guest Star DAY 7 (2/18) - Season 7 or Finale or Free Choice

If you have any questions, please feel free to ask. We look forward to celebrating with you and can't wait to see what you create!

[labyrinthofstreams]

Jewish musicians of the 1960s

✡︎ Bob Dylan (born Robert Allen Zimmerman; May 24, 1941)

✡︎ Lesley Gore (born Lesley Sue Goldstein; May 2, 1946 – February 16, 2015)

✡︎ Leonard Cohen (September 21, 1934 – November 7, 2016)

✡︎ Barbra Streisand (born April 24, 1942)

✡︎ Marty Balin (born Martyn Jerel Buchwald; January 30, 1942 – September 27, 2018) and Jorma Kaukonen (born December 23, 1940) of Jefferson Airplane

✡︎ Robby Krieger (born January 8, 1946) of The Doors

✡︎ Paul Simon (born October 13, 1941) and Art Garfunkel (born November 5, 1941) of Simon & Garfunkel

✡︎ Phil Ochs (December 19, 1940 – April 9, 1976)

✡︎ Cass Elliot (born Ellen Naomi Cohen; September 19, 1941 – July 29, 1974) of The Mamas & The Papas

✡︎ Mary (December 28, 1948 – January 19, 2024) and Elizabeth Weiss (born November 27, 1946) of The Shangri-Las

✡︎ Neil Diamond (born January 24, 1941)

✡︎ Janis Ian (born Janis Eddy Fink; April 7, 1951)

✡︎ Robbie Robertson (born Jaime Royal Robertson; July 5, 1943 – August 9, 2023) of The Band

✡︎ Gary Hirsh (March 9, 1940 – August 17, 2021), Barry Melton (born June 14, 1947), Joseph Allen "Country Joe" McDonald (born January 1, 1942), and David Cohen (born August 4, 1942) of Country Joe and the Fish

✡︎ Manfred Mann (born Manfred Sepse Lubowitz; October 21, 1940)

[chlochette-sunde]

Know your Destiel/Cockles history: a calendar 

As a newcomer on Tumblr and on the Supernatural fandom, I first had trouble following all the past events that were regularly reminded and celebrated.

On this very special day (December 14th, European time), the following post is an attempt at listing those events, focusing on Destiel and Cockles (with a hint of Jenmisheel). Feel free to advise me for more (or less) dates!

Acknowledgement: The idea came from @youchangedmedestiel who also contributed to the content. The present post would never have been possible without @livebloggingmydescentintomadness 's Cockles masterlist. Color code: Destiel / Cockles

Honorary periodic event: FIMMF (Finger In My Mouth Friday)

January

12th: "Mish. Dee." (2021) - 1

16th: Broadcast of 15x09 “The Trap” (2020) - /

17th: ‘Isn't the season you met Misha?’ ‘Taste the rainbow’ JaxCon (2016) - 1

18th: The abandoned Jenmisheel podcast (2022) - 1

24th: Dean's birthday + ‘Jensen's the horse’ HousCon (2015) - / + 1

February

2nd: Broadcast of 12x10 “Lily Sunder Has Some Regrets” (2017) - /

14th: Destiel wedding anniversary (2021)

16th: Broadcast of 12x12 “Stuck in the Middle (With You)” (2017) - /

26th: ‘Which is funny, because so do I’ JIB11 (2023) - 1

28th: ‘Misha's been working out’ ‘He has though, hasn't he?’ NashCon (2016) - 1

March

1st: Jensen Ackles' birthday (1978) - 1 2 3 4

18th: Danneel Ackles' birthday (1979)

20th: Broadcast of 8x17 “Goodbye Stranger” + Gag reel (2013) - / + 1

23rd: Broadcast of 7x17 “The Born-Again Identity” (2012) + Broadcast of 15x13 “Destiny’s Child” + Gag reel (Jensen's infamous fart joke) (2020) - / + 1

April

1st: Mishapocalypse (2013) + Mishapocalypse 2.0 (2023) - 1 2 + 3

10th: “When Harry Met Sally” JIB2 (2011) - 1

13th: Season 15 EW Photoshoot (2020) - 1 2

15th: Broadcast of 5x18 “Point of No Return” + Gag reel (blowjob+‘we’re missing the gay angel’+‘confetti it’s a parade’) (2010) - 1 + 2 3 4 

