#2017 economics

[ausetkmt]

Black Family Finances

“Where slavery is there liberty cannot be, and where liberty is there, slavery cannot be.”

The great Abraham Lincoln tried putting liberty and slavery into a simple and asynchronous relationship for us, but how far have we really progressed in achieving the liberty we Americans like to speak so proudly about?

Did you know that the imprisonment rate for African American women is twice that of white women? Additionally, African Americans are incarcerated at a rate that is about 6 times that of white Americans.

We may not have digressed too far from older times as these statistics depict a reminiscent of a culturally honed racial prejudice that is a part of the social construct of the modern America we find ourselves in today.

Here are the four common problems faced by African Americans today:

1. Lack of family structure: According to a 2002 study, 70% of all African American children were illegitimate and that number rose from 23.6% back in 1963 because that was the year when welfare became a right according to the constitution, which made having husbands redundant. Too many African American families grow up without a father figure in the house which often leads to psychological issues later in life.

2. Dangerous cities have high African American Populations: Dangerous cities like Oakland, Cleveland, Baltimore and Detroit where gang violence and crime is an everyday occurrence has a high population of African American people who live under the government of democrats.

3. High abortion rates: It is estimated that 30% of all abortions in the country are done by African American women. This heightened loss of uncounted lives percolates to reduce respect for life and has played its role in decreasing civility with which people treat each other.

4. The victim mindset: Nothing holds an African American back more than seeing themselves as a victim who sees everything as someone else’s fault without taking the deserved responsibility to such a significant degree that their victim status becomes their collective identity.

5. African Americans make a sizable portion of prisoners: Studies infer that 52% of homicides are committed by African American individuals. Due to this high incarceration rate, every 1 in 9 African American children you pass on the sidewalk may have or might have had a parent in prison. Due to the greater likelihood of African Americans being incarcerated, their social upbringing and family support has taken the toll.

[firstoccupier]

Donald J. Trump Returns as 47th President: A Look Back at Economic Disparities from His Last Tenure

By, WPS News StaffBaybay City | January 26, 2025 As Donald J. Trump begins his second term as the 47th President of the United States, all eyes are on the potential policies and changes he might bring. Reflecting on his previous presidency from 2017 to 2021, when he served as the 45th President, offers the only concrete clues about what might lie ahead. During his earlier tenure, President…

[minnesotafollower]

Criticisms of the Recent U.N. General Assembly Resolution Against the U.S. Embargo of Cuba 

As discussed in a previous blog post, on October 30, the U.N. General Assembly overwhelmingly passed Cuba’s resolution condemning the U.S. embargo pf the island (187 to 2 with 4 abstentions).The U.S. and Israel again voted against the resolution while the abstentions came from Moldova, Ukraine, Somalia and Venezuela.[1] Here now is a summary of some of the criticism of that resolution. U.S.-Cuba…

[thetruth2024]

Trump’s Tax Scam Revealed! Why Nothing Trickled Down.

[mostlysignssomeportents]

All bets are off

When unions are outlawed, only outlaws will have unions. Unions don't owe their existence to labor laws that protect organizing activities. Rather, labor laws exist because once-illegal unions were formed in the teeth of violent suppression, and those unions demanded – and got – labor law.

Bosses have hated unions since the start, and they've really hated laws protecting workers. Dress this up in whatever self-serving rationale you want – "the freedom to contract," or "meritocracy" – it all cashes out to this: when workers bargain collectively, value that would otherwise go to investors and executives goes to the workers.

I'm not just talking about wages here, either. If an employer is forced – by a union, or by a labor law that only exists because of union militancy – to operate a safe workplace, they have to spend money on things like fire suppression, PPE, and paid breaks to avoid repetitive strain injuries. In the absence of some force that corrals bosses into providing these safety measures, they can use that money to pay themselves, and externalize the cost of on-the-job injuries to their workers.

The cost and price of a good or service is the tangible expression of power. It is a matter of politics, not economics. If consumer protection agencies demand that companies provide safe, well-manufactured goods, if there are prohibitions on price-fixing and profiteering, then value shifts from the corporation to its customers.

