#6-14-2017

[rubiatinctorum]

absolutely horrible that i can't change my hair length at random because when i look at photos from when my hair was shorter i consider getting my hair cut shorter again but then when i look at photos from when my hair is longer i want to keep it long. this could be solved through magic and no other solution.

[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.

[mostlysignssomeportents]

Tesla's Dieselgate

Elon Musk lies a lot. He lies about being a “utopian socialist.” He lies about being a “free speech absolutist.” He lies about which companies he founded:

https://www.businessinsider.com/tesla-cofounder-martin-eberhard-interview-history-elon-musk-ev-market-2023-2 He lies about being the “chief engineer” of those companies:

https://www.quora.com/Was-Elon-Musk-the-actual-engineer-behind-SpaceX-and-Tesla

He lies about really stupid stuff, like claiming that comsats that share the same spectrum will deliver steady broadband speeds as they add more users who each get a narrower slice of that spectrum:

https://www.eff.org/wp/case-fiber-home-today-why-fiber-superior-medium-21st-century-broadband

The fundamental laws of physics don’t care about this bullshit, but people do. The comsat lie convinced a bunch of people that pulling fiber to all our homes is literally impossible — as though the electrical and phone lines that come to our homes now were installed by an ancient, lost civilization. Pulling new cabling isn’t a mysterious art, like embalming pharaohs. We do it all the time. One of the poorest places in America installed universal fiber with a mule named “Ole Bub”:

https://www.newyorker.com/tech/annals-of-technology/the-one-traffic-light-town-with-some-of-the-fastest-internet-in-the-us

Previous tech barons had “reality distortion fields,” but Musk just blithely contradicts himself and pretends he isn’t doing so, like a budget Steve Jobs. There’s an entire site devoted to cataloging Musk’s public lies:

https://elonmusk.today/

But while Musk lacks the charm of earlier Silicon Valley grifters, he’s much better than they ever were at running a long con. For years, he’s been promising “full self driving…next year.”

https://pluralistic.net/2022/10/09/herbies-revenge/#100-billion-here-100-billion-there-pretty-soon-youre-talking-real-money

He’s hasn’t delivered, but he keeps claiming he has, making Teslas some of the deadliest cars on the road:

https://www.washingtonpost.com/technology/2023/06/10/tesla-autopilot-crashes-elon-musk/

Tesla is a giant shell-game masquerading as a car company. The important thing about Tesla isn’t its cars, it’s Tesla’s business arrangement, the Tesla-Financial Complex:

https://pluralistic.net/2021/11/24/no-puedo-pagar-no-pagara/#Rat

Once you start unpacking Tesla’s balance sheets, you start to realize how much the company depends on government subsidies and tax-breaks, combined with selling carbon credits that make huge, planet-destroying SUVs possible, under the pretense that this is somehow good for the environment:

https://pluralistic.net/2021/04/14/for-sale-green-indulgences/#killer-analogy

But even with all those financial shenanigans, Tesla’s got an absurdly high valuation, soaring at times to 1600x its profitability:

https://pluralistic.net/2021/01/15/hoover-calling/#intangibles

That valuation represents a bet on Tesla’s ability to extract ever-higher rents from its customers. Take Tesla’s batteries: you pay for the battery when you buy your car, but you don’t own that battery. You have to rent the right to use its full capacity, with Tesla reserving the right to reduce how far you go on a charge based on your willingness to pay:

https://memex.craphound.com/2017/09/10/teslas-demon-haunted-cars-in-irmas-path-get-a-temporary-battery-life-boost/

That’s just one of the many rent-a-features that Tesla drivers have to shell out for. You don’t own your car at all: when you sell it as a used vehicle, Tesla strips out these features you paid for and makes the next driver pay again, reducing the value of your used car and transfering it to Tesla’s shareholders:

https://www.theverge.com/2020/2/6/21127243/tesla-model-s-autopilot-disabled-remotely-used-car-update

To maintain this rent-extraction racket, Tesla uses DRM that makes it a felony to alter your own car’s software without Tesla’s permission. This is the root of all autoenshittification:

https://pluralistic.net/2023/07/24/rent-to-pwn/#kitt-is-a-demon

This is technofeudalism. Whereas capitalists seek profits (income from selling things), feudalists seek rents (income from owning the things other people use). If Telsa were a capitalist enterprise, then entrepreneurs could enter the market and sell mods that let you unlock the functionality in your own car:

https://pluralistic.net/2020/06/11/1-in-3/#boost-50

But because Tesla is a feudal enterprise, capitalists must first secure permission from the fief, Elon Musk, who decides which companies are allowed to compete with him, and how.