15th: Bishagate 2.0 NJCon (2023) + Misha’s Cas essay (2022) - 1 2 + 3

23th: Bishagate ‘I’m all three’ NJCon (2022) - 1

25th: ‘I happen to be straight’ (2022) - 1 2

27th: Broadcast of 12x19 “The Future” (2017) - 1 2 3 4

28th: ‘Balls deep’ CR8 (2024) - 1

29th: Broadcast of 6x19 “Mommy Dearest” + Gag reel (2011) - 1

May

6th: Broadcast of 6x20 “The Man Who Would Be King” (2011) - /

7th: First release of 'Watching Over Me' (2021) - 1

19th: Straddlegate JIB10 (2019) - 1 2 3 4

21st: Jensen's bear underwear reveal JIB8 (2017) - 1

23rd: ‘Okay babe’ (2021) - 1

24th: Misha tenderly rescuing Jensen+’We like you the best’+Hitch scene JIB5 (2014) - 1 2 3

26th: ‘It’s not a subtext. It was clear text.’ PurCon8 (2024) - 1

27th: ‘I talked to Jensen and Danneel this morning because I couldn’t sleep’ PurCon7 (2023) - 1

June

July

1st: ‘I miss my blanky’ + ‘I love you’ VS ‘I need you’ (2021 (yes, on the same fucking day)) + ‘Also, Cas is gay.’ (2023) - 1 2 3 + 4

14th: 'Destiel is Cockles Fault' Day SFCon (2024) - 1

24th: ‘Wow, that was really informative. Thank you.’ SDCC (2011) + ‘How do you know’ SDCC (2016) - 1 + 2

August

9th: Destiel fanfics first ship to reach the milestone of 100,000 stories 'I have to admit, I like being on top' (2021)

13th: ‘I’d love to do a Western…slash romcom with Misha’ VanCon (2017) - 1

17th: Cockles day at sea (2015) + ‘I would probably choose to be the car, because Dean would ride me all day’ SPNDEN (2018) - 1 2 + 3

18th: Destiel winning TV Choice Best Chemistry (2015) - 1

20th: Misha Collins' birthday (1974) - 1

September

8th: Release of "Some things I Still Can't Tell You", poetry book by Misha Collins - Men in the Woods (2021) - 1

13th: First broadcast of Supernatural (2005) - /

18th: Broadcast of Lazarus Rising, first appearance of Castiel (2008) + First release of Jensen publicly singing 'Angeles' (2012) (+Bonus: Jensen serenading Misha at JIB11 (2023)) - 1 + 2 3 4

24th: Broadcast of 5x03 “Free to Be You and Me” (2009) (Bonus: reference of ‘personal space’ at SFCon (2024)) - 1

October

11th: Danneel Ackles, sharing a picture of Jensen, reading "Some things I still can't tell you" by the fire, Misha tagged on his heart (2021) - 1 2 

13th: Broadcast of 12x01 “Keep Calm and Carry On” + ‘You're poking me’ Gag reel (2016) - 1

16th: ‘He’s like an angel plushie’ DenCon (2021) - 1

20th: ‘I can say whatever I want because Danneel is in love with you' HCCB (2024) - 1 

21st: Broadcast of 10x03 “Soul Survivor” + ‘Aloha cowboy’ Gag reel (2014) - 1 2

23rd: ‘I should have said ‘I love you too’ and hugged him’ VanCon (2022) - 1

28th: Broadcast of 11x04 “Baby” (2015) (Bonus: reenactment of the CasDean scene at JIB7 (2016))

November

5th: Broadcast of 15x18 "Despair" - Destiel's anniversary (2020) - /

8th: ‘Homosexual declaration of love’ Darklight Online Con (2020) + 'I live it' (2021) - 1 (no official proof because the panel has mysteriously been deleted from social medias around the 26th) + 2

11th: Broadcast of 10x05 “Fan Fiction” (2014) - /

12th: Broadcast of 9x06 “Heaven Can't Wait” (2013) - /

16th: Broadcast of 13x06 “Tombstone” (2017) + ‘Release the tapes!’ Day (2020) - / + 1

19th: Broadcast of 15x20 "Carry on" -> Last episode of Supernatural (so far 🕯🤞🏻) (2020) + Misha sharing by mistake (?) “The epic love story of Jensen Ackles and Misha Collins” blog (2013) - / + 1 2