Now, if labor has few rights and consumers have many rights, then bosses can pass their consumer-side losses on to their workers. This is the Walmart story, the Amazon story: cheap goods paid for with low wages and dangerous working conditions. Likewise, if consumer rights are weak but labor rights are strong, then bosses can pass their costs onto their customers, continuing to take high profits by charging more. This is the story of local gig-work ordinances like NYC's, which guaranteed a minimum wage to delivery drivers – restaurateurs responded by demanding the right to add a surcharge to their bills:

https://table.skift.com/2018/06/22/nyc-surcharge-debate/

But if labor and consumer groups act in solidarity, then they can operate as a bloc and bosses and investors have to eat shit. Back in 2017, the pilots' union for American Airlines forced their bosses into a raise. Wall Street freaked out and tanked AA's stock. Analysts for big banks were outraged. Citi's Kevin Crissey summed up the situation perfectly, in a fuming memo: "This is frustrating. Labor is being paid first again. Shareholders get leftovers":

https://www.vox.com/new-money/2017/4/29/15471634/american-airlines-raise

Limiting the wealth of the investor class also limits their power, because money translates pretty directly into political power. This sets up a virtuous cycle: the less money the investor class has to spend on political projects, the more space there is for consumer- and labor-protection laws to be enacted and enforced. As labor and consumer law gets more stringent, the share of the national income going to people who make things, and people who use the things they make, goes up – and the share going to people who own things goes down.

Seen this way, it's obvious that prices and wages are a political matter, not an "economic" one. Orthodox economists maintain the pretense that they practice a kind of physics of money, discovering the "natural," "empirical" way that prices and wages move. They dress this up with mumbo-jumbo like the "efficient market hypothesis," "price discovery," "public choice," and that old favorite, "trickle-down theory." Strip away the doublespeak and it boils down to this: "Actually, your boss is right. He does deserve more of the value than you do":

https://pluralistic.net/2024/09/09/low-wage-100/#executive-excess

Even if you've been suckered by the lie that bosses have a legal "fiduciary duty" to maximize shareholder returns (this is a myth, by the way – no such law exists), it doesn't follow that customers or workers share that fiduciary duty. As a customer, you are not legally obliged to arrange your affairs to maximize the dividends paid by to investors in your corporate landlord or by the merchants you patronize. As a worker, you are under no legal obligation to consider shareholders' interests when you bargain for wages, benefits and working conditions.

The "fiduciary duty" lie is another instance of politics masquerading as economics: even if bosses bargain for as big a slice of the pie as they can get, the size of that slice is determined by the relative power of bosses, customers and workers.

This is why bosses hate unions. It's why the scab presidency of Donald Trump has waged all-out war on unions. Trump just effectively shuttered the National Labor Relations Board, unilaterally halting its enforcement actions and investigations. He also illegally fired one of the Democratic NLRB board members, leaving the agency with too few board members to take any new actions, meaning that no unions can be recognized – indeed, the NLRB can't do anything – for the foreseeable future:

https://www.npr.org/2025/01/28/nx-s1-5277103/nlrb-trump-wilcox-abruzzo-democrats-labor

Trump also fired the NLRB's outstanding General Counsel, Jennifer Abruzzo, who was one of the stars of the Biden administration, who promulgated rules that decisively tilted the balance in favor of labor:

https://pluralistic.net/2023/09/06/goons-ginks-and-company-finks/#if-blood-be-the-price-of-your-cursed-wealth

Trump is playing Grinch here – he's descended upon Whoville to take all the Christmas decorations, in the belief that these are the source of Christmas. But the Grinch was wrong (and so is Trump): Christmas was in the heart of the Whos, and the tinsel and baubles were the expression of that Christmas spirit. Likewise, labor rights come from labor organizing, not the other way around.

Labor rights were enshrined in federal law in 1935, with the National Labor Relations Act. Bosses hated – and hate – the NLRA. 12 years later, they passed the Taft-Hartley Act, which substantially gutted the NLRA. Most notably, Taft-Hartley bans "sympathy strikes" – when unions walk out in support of one another. Sympathy strikes are a hugely powerful way for workers to claim value away from bosses and investors, which is why bosses got rid of them.

But even then, bosses who were honest with themselves would admit that they preferred life under the NLRA to life before it. Remember: labor militancy created the NLRA, not the other way around. When workers didn't have the legal means to organize, they organized by illegal means. When they didn't have legal ways of striking, they struck illegally. The result was pitched battles, even bloodbaths, as cops beat and even killed labor organizers. Bosses hired thugs who committed mass murder – literally. In 1913, strikebreakers working for the Calumet and Hecla Mining Company started a stampede during a union Christmas party that killed 73 people, including many copper miners' children:

https://en.wikipedia.org/wiki/Italian_Hall_disaster

Workers didn't take this lying down. Violence was met with violence. Bombs went off outside factories and stately mansions. There was gunfire and arson. Bosses had to hire armed guards to escort them as they scurried between their estates and their fancy parties and their executive offices. The country was in a state of near-perpetual chaos.

The NLRA created a set of rules for labor/boss negotiations – rules that helped workers claim a bigger slice of the pie without blood in the streets. But the NLRA also had benefits for bosses: unions were obliged to play by its rules, if they wanted to reap its benefits. The NLRA didn't just put a ceiling over boss power – it also put a ceiling over worker militancy. Von Clausewitz says that "war is politics by other means," which implies that politics are war by other means. The alternative to politics isn't capitulation, it's war.