Once a company owns the right to decide which software you can run, there’s no limit to the ways it can extract rent from you. Blocking you from changing your device’s software lets a company run overt scams on you. For example, they can block you from getting your car independently repaired with third-party parts.

But they can also screw you in sneaky ways. Once a device has DRM on it, Section 1201 of the DMCA makes it a felony to bypass that DRM, even for legitimate purposes. That means that your DRM-locked device can spy on you, and because no one is allowed to explore how that surveillance works, the manufacturer can be incredibly sloppy with all the personal info they gather:

https://www.cnbc.com/2019/03/29/tesla-model-3-keeps-data-like-crash-videos-location-phone-contacts.html

All kinds of hidden anti-features can lurk in your DRM-locked car, protected from discovery, analysis and criticism by the illegality of bypassing the DRM. For example, Teslas have a hidden feature that lets them lock out their owners and summon a repo man to drive them away if you have a dispute about a late payment:

https://tiremeetsroad.com/2021/03/18/tesla-allegedly-remotely-unlocks-model-3-owners-car-uses-smart-summon-to-help-repo-agent/

DRM is a gun on the mantlepiece in Act I, and by Act III, it goes off, revealing some kind of ugly and often dangerous scam. Remember Dieselgate? Volkswagen created a line of demon-haunted cars: if they thought they were being scrutinized (by regulators measuring their emissions), they switched into a mode that traded performance for low emissions. But when they believed themselves to be unobserved, they reversed this, emitting deadly levels of NOX but delivering superior mileage.

The conversion of the VW diesel fleet into mobile gas-chambers wouldn’t have been possible without DRM. DRM adds a layer of serious criminal jeopardy to anyone attempting to reverse-engineer and study any device, from a phone to a car. DRM let Apple claim to be a champion of its users’ privacy even as it spied on them from asshole to appetite:

https://pluralistic.net/2022/11/14/luxury-surveillance/#liar-liar

Now, Tesla is having its own Dieselgate scandal. A stunning investigation by Steve Stecklow and Norihiko Shirouzu for Reuters reveals how Tesla was able to create its own demon-haunted car, which systematically deceived drivers about its driving range, and the increasingly desperate measures the company turned to as customers discovered the ruse:

https://www.reuters.com/investigates/special-report/tesla-batteries-range/

The root of the deception is very simple: Tesla mis-sells its cars by falsely claiming ranges that those cars can’t attain. Every person who ever bought a Tesla was defrauded.

But this fraud would be easy to detect. If you bought a Tesla rated for 353 miles on a charge, but the dashboard range predictor told you that your fully charged car could only go 150 miles, you’d immediately figure something was up. So your Telsa tells another lie: the range predictor tells you that you can go 353 miles.

But again, if the car continued to tell you it has 203 miles of range when it was about to run out of charge, you’d figure something was up pretty quick — like, the first time your car ran out of battery while the dashboard cheerily informed you that you had 203 miles of range left.

So Teslas tell a third lie: when the battery charge reached about 50%, the fake range is replaced with the real one. That way, drivers aren’t getting mass-stranded by the roadside, and the scam can continue.

But there’s a new problem: drivers whose cars are rated for 353 miles but can’t go anything like that far on a full charge naturally assume that something is wrong with their cars, so they start calling Tesla service and asking to have the car checked over.

This creates a problem for Tesla: those service calls can cost the company $1,000, and of course, there’s nothing wrong with the car. It’s performing exactly as designed. So Tesla created its boldest fraud yet: a boiler-room full of anti-salespeople charged with convincing people that their cars weren’t broken.

This new unit — the “diversion team” — was headquartered in a Nevada satellite office, which was equipped with a metal xylophone that would be rung in triumph every time a Tesla owner was successfully conned into thinking that their car wasn’t defrauding them.

When a Tesla owner called this boiler room, the diverter would run remote diagnostics on their car, then pronounce it fine, and chide the driver for having energy-hungry driving habits (shades of Steve Jobs’s “You’re holding it wrong”):

https://www.wired.com/2010/06/iphone-4-holding-it-wrong/

The drivers who called the Diversion Team weren’t just lied to, they were also punished. The Tesla app was silently altered so that anyone who filed a complaint about their car’s range was no longer able to book a service appointment for any reason. If their car malfunctioned, they’d have to request a callback, which could take several days.

Meanwhile, the diverters on the diversion team were instructed not to inform drivers if the remote diagnostics they performed detected any other defects in the cars.