24-25th: 'y yo a ti' (2020) - 1 

24th: ‘His ferret goes other places’ (2024) - 1

26th: Misha having to live stream and do PR during Thanksgiving, in mid divorce, following 'y yo a ti' (2020) - 1

December

1st: Danneel sharing a post to promote "The Adventurous Eaters Club", featuring Jensen and their kids (2019) - 1 2

5th: ‘I love you, not like a brother, but like a lover’ CCXP (2024) - 1 2

6th: ‘Cas was supposed to have his arm around Dean in the bar’ CCXP (2024) - 1 2

14th: Cockles anniversary (2009) + Introduction of 'Eyes Like The Sky' beer (2020) - 1 2 3 + 4

19th: Jenmisheel holiday package (2017) - 1 2

[dedalvs]

Fiat Lingua Top 10 for 2024

It's time for the annual Fiat Lingua rewind!

Background: I created Fiat Lingua over ten years ago with the idea that it could be something like the Rutgers Optimality Archive: A place where conlangers could post work that they wanted to showcase, or work that was in progress. We've had tons of contributions over the years, and some standout work I'm really proud of.

Using our fancy statistics program (you know, the free version) we're able to determine the top 10 visited posts for this year (though, note, the numbers for the current year's December post will always be down a little bit, since it didn't have a full month. If you'd like to take a look at it, Carl Buck created a new workable orthography for Klingon from the original!). Here they are!

NUMBER 10

We have a tie...

"A Naming Language" (November, 2016) by Jeffrey Henning: A fantastic (and short!) essay about how to create a conlang sketch (or naming language) specifically aimed at authors. The author, Jeffrey Henning, was the most important person in conlanging from the 90s through the mid-2000s before his seminal website, Langmaker.com, died.

"Down with Morphemes: The Pitfalls of Concatenative Morphology" (March, 2014) by David J. Peterson: Honestly, I'm touched. And baffled. Why this paper, published ten years ago which hasn't touched the top ten the past two years, is suddenly on it is absolutely beyond me.

NUMBER 9

"Afrihili: An African Interlanguage" (April, 2014) by William S. Annis: Afrihili is an a posteriori auxlang from the late 60s that uses Bantu languages as its source. If you haven't read about it, you must. This article took sixth place the past two years, but this year dropped to ninth!

NUMBER 8

"Tone for Conlangers: A Basic Introduction" (April, 2018) by Aidan Aannestad: This is the third time this article has been in the top 10, but it slipped one place to number 8. Conlangers continue to find this introduction to tone quite valuable.

NUMBER 7

"Names Aren’t Neutral: David J. Peterson on Creating a Fantasy Language" (March, 2019) by David J. Peterson: Down two spots from last year, this is my article on best practices when coming up with names in a fantasy setting—even when no conlang is present.

NUMBER 6

"Introduction, A Note on the Terminology and Linguistic Methodology of This Paper, and Section I" (February, 2012) by Madeline Palmer: So...this came out of nowhere. This was an early series that helped me avoid having to do a bunch of work for Fiat Lingua in the early years. I was grateful for the runway! I have no idea why, after more than ten years, the dragon language Srínawésin is now getting attention after getting next to none in the past, but…it's getting attention—in a big way. Anyone know why?

NUMBER 5

"Patterns of Allophony" (April, 2015) by William S. Annis: Definitely one of the most popular papers on Fiat Lingua, William illustrates graphically a number of very common sound changes. This article has been at #3 the past two years but tumbled two spots this year to #5.

NUMBER 4

"Hieroglyphs of Fneise" (April, 2024) by Jason Lynn: New to Fiat Lingua this year and new to the top ten, everyone loved this new article about the hieroglyphs of Fneise, created by Jason Lynn, friend of LangTime Studio!

NUMBER 3

"A Conlang-Venture: A Select-A-Feature Adventure" (January, 2024) by Jessie Peterson: This MAMMOTH .pdf is honestly one of the greatest conlang achievements ever. Clocking in at over 700 pages, Jessie created a hyperlinked choose-your-own-adventure demonstration of how to evolve a naturalistic conlang. This document is nothing short of amazing.