Trump has torn up the rules to the labor game, but that doesn't mean the game ends. That just means there are no rules.

The labor movement has many great organizer/writers, but few can match the incredible Jane McAlevey, who died of cancer last summer (rest in power). In her classic A Collective Bargain, McAlevey describes her organizer training, from a tradition that went back to the days before the National Labor Relations Act:

https://pluralistic.net/2023/04/23/a-collective-bargain/

McAlevey was very clear that labor law owes its existence to union power, not the other way around. She explains very clearly that union organizers invented labor law after they invented unions, and that unions can (and indeed, must) exist separately from government agencies that are charged with protecting labor law. But she goes farther: in Collective Bargain, McAlevey describes how the 2019 LA Teachers' Strike didn't just win all the wage and benefits demands of the teachers, but also got the school district to promise to put a park or playground near every school in the system, and got a ban on ICE agents harassing parents at the school gates.

This wildly successful strike forged bonds among teachers, and between teachers and their communities. These teachers went on to run a political get-out-the-vote campaign in the 2020 elections and elected two Democratic reps to Congress and secured the Dems' majority. McAlevey contrasted the active way good unions involve workers as participants with the thin, anemic way that the Democratic Party engages with supporters – solely by asking them for money in a stream of frothing, clickbait text messages. As McAlevey wrote, "Workplace democracy is a training ground for true national democracy."

Militant labor doesn't just protect labor rights – it protects human rights. Remember: MLK, Jr was assassinated while campaigning for union janitors in Memphis. LA teachers ended ICE sweeps at the school gates. Librarian unions are leading the fight against book bans.

The good news is that public opinion has swung wildly in favor of unions over the past decade. More people want to join unions than at any time in generations. More people support unions that at any time in generations.

The bad news is that union leadership fucking suuuuuuuucks. As Hamilton Nolan writes, union bosses are sitting on vast, heretofore unseen warchests of cash, and they just experienced a four-year period of governmental support for unions unheard of since the Carter administration, and they did fuck all with that opportunity:

https://www.hamiltonnolan.com/p/confirmed-unions-squandered-the-biden

Big unions have effectively stopped trying to organize new workers, even when workers beg them for help forming a union. Union organizing budgets are so small as to be indistinguishable from zero. Despite the record number of workers who want to be in a union, the number of workers who are in a union actually fell during the Biden years.

Indeed, some union bosses actually campaigned for Trump, a notorious scab. Teamsters boss Sean O'Brien spoke at the fucking RNC, a political favor that Trump repaid by killing the NLRB and every labor enforcement action and investigation in the country. Nice one, O'Brien. See you in hell:

https://www.theatlantic.com/politics/archive/2024/08/teamster-union-trump/679513/

Union bosses squandered a historical opportunity to build countervailing power. Now, Trump's stormtroopers are rounding up workers with the goal of illegally deporting them. Fascism is on the rise. Labor and fascism are archenemies. Organized labor has always been the biggest threat to fascism, every time it has reared its head. That's why fascists target unions first. Union bosses cost us an organized force that could effectively defend our friends and neighbors from Trump's deportation stormtroopers:

https://prospect.org/blogs-and-newsletters/tap/2025-01-28-trumps-lawbreaking-also-aimed-at-workers/

Not every union boss is a scab like O'Brien. Shawn Fain, head of the UAW, won an historic strike against all three of the Big Three automakers, and made sure that the new contracts all ran out in 2028, and called on other unions to do the same, so that the country could have a general strike in 2028 without violating the Taft-Hartley Act (Fain was operating on the now-dead assumption that unions had to play by the rules):

https://pluralistic.net/2024/11/11/rip-jane-mcalevey/#organize

A general strike isn't just a strike for workers' rights. Under Trump, a general strike is a strike against Trumpism and all its horrors: kids in cages, forced birth, trans erasure, climate accelerationism – the whole fucking thing.

A general strike would build the worker power to occupy the Democratic Party and force it to stand up for the American people against oligarchy, rather than meekly capitulating to fascism (and fundraising), which is all they know how to do anymore:

https://pluralistic.net/2025/01/10/smoke-filled-room-where-it-happens/#dinosaurs

But before we can occupy the Dems, we have to occupy the unions. We need union bosses who are committed to signing up every worker who wants workplace democracy, and unionizing every workplace in spite of the NLRB, not with its help. We need to go back to our roots, when there were no rules.

That's the world Trump made. We need to make him regret that decision.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2025/01/29/which-side-are-you-on/#strike-three-yer-out

[filosofablogger]

Who The F*** Is Jamie Dimon And What Does He Know???