The diversion team had a 750 complaint/week quota: to juke this stat, diverters would close the case for any driver who failed to answer the phone when they were eventually called back. The center received 2,000+ calls every week. Diverters were ordered to keep calls to five minutes or less.

Eventually, diverters were ordered to cease performing any remote diagnostics on drivers’ cars: a source told Reuters that “Thousands of customers were told there is nothing wrong with their car” without any diagnostics being performed.

Predicting EV range is an inexact science as many factors can affect battery life, notably whether a journey is uphill or downhill. Every EV automaker has to come up with a figure that represents some kind of best guess under a mix of conditions. But while other manufacturers err on the side of caution, Tesla has the most inaccurate mileage estimates in the industry, double the industry average.

Other countries’ regulators have taken note. In Korea, Tesla was fined millions and Elon Musk was personally required to state that he had deceived Tesla buyers. The Korean regulator found that the true range of Teslas under normal winter conditions was less than half of the claimed range.

Now, many companies have been run by malignant narcissists who lied compulsively — think of Thomas Edison, archnemesis of Nikola Tesla himself. The difference here isn’t merely that Musk is a deeply unfit monster of a human being — but rather, that DRM allows him to defraud his customers behind a state-enforced opaque veil. The digital computers at the heart of a Tesla aren’t just demons haunting the car, changing its performance based on whether it believes it is being observed — they also allow Musk to invoke the power of the US government to felonize anyone who tries to peer into the black box where he commits his frauds.

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/2023/07/28/edison-not-tesla/#demon-haunted-world

This Sunday (July 30) at 1530h, I’m appearing on a panel at Midsummer Scream in Long Beach, CA, to discuss the wonderful, award-winning “Ghost Post” Haunted Mansion project I worked on for Disney Imagineering.

Image ID [A scene out of an 11th century tome on demon-summoning called 'Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros. Anno 1057. Noli me tangere.' It depicts a demon tormenting two unlucky would-be demon-summoners who have dug up a grave in a graveyard. One summoner is held aloft by his hair, screaming; the other screams from inside the grave he is digging up. The scene has been altered to remove the demon's prominent, urinating penis, to add in a Tesla supercharger, and a red Tesla Model S nosing into the scene.]

Image: Steve Jurvetson (modified) https://commons.wikimedia.org/wiki/File:Tesla_Model_S_Indoors.jpg

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/deed.en

[a-kind-of-merry-war]

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

cheat sheet with dates/years under the cut

if you joined in 2007 -  17 years

if you joined in 2008 -  16 years

if you joined in 2009 - 15 years

if you joined in 2010 - 14 years

if you joined in 2011 - 13 years

if you joined in 2012 - 12 years

if you joined in 2013 - 11 years

if you joined in 2014 - 10 years

if you joined in 2015 - 9 years

if you joined in 2016 - 8 years

if you joined in 2017 - 7 years

if you joined in 2018 - 6 years

if you joined in 2019 - 5 years

if you joined in 2020 - 4 years

if you joined in 2021 - 3 years

if you joined in 2022 - 2 years

if you joined in 2023 - 1 years

if you joined in 2024 - 0 years

[doyoulikethissong-poll]

Mark Ronson featuring Bruno Mars - Uptown Funk 2014

"Uptown Funk" is a song by British record producer Mark Ronson featuring American singer Bruno Mars. It was released on 10 November 2014, as the lead single from Ronson's fourth studio album, Uptown Special (2015). "Uptown Funk" was written by Ronson, Mars, Jeff Bhasker, and Philip Lawrence; it was produced by the aforementioned first three. The song began during a freestyle studio session while they worked on a jam Mars and his band had been playing on tour. Copyright controversies arose after the song's release resulting in multiple lawsuits and amendments to its songwriting credits. The song is a funk-pop, soul, boogie, disco-pop, and Minneapolis sound track. It has a spirit akin to the 1980s-era funk music. Its lyrics address fashion, self-love and "traditional masculine bravado", performed in a sing-rapping style filled with metaphors, arrogance, charisma, and fun. Upon its release, the single received generally positive reviews from critics, who praised the instrumental, style and influences of the track. Others criticized it for not being innovative as it tried to emulate 1980s funk music.

"Uptown Funk" topped the charts of 19 countries and reached the top 10 of 15 others, making it the most successful single of Ronson and Mars to date. In the US, "Uptown Funk" topped the Billboard Hot 100 for 14 consecutive weeks and spent seven weeks on the top of the UK Singles Chart. It was certified 11 times platinum by the Recording Industry Association of America (RIAA) and six times platinum by the British Phonographic Industry (BPI). The song spent 11 weeks in the number one position in France, 6 weeks as number one in Australia, and 9 consecutive weeks as number one in New Zealand. It also broke its own streaming record three times in the UK, while breaking the streaming record in the US and Worldwide at that time. As of January 2023, the official music video for "Uptown Funk" was the ninth most viewed Youtube video of all-time, having received over 5.2 billion views.