NUMBER 2

"Grambank & Language Documentation: Zhwadi and Its Features" (June, 2023) by Jessie Peterson: Even her massive conlang-venture .pdf couldn't top her incredible resource from last year. This is a short description of how to use Grambank in conlanging with a link to a fillable Google spreadsheet any conlanger can copy and use to introduce their conlang to others. Last year this made #4 on the list, and this year it jumped two spots!

And now for the top viewed article for 2024 on Fiat Lingua...

NUMBER 1

"A Conlanger's Thesaurus" (September, 2014) by William S. Annis: The king is back! Last year my article on how to create a surreal conlang took the top spot. This year? Not even in the top THIRTY! It's like it was wiped off the face of the internet! Whether it's top spot or not, though, William Annis's resource on how to create unique words with unique interrelationships and associations has proved useful to conlangers of all stripes. As a reference work, it is unparalleled in terms of usefulness modulo brevity.

* * * * *

And that's it for 2024! I'm looking forward to posting more conlang articles next year. If you are a conlanger, a conlang-researcher, or conlang fan who has something to say in .pdf format about a specific conlang or conlanging in general, please consider submitting something to Fiat Lingua! We take any and all articles related to conlanging in whatever form you have them. I'm also happy to help you think up ideas, or refine those ideas you have. There is no strong review like in a fancy journal: I just want to get what you have up. I'm especially in interested in hosting personal conlang stories—stories about how or why you started to create a language, or your experience creating your own language—personal stories that are often lost, but are so vital, as there is an absolute dearth of literature about conlangers! If you think you have even the seed of an idea, please get a hold of me! I want to share as many stories and ideas as I can.

[thena0315]

CW's DC TV Shows That Had A Proper Sendoff

Arrow (October 10, 2012 - January 28, 2020)

Supergirl (October 26, 2015 - November 9, 2021)

The Flash (October 7, 2014 - May 24, 2023)

Superman & Lois (February 23, 2021 - December 2, 2024)

[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!

[felassan]

Mark Darrah YouTube video: 'BioWare's 30th Anniversary. What I Remember from 3 Decades'

Video description:

BioWare turned 30 on February 1st. Can i remember something from every year they existed? Can I do it in less then 3 hours?

[source]

Mark Darrah recently released this YouTube video in which he goes through thirty years of BioWare, it's definitely worth a watch.

Some notes and quotes from the video under the cut. In places it goes into the behind-the-scenes of DA4 development.

In 2005 and 2006, Mark Darrah was working on Jade Empire 2, which would ultimately become Revolver. In the early days JE2 was seen as a direct sequel to JE. About halfway through the year there was a pivot to moving it into a modern setting. Originally it was 'Jade Modern', set in a modern world that existed if you had taken the secret ending of JE and agreed with the Emperor. But over time it shifted to be a different setting that had nothing to do with JE

Mark: "I guess if you really wanted to try you could make the argument that because Sonic Chronicles shipped in 2008 and DA:O didn't ship until 2009, that actually DA:O actually shipped using the Sonic Chronicles dialogue system"

Mark: "At the end of 2009, I think it was the last day we were working before the Christmas break, that's the time when the leadership of the DA franchise had the meeting where we decided that we were going to make DA2, that we were going to essentially jump on the grenade that was being placed in front of BioWare and try to fill the revenue gap that was left by SW:TOR [slipping]"

"2010 is also when we are trying to make DA2, in a really fast rush. We started working on it before DA:O - Awakening had even shipped. What's happened is that SW:TOR has slipped again and EA is basically telling BioWare to make up the revenue. So we are trying to create a product in a very restricted timeline in order to do what EA wants, which is to fill a revenue gap [in that fiscal year]"

"2013 is when the PAX presentation for DA:I happened. [...] It carries some controversy because the game definitely shifted from there to the game that shipped 14 months later. There are things that are represented there that imply a more army-controlling, grand military strategy kind of game that ultimately proved to not be the game that DA:I was supposed to be. But at that point in time those elements still existed in nascent form, or were trying to exist at the very list, so they exist in that demo as well"

DA:I was a very tiring project

After DA:I shipped some of the team went onto Anthem, some went onto ME:A, and some stayed on and made DA:I DLC

DA:I DLC was mostly made in 2015. Leadership on it was largely given to more junior leaders to help them grow and potentially move them into more senior positions

The senior leadership of DA:I spent most of 2015 laying very early frameworks and concepts for what would become DA4 Joplin. The idea was to take a technology that they knew and try to fix their processes and tools pipeline to allow development in this pipeline to go more smoothly