As I mentioned a few days ago in a post, the World Economic Forum is taking place this week in Davos, Switzerland.  It is a gathering of the richest of the rich, the sleaziest of sleaze … people like Elon Musk, Jeff Bezos, Mark Zuckerberg and others who collectively have enough wealth to completely eradicate poverty around the globe, but instead prefer to hoard their wealth and waste it on big…

[reasonsforhope]

On her fingers, Chicago’s Chief Sustainability Officer Angela Tovar counted the city buildings that will soon source all of their power from renewable energy: O’Hare International Airport, Midway International Airport, City Hall.

[Note: This is an even huger deal than it sounds like. Chicago O'Hare International Airport is, as of 2023, the 9th busiest airport in the world.]

Chicago’s real estate portfolio is massive. It includes 98 fire stations, 81 library locations, 25 police stations and two of the largest water treatment plants on the planet — in all, more than 400 municipal buildings.

It takes approximately 700,000 megawatt hours per year to keep the wheels turning in the third largest city in the country. Beginning Jan. 1, every single one of them will come solely from clean, renewable energy, mostly sourced from Illinois’ newest and largest solar farm. The move is projected to cut the Windy City’s carbon footprint by approximately 290,000 metric tons of carbon dioxide each year, the equivalent of taking 62,000 cars off the road, the city said.

Chicago is one of several cities across the country that are not only shaking up their energy mix but also taking advantage of their bulk-buying power to spur new clean energy development.

The city — and much of Illinois — already has one of the cleanest energy mixes in the country, with over 50% of the state’s electricity coming from nuclear power. But while nuclear energy is considered “clean,” carbon-free energy, it is not considered renewable.

Chicago’s move toward renewable energy has been years in the making. The goal of sourcing the city’s energy purely from renewable sources was first established by Mayor Rahm Emanuel in 2017. In 2022, Mayor Lori Lightfoot struck a deal with electricity supplier Constellation to purchase renewable energy from developer Swift Current Energy for the city, beginning in 2025.

Swift Current began construction on the 3,800-acre, 593-megawatt solar farm in central Illinois as part of the same five-year, $422 million agreement. Straddling two counties in central Illinois, the Double Black Diamond Solar project is now the largest solar installation east of the Mississippi River. It can produce enough electricity to power more than 100,000 homes, according to Swift Current’s vice president of origination, Caroline Mann.

Chicago alone has agreed to purchase approximately half the installation’s total output, which will cover about 70 percent of its municipal electricity needs. City officials plan to cover the remaining 30 percent through the purchase of renewable energy credits.

“That’s really a feature and not a bug of our plan,” said deputy chief sustainability officer Jared Policicchio. He added that he hopes the built-in market will help encourage additional clean energy development locally, albeit on a much smaller scale: “Our goal over the next several years is that we reach a point where we’re not buying renewable energy credits.”

Los Angeles, Houston, Seattle, Orlando, Florida, and more than 700 other U.S. cities and towns have signed similar purchasing agreements since 2015, according to a 2022 study from World Resources Institute, but none of their plans mandate nearly as much new renewable energy production as Chicago’s.

“Part of Chicago’s goal was what’s called additionality, bringing new resources into the market and onto the grid here,” said Popkin. “They were the largest municipal deal to do this.”

Chicago also secured a $400,000 annual commitment from Constellation and Swift Current for clean energy workforce training, including training via Chicago Women in Trades, a nonprofit aiming to increase the number of women in union construction and manufacturing jobs.

The economic benefits extend past the city’s limits: According to Swift Current, approximately $100 million in new tax revenue is projected to flow into Sangamon County and Morgan County, which are home to the Double Black Diamond Solar site, over the project’s operational life.

“Cities and other local governments just don’t appreciate their ability to not just support their residents but also shape markets,” said Popkin. “Chicago is demonstrating directly how cities can lead by example, implement ambitious goals amidst evolving state and federal policy changes, and leverage their purchasing power to support a more equitable renewable energy future.” ...

Chicago will meet its goal of transitioning all its municipal buildings to renewable energy by 2025, the first step in a broader goal to source energy for all buildings in the city from renewables by 2035 — making it the largest city in the country to do so, according to the Sierra Club.

With the incoming Trump administration promising to decrease federal support for decarbonizing the economy, Dane says it will be increasingly important for cities, towns and states to drive their own efforts to reduce emissions, build greener economies and meet local climate goals. He says moves like Chicago’s prove that they are capable.

“That is an imperative thing to know, that state, city, county action is a durable pathway, even under the next administration, and [it] needs to happen,” said Dane. “The juice is definitely still worth the squeeze.”