In 2015, the song won British Single of the Year at the Brit Awards, Best Pop at MelOn Music Awards and was one of the Top 10 Gold International Gold Songs at RTHK International Pop Poll Awards. The track also won BMI Pop Song of the Year at the BMI Awards, Song of the Year at Telehit Awards and Song of the Year at Soul Train Music Awards. In 2016, "Uptown Funk" received Grammy awards for Record of the Year and Best Pop Duo/Group Performance at the 58th Grammy Awards. It also won International Work of the Year at the APRA Music Awards, Best Collaboration at the iHeartRadio Music Awards, while it was nominated for Song of the Year. "Uptown Funk " was inducted to the 2017 edition of the Guinness World Records for achieving the most weeks at number one on Billboard's Digital Song Sales chart. In 2017, the track was one of the winners of Most Performed Songs at the ASCAP Pop Music Awards. "Uptown Funk" is the fifth biggest song of all-time to have charted on the Billboard Hot 100.

"Uptown Funk" received a total of 84,5% yes votes!

[nasa]

A Geminid meteor streaks across the sky as the Soyuz TMA-19M spacecraft is rolled out by train to the launch pad at the Baikonur Cosmodrome on Sunday, Dec. 13, 2015, in Kazakhstan. Credit: NASA/Joel Kowsky

Make a Wish! How to See the Geminid Meteor Shower

Every December, we have a chance to see one of our favorite meteor showers – the Geminids. To help you prepare, we’ve answered some of your most commonly asked questions. Happy viewing, stargazers!

These radar images of near-Earth object 3200 Phaethon were generated by astronomers at the National Science Foundation's Arecibo Observatory on Dec. 17, 2017. Observations of Phaethon were conducted at Arecibo from Dec. 15 through 19, 2017. At time of closest approach on Dec. 16 at 3 p.m. PST (6 p.m. EST, 2300 UTC), the asteroid was about 6.4 million miles (10.3 million kilometers) away, or about 27 times the distance from Earth to the Moon. Credit: Arecibo Observatory/NASA/NSF

What are the Geminids?

The Geminids are caused by debris from a celestial object known as 3200 Phaethon striking Earth’s atmosphere. Phaethon’s origin is the subject of some debate. Some astronomers consider it to be an extinct comet, based on observations showing some small amount of material leaving its surface. Others argue that it has to be an asteroid because of its orbit and its similarity to the main-belt asteroid Pallas.

All meteors appear to come from the same place in the sky, which is called the radiant. The Geminids appear to radiate from a point in the constellation Gemini, hence the name “Geminids.” The graphic shows the radiants of 388 meteors with speeds of 35 km/s observed by the NASA Fireball Network in December 2020. All the radiants are in Gemini, which means they belong to the Geminid shower. Credit: NASA

Why are they called the Geminids?

All meteors associated with a shower have similar orbits, and they all appear to come from the same place in the sky, which is called the radiant. The Geminids appear to radiate from a point in the constellation Gemini, hence the name “Geminids.”

A Geminid streaks across the sky in this photo from December 2019. Credit: NASA

When is the best time to view them?

The Geminid meteor shower is active for much of December, but the peak will occur during the night of Dec. 13 into the morning of Dec. 14, 2023. Meteor rates in rural areas can be upwards of one per minute this year with minimal moonlight to interfere.

What do I need to see them?

As with all meteor showers, all you need is a clear sky, darkness, a bit of patience, and perhaps warm outerwear and blankets for this one. You don’t need to look in any particular direction, as meteors can generally be seen all over the sky. If you want to take photographs, check out these helpful tips.

An infographic based on 2019’s meteor camera data for the Geminids. Credit: NASA

Do you have any advice to help me see the Geminids better?

Find the darkest place you can and give your eyes about 30 minutes to adapt to the dark. Avoid looking at your cell phone, as it will disrupt your night vision. Lie flat on your back and look straight up, taking in as much sky as possible.

A Geminid streaks across the sky in this photo from December 2011. Credit: NASA

What will the meteors look like?

According to Bill Cooke, lead for the Meteoroid Environment Office at NASA’s Marshall Space Flight Center in Huntsville, Alabama, “Most meteors appear to be colorless or white, however the Geminids appear with a greenish hue. They’re pretty meteors!” Depending on the meteor’s chemical composition, the meteor will emit different colors when burned in the Earth’s atmosphere. Oxygen, magnesium, and nickel usually produce green.