In 2016, all of the people who were on DA:I DLC moved onto ME:A or Anthem. 2016 is the point when most of Mark's time was spent fighting for resources to get them onto Joplin

^ "Periodically EA pushes for franchises to be bigger. They want billion dollar franchises, or they only wanna make the best six games or the best twelve games. In 2016 I built a plan to ship Dragon Ages. The idea was to make Joplin on a relatively regular timeline. At this point in time I believe Anthem is still supposed to ship in 2018 so probably Joplin was supposed to ship in 2019, maybe 2020. But the idea was, ship Joplin, and then we would do two fast-follow sequels, each taking 18 months, and then we would retool after that happened. Did it get Dragon Age to be a billion dollar franchise? It required a little bit of creative accounting to make that work, but it got closer than you would think. The idea was to have minimal DLC or even an expansion pack, and then quickly move onto the sequel. So the idea of increasing the revenue stream was simply to have games come out faster, which I think is not a terrible idea, but this is also the height of infatuation with the concept of live service games"

"In 2016 as ME:A is trying to ship, they are looking for more resources including leadership, and this is when I led a bunch of people that are still on Joplin onto ME:A. The Dragon Age Finaling Team is that group of people. And I'll say that if you see an acronym and it includes 'The Dragon Age Team' in any way you can probably assume that acronym was intentional. Dragon Age Finaling Team is 'daft', and yes it was basically us sort've passively aggressively rebelling against this resource draw"

"ME:A ships in 2017 and what's supposed to happen is that most of the people who were working on ME:A from Edmonton are gonna move onto Anthem, and the people who were working on ME:A in Montreal are supposed to form a large part of the team for DA. But that's not what happens. The team in Montreal ends up getting moved over to the actual leadership in Montreal. There's a point in 2017 when I tried to force Joplin through one of the production gates, to basically make the argument that it actually deserves to be much bigger. It doesn't work and it probably wouldn't have worked anyway"

2017 also marks when Joplin pivots to become Morrison

2017 is also when Mark moved from DA leadership to Anthem leadership. "Theoretically DA and Anthem simultaneously, but I think even in the earliest moments it was obvious that's not what was going to happen"

2017 was a very busy year at BioWare, a lot of things happened and a lot of changes occurred within it

In 2018 Mark was 110% focused on shipping Anthem. "The DA team was trying to do what it can with its very restricted resources with its pivot to being a live service. This is also when it releases the Dread Wolf trailer at the VGAs. That trailer exists in large part to just anchor the title in the public consciousness because there isn't really any massive development happening on the franchise at this time"

When Anthem went to PAX, this was right after a security incident with one of EA's sports franchises. As a result, EA was very concerned about security, so the Anthem team at PAX had a security presence provided by the Pinkertons (private security company), protecting the Anthem people at PAX

In 2019 Anthem shipped. Some of its resources remained to support it in live service and the remainder moved over to DA4. Mark went back onto DA after being away for 16 months and found that things had moved on and that it was a very different landscape. "Coming back from Anthem to a very different DA is pretty hard for me because the game has shifted underneath. My natural instinct is to move forward with whatever we currently have, but in this case because the landscape has mutated so heavily, it takes me quite a long time to find my footing again"

In 2020, for DA4, "We are starting to get some traction, the game is starting to look like something", but then "in March of 2020, COVID hit. Everyone goes home, that is definitely highly disruptive to the development of DA."

In December 2020 “I resign from BioWare, but I actually remain on at BioWare until February 2021"

In late 2022 Mark played a build of Dragon Age: The Veilguard. "It's not called that yet but this is when I start to be involved in the franchise again"

“By 2023 in April I am working with BioWare publicly again, helping them finish DA:TV, and I do that through 2023 and 2024"

"So it's 2025 now and things are changing at BioWare. I hope that BioWare still has a lot of strong years ahead of it. I hope that we willcontinue to see great games come out of their doors. I guess we will see what the future brings. I hope that everyone whose job was lost finds a new place to work, and hopefully it's an even better place, hopefully the situation you find yourself in in the future is better than the one that you come from. Some people are moving around within the EA organization. Some people unfortunately have lost their jobs completely. This is going to be a tough time for a bunch of people and I hope that everyone can show empathy and compassion to people whose lives have been disrupted."

[source]