-via WBEZ, December 24, 2024

[hope-for-the-planet]

From the article:

The Department of the Interior today announced that the Bureau of Land Management received no bids for the congressionally mandated oil and gas lease sale for the Coastal Plain of the Arctic National Wildlife Refuge (Arctic Refuge). The deadline to submit bids was Monday, January 6. [...] “The lack of interest from oil companies in development in the Arctic National Wildlife Refuge reflects what we and they have known all along – there are some places too special and sacred to put at risk with oil and gas drilling. This proposal was misguided in 2017, and it’s misguided now,” said Acting Deputy Secretary Laura Daniel-Davis.

This is the second time that the lease sale for this area has fallen through. The writing is on the wall that investments like this have an expiration date as the world transitions to clean energy due to economics and public opinion.

[renthony]

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

by Ren Basel renbasel.com

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

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

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

Then the Walt Disney Company made a huge mess.

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

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

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

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

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

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

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

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

Nimona, however, is hard to kill.

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

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

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

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

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

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

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

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

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

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

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

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

Enter Nimona.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

But she isn’t safe from the Director.

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

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

Nimona, however, is hard to kill.

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

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

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

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

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

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

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

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

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

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

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Notes:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[reality-detective]

In 2017 these two ass-clowns told us the plandemic was coming. This is what happens when you think everything is good in your world if you just do what you're told.

NEWS FLASH‼️

The government, UN, the World Economic Forum, the lying media that feeds you your instructions and the puppetmasters that control everyone mentioned before don't give a damn about you.

The final battle is to save humanity and the future for the children! 🤔

[probablyasocialecologist]

Saito has made a career of teasing out an eco-theory from the late, unpublished writings of Karl Marx. He earned his doctorate at Humboldt University, in Berlin, and now teaches philosophy at the University of Tokyo. His first book was an English version of his dissertation, titled “Karl Marx’s Ecosocialism” (2017), which tracked Marx’s study of the physical world and communal agricultural practices. (Saito is fluent in Japanese, German, and English.) In a second academic book, “Marx in the Anthropocene” (2022), Saito drew on an expanded repertoire of Marx’s unpublished notebooks to argue for a theory of “degrowth communism.” He gained a following, not only in philosophical circles but among a Japanese public facing the contradictions of tsunamis, billionaires, and same-day shipping. “Slow Down” has sold more than half a million copies in Japan and launched Saito into a rare academic celebrity. He appears regularly on Japanese television and aspires to the public-intellectual status of Thomas Piketty, the French economist who had a surprise hit in his 2013 doorstop, “Capital in the Twenty-first Century.”

The key insight, or provocation, of “Slow Down” is to give the lie to we-can-have-it-all green capitalism. Saito highlights the Netherlands Fallacy, named for that country’s illusory attainment of both high living standards and low levels of pollution—a reality achieved by displacing externalities. It’s foolish to believe that “the Global North has solved its environmental problems simply through technological advancements and economic growth,” Saito writes. What the North actually did was off-load the “negative by-products of economic development—resource extraction, waste disposal, and the like” onto the Global South.

If we’re serious about surviving our planetary crisis, Saito argues, then we must abandon capitalism, with its insatiable appetites. We must reject the ever-upward logic of gross domestic product, or G.D.P. (a combination of government spending, imports and exports, investments, and personal consumption). We will not be saved by a “green” economy of electric cars or geo-engineered skies. Slowing down—to a carbon footprint on the level of Europe and the U.S. in the nineteen-seventies—would mean less work and less clutter, he writes. Our kids may not make it, otherwise.

[ghelullu]

I don't play the long time fan card a lot, but let me do this real quick here for once: As someone who's been a fan of Ghost since Winter 2013/14 I've seen transitions from Papa II to III, to the Cardinal, him becoming Papa IV. Especially, of course, the one from III to Cardi was WILD, with the fandom still highly divided over both the lawsuit thing and the removal of III and the teasing of Copia (and ultimately reveal, the hatred for him was unreal, good memories!).

What I'm saying is that I know VERY well the excitement and anxiety and all that during this transition period and that that leads to some really wild panic reactions sometimes. This time I see it to an extend I've never seen before, even in 2017, the only time where an end of the Project was even a realistic option with the whole lawsuit crap going on behind the scenes.

Please stay calm, don't panic. Ghost is not ending (there's a whole ass tour coming up! A new album!) soon.

I highly doubt Mr. Ghost will step down as the frontman, because he's literally achieving his dream right now (soon being up there with some of his fave musicians at that Black Sabbath event!), he wouldn't give this up. Plus, from an economic pov this would be a terrible mistake, you cant replace his quite distinct voice and incredible stage presence - both he and the label know that.

Speculate the hell out of what the new guy's name and thing is, google the latin, wikipedia some ancient christian martyrs, draw speculative fanart, engage in batshit crazy theorising, but please:

Don't panic. Trust Mr. Ghost in this.

He has never disappointed us so far!

I for one am super excited for new music, new costumes, new Papa being slutty on stage, new lightshow, all that - SO much to look forward to.

[thepeacepigeon]

The 4B Movement: How South Korean women are leaving the patriarchy behind 

(Getty Images)

In 2016, a 34-year-old man named Kim Sung-min waited inside a unisex restroom outside exit 10 of Gangnam Station, Seoul South Korea. Six different men came and exited through the restroom over the span of an hour, until a 23-year-old woman entered, and Kim proceeded to stab and kill her with a 12-inch-long sushi knife. In court, Kim stated, “I did it because women have always ignored me.” Kim’s actions and thoughts are not out of the ordinary amongst Korean men—violence against women is extremely common in South Korea. 

(BBC)

South Korea has a long record of female subjugation. Between 1953 and 2021, abortion was illegal in almost all circumstances, and current law allows a woman to get an abortion only if she has consent from a male relative or her boyfriend/husband/partner. A 2015 South Korean government survey revealed that almost 80% of women had been sexually harassed at work. A survey released by The Ministry of Gender Equality and Family found that 57.8 percent of women felt vulnerable to misogynistic violence. Digital crime and sexual harassment are extremely common— “molka”, up-skirt photos, and secret cameras hidden in restrooms are rampant, so much so that any cellphone purchased in South Korea has a mandatory chime when photos are taken. The World Economic Forum’s 2022 Global Gender Gap Index ranks South Korea at number 99 out of 146 countries for gender equality. Legislation actively works against women trying to report sexual assault. Men accused of stalking or harassment can “ask” their victims to drop charges, and in 2022 a man murdered his former colleague after she refused to drop charges against him for stalking her since 2019. South Korea has the highest gender pay gap of all the OECD countries—the top wealthiest 37 countries, globally, with women earning on average a third less than men. These alarming statistics have come years after the “Gangnam Station” murder, and South Korean women continue to be targeted for their gender.

(Jung Yeon-Je/AFP via Getty Images)

Despite Kim’s own testimony, government authorities explicitly denied the misogynistic motive, and the prosecution announced that the case was not being investigated as a hate crime. Kim was eventually sentenced to 30 years in prison. In response to the murder, women took to the streets outside Gangnam station and the surrounding areas in protest. The women, many of whom had never considered themselves feminists or activists, but the nature of the crime and the misogynistic motivation, as well as the court's refusal to acknowledge it, outranged them. The murder incited intense debates about misogyny within the country, and the gender inequities women faced both socially and economically. Five months after the murder, Cho Nam-Joo’s novel Kim Jiyoung, Born 1982 was published. The book devastatingly details an everyday woman’s daily experiences of nonstop sexism, inequality, and misogyny in contemporary South Korea, and served as another enraging eye-opener that would develop into what would become known as the 4B Movement. 

The four B’s (or “Four No’s”) of the movement represent the four major components that women of the movement are rejecting; Bisekseu (sex), Bichulsan (child-bearing), Biyeonae, (dating) and Bihon (marriage). South Korean feminists define the 4B movement not as a fight against the patriarchy, but a complete step away from it— leaving it behind. In 2017, the Escape the Corset campaign swept across the country. The word “corset” is used by Korean feminists as a metaphor for the societal mechanisms that control and repress women, for example, the extreme and toxic beauty standards. Both 4B and Escape the Corset condemn and reject the influence that beauty holds within every aspect of South Korean life. Pioneers such as feminist author Cho Nam-Joo, and photographer Jeon Bo-ra, who photographed women who shaved their heads in rebellion. Social media has played a large role in the 4B movement, with bloggers and beauty influencers like Lina Bae speaking up against unattainable beauty standards and societal pressures, and Summer Lee who was inspired to cut her hair, throw away her hyperfeminine clothes, and post pictures of herself without makeup. 

(Jean Chung/Getty Images)

Despite increasing conversation on women’s rights, feminism is still considered a taboo, contentious, or even “dirty” word for many South Koreans. It is often associated with “man-hating” and perceived as overly aggressive. The country's current president Yoon Suk-yeol has promised to close down the South Korean Ministry of Gender Equility and Family, and any other organizations that fund or support women and victims of sexual violence, claiming they “treat men like potential sex criminals”. A January 2023 article in the South Korean newspaper The Sisa Times reported that 65% of women in the country do not want children, 42% do not want to get married, and over 80% of those cite domestic violence as their key reason. As a result, concerns regarding the rising average population age and declining birth rate in South Korea have increased greatly. The country's birth rate is less than one per woman as of 2021, and the country saw less than 200,000 marriages. In recent years, the South Korean government has commissioned a number of soap operas and reality TV shows to promote an idyllic view of romantic heterosexual love, and to encourage marriage and reproduction. 

(Yonhap)

The 4B movement and Escape the Corset campaign have had a tremendous impact on the way young South Korean women view the countries cultural grip on women’s appearances and lives. Between 2015-2016 and 2017-2018, Korean women spent over 5 billion Korean Won less on beauty products and cosmetic surgeries, instead investing their money in cars and choosing independence over objectification. The movement is calling for boycotts of any business that uses sexist advertising, and encouraging women to eat at women-owned restaurants, drink in women-owned bars, and shop at women-owned stores—women’s money goes into the pockets of other women. Women’s universities have also been on the rise in South Korea, with most cities housing one or several women-only institutions. Similarly, women’s only spaces have begun to expand, women’s parking spots closer to entrances and exits in parking garages, women’s only hotel floors and common rooms, and women’s only subway cars. These spaces allow feminism to spread and flourish, and give Korean women the ability to find community with other women without the interference of men. 

(Ian Baldessari/CityLab)

Since 2016, Exit 10 of Gangnam Station has become a symbolic site for South Korean feminism. The South Korean feminist movement developed out of particularly misogynist conditions within their country. The 4B movement represents a radical way that women have sought to create an online and offline world devoid of men—rather than engaging in arguments and altercations, they simply refuse to interact with men in every aspect of their lives. These actions have had a profound impact on the functionality of South Korean society and have opened an uncloseable door too the discussion of women’s rights. 

McCurry, Justin. “Calls for Stalking Law Overhaul in South Korea as Woman’s Murder Shocks Nation.” The Guardian, Guardian News and Media, 23 Sept. 2022, www.theguardian.com/world/2022/sep/23/calls-for-stalking-law-overhaul-in-south-korea-as-womans-shocks-nation.

Teehan, Katie. “What Is the 4B Movement?” Service95, 16 Apr. 2024, www.service95.com/4b-movement-explainer/.

Izaakson , Jen, and Tae Kyung Kim. “The South Korean Women’s Movement: ‘We Are Not Flowers, We Are a Fire.’” Feminist Current, 16 June 2020, www.feministcurrent.com/2020/06/15/the-south-korean-womens-movement-we-are-not-flowers-we-are-a-fire/.

Lee, Min Joo. “Why so Many South Korean Women Are Refusing to Date, Marry or Have Kids.” Yahoo! News, Yahoo!, 15 May 2023, news.yahoo.com/why-many-south-korean-women-123250959.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAHmBVorK4v6bdzwcJMRyRdXkKtzUlpQYWn5Ot-BPzs-YRNNZFW5JBwC65OTaPrRImn3F3G56r0gfNydadUzlQtPS61hOi6uggk_OkwZqqvLvS-YN4HbPrpwKvK9_7g0e9yqu9fiRRvOVJkGRv__L7AZGoYtfHVxjKLLPDi9DI2fu.

Park, Seohoi Stephanie. “Murder at Gangnam Station: A Year Later.” KOREA EXPOSÉ, 2 Mar. 2023, koreaexpose.com/murder-gangnam-station-year-later/.

Dockeray, Hannah. “Why Some South Korean Women Are Rejecting Beauty.” Sky News, 14 July 2021, news.sky.com/story/plastic-surgery-south-korea-faces-beauty-backlash-11871654.

[robertreich]

Trump’s Tax Scam: Why Nothing Trickled Down 

The Trump tax cuts were a YUGE scam.

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

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

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

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

What actually happened in the years since?

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

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

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

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

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

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

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

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

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

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

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

It’s trickle-down economics on steroids.

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

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

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

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

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

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

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

Which do you want?

[zvaigzdelasas]

[H]undreds of legal experts and groups on Monday urged the global community—and the United States government in particular—"to comply with international law by ending the use of broad, unilateral coercive measures that extensively harm civilian populations."

In a letter to U.S. President Joe Biden, the jurists and legal groups wrote that "75 years ago, in the aftermath of one of the most destructive conflicts in human history, nations of the world came together in Geneva, Switzerland to establish clear legal limits on the treatment of noncombatants in times of war."

"One key provision... is the prohibition of collective punishment, which is considered a war crime," the letter continues. "We consider the unilateral application of certain economic sanctions to constitute collective punishment."

Suzanne Adely, president of the National Lawyers Guild—one of the letter's signatories—said in a statement that "economic sanctions cause direct material harm not only to the people living on the receiving end of these policies, but to those who rely on trade and economic relations with sanctioned countries."

"The legal community needs to push back against the narrative that sanctions are nonviolent alternatives to warfare and hold the U.S. Government accountable for violating international law every time it wields these coercive measures," she added.[...]

"Hundreds of millions of people currently live under such broad U.S. economic sanctions in some form, including in notable cases such as Cuba, Iran, North Korea, Syria, and Venezuela," the letter notes. "The evidence that these measures can cause severe, widespread civilian harm, including death, is overwhelming. Broad economic sanctions can spark and prolong economic crises, hinder access to essential goods like food, fuel, and medicine, and increase poverty, hunger, disease, and even death rates, especially among children. Such conditions in turn often drive mass migration, as in the recent cases of Cuba and Venezuela."

For more than 64 years, the U.S. has imposed a crippling economic embargo on Cuba that had adversely affected all sectors of the socialist island's economy and severely limited Cubans' access to basic necessities including food, fuel, and medicines. The Cuban government claims the blockade cost the country's economy nearly $5 billion in just one 11-month period in 2022-23 alone. For the past 32 years, United Nations member states have voted overwhelmingly against the U.S. embargo on Cuba. Last year's vote was 187-2, with the U.S. and Israel as the only dissenters.

According to a 2019 report from the Center for Economic and Policy Research, a progressive think tank based in Washington, D.C., as many as 40,000 Venezuelans died from 2017-18 to U.S. sanctions, which have made it much more difficult for millions of people to obtain food, medicine, and other necessities.

"Civilian suffering is not merely an incidental cost of these policies, but often their very intent," the new letter asserts. "A 1960 State Department memo on the embargo of Cuba suggested 'denying money and supplies to Cuba, to decrease monetary and real wages, to bring about hunger, desperation, and overthrow of government.'"

"Asked whether the Trump administration's sanctions on Iran were working as intended, then-Secretary of State Mike Pompeo responded that 'things are much worse for the Iranian people, and we're convinced that will lead the Iranian people to rise up and change the behavior of the regime,'" the signers added.

12 Aug 24

[reasonsforhope]

"The Netherlands is pulling even further ahead of its peers in the shift to a recycling-driven circular economy, new data shows.

According to the European Commission’s statistics office, 27.5% of the material resources used in the country come from recycled waste.

For context, Belgium is a distant second, with a “circularity rate” of 22.2%, while the EU average is 11.5% – a mere 0.8 percentage point increase from 2010.

“We are a frontrunner, but we have a very long way to go still, and we’re fully aware of that,” Martijn Tak, a policy advisor in the Dutch ministry of infrastructure and water management, tells The Progress Playbook. 

The Netherlands aims to halve the use of primary abiotic raw materials by 2030 and run the economy entirely on recycled materials by 2050. Amsterdam, a pioneer of the “doughnut economics” concept, is behind much of the progress.

Why it matters

The world produces some 2 billion tonnes of municipal solid waste each year, and this could rise to 3.4 billion tonnes annually by 2050, according to the World Bank.

Landfills are already a major contributor to planet-heating greenhouse gases, and discarded trash takes a heavy toll on both biodiversity and human health.

“A circular economy is not the goal itself,” Tak says. “It’s a solution for societal issues like climate change, biodiversity loss, environmental pollution, and resource-security for the country.”

A fresh approach

While the Netherlands initially focused primarily on waste management, “we realised years ago that’s not good enough for a circular economy.”

In 2017, the state signed a “raw materials agreement” with municipalities, manufacturers, trade unions and environmental organisations to collaborate more closely on circular economy projects.

It followed that up with a national implementation programme, and in early 2023, published a roadmap to 2030, which includes specific targets for product groups like furniture and textiles. An English version was produced so that policymakers in other markets could learn from the Netherlands’ experiences, Tak says.

The programme is focused on reducing the volume of materials used throughout the economy partly by enhancing efficiencies, substituting raw materials for bio-based and recycled ones, extending the lifetimes of products wherever possible, and recycling.

It also aims to factor environmental damage into product prices, require a certain percentage of second-hand materials in the manufacturing process, and promote design methods that extend the lifetimes of products by making them easier to repair.

There’s also an element of subsidisation, including funding for “circular craft centres and repair cafés”.

This idea is already in play. In Amsterdam, a repair centre run by refugees, and backed by the city and outdoor clothing brand Patagonia, is helping big brands breathe new life into old clothes.

Meanwhile, government ministries aim to aid progress by prioritising the procurement of recycled or recyclable electrical equipment and construction materials, for instance.

State support is critical to levelling the playing field, analysts say...

Long Road Ahead

The government also wants manufacturers – including clothing and beverages companies – to take full responsibility for products discarded by consumers.

“Producer responsibility for textiles is already in place, but it’s work in progress to fully implement it,” Tak says.

And the household waste collection process remains a challenge considering that small city apartments aren’t conducive to having multiple bins, and sparsely populated rural areas are tougher to service.

“Getting the collection system right is a challenge, but again, it’s work in progress.”

...Nevertheless, Tak says wealthy countries should be leading the way towards a fully circular economy as they’re historically the biggest consumers of natural resources."

-via The Progress Playbook, December 13, 2023