Make sure to follow us on Tumblr for your regular dose of space!

[felassan]

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

Video description:

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

[source]

Key notes from the vid and the comments underneath:

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

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

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

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

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

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

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

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

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

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

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

There are still lots of veterans at BW

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

More under cut due to length.

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

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

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

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

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

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

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

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

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

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

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

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

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

MELE involved a lot of external devs

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

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

BW focuses more on consoles because of sales numbers

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

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

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

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

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

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

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

EA doesn't really sell IPs

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

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

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

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

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

[source]

[petrerpkr]

Jason todd reading order

For more info here /& /here

Batman #357-#399 (1983-1986)

Batman #402-416(1986)

Detective Comics #524-#567 (1983-1986)

Detective Comics #568-#582(1986)

Nightwing Vol. 2 #101 -106(2005)

Batman #424-429(1988)(Batman: A Death in the Family)

Batman: A Lonely Place of Dying (1989)

Red Hood: Lost Days (2010)

Batman: Under the Red Hood Batman #635-641, #645-50, & Batman Annual #25(2005)

Green Arrow Vol. 3 #69-72(2007)

Nightwing Vol. 2 #118-122(2006)

Batman RIP(2008)

Robin (Vol.2) #175-183(2008)

Batman: Battle for the Cowl(2009)

Batman and Robin #1-6 + 23-25(2009)

Red Hood and the Outlaws vol 1 #0-20(2011)

Batman Incorporated #0-6(2012)

Batman Incorporated #7-13 + Batman Incorporated Special #1(2013)

Death of the Family(2013)

Red Hood and the Outlaws Annual #1 (2013)

Batman and Robin (Vol. 2) #20(2013)

Red Hood and the Outlaws #21-40(2013) + Red Hood and the Outlaws Annual #2(2014)

Red Hood/Arsenal (2015)

Batman and Robin Eternal(2015)

Batman and Robin #33–37 (2014 – 2015)

Batman Eternal(2015)

Robin war

Red Hood and the Outlaws: Rebirth #1 (2016)

Red Hood and the Outlaws Vol. 2 #1-13 (2016)

Red Hood and the Outlaws Vol. 2 Annual #1 (2017)

Red Hood and the Outlaws Vol. 2 #14-25

Red Hood and the Outlaws Vol. 2 Annual #2(2018)

Red Hood and the Outlaws Vol. 2 #26(2018)

Red Hood: Outlaw #27-36 (2018)+Red Hood: Outlaw Annual 3(2019)

Event Leviathan(2019)

Red Hood: Outlaw #37-52(2019)

Joker War(2020)

Batman: Urban Legends #1-6 (2021)

Robin #5(2021)

Nightwing Annual (2021)

Task Force Z #1-12(2021)

The Joker : The Man Who Stopped Laughing 1-6 (2022)

Batman – Legends of Gotham (2023)

Lazarus Planet: Next Evolution (2023)

Knight Terrors: Robin (2023)

Red Hood – The Hill(2024)

[vestaignis]

Маяк Фур (Le Four) - это огромная башня, стоящая в открытом море, категории «ад», которая способена противостоять волнам 30-метровой высоты.

Маяк Фур расположен у полуострова Сен-Лоран во Франции, между западным побережьем Земли Леона и скалами Рош-д'Аржантон, находится у входа в бухту Шеналь-дю-Фур.

Маяк Фур был построен в море между 1869 и 1874 годами. Это маяк-близнец маяка Pierres Noires, построенного к югу от Молена. Его возвели на гранитном рифе диаметром 25 м и высотой 11,50 м. Строительство под руководством инженеров Бланша, Леонса Рейно и Фену началось в апреле 1869 года и было значительно затруднено волнами, разбивающимися о скалу. Через шесть месяцев строительство было приостановлено на зиму; строительная кампания 1870 года началась с устранения повреждений, нанесенных зимними штормами.

Во время строительства три человека — Эрве Жезекель, Франсуа Леборнь и бригадир Ле Бреливе — погибли, когда их судно снабжения налетело на скалу и затонуло. В ночь с 14 на 15 марта 1874 года маяк был введен в эксплуатацию.

14 февраля 1899 года в маяк ударила молния. Два других несчастных случая оставили свой след в его истории. Смотритель мояка погиб 13 февраля 1913 года, надышавшись парами газойля. 9 декабря 1978 года судно снабжения перевернулось около маяка, в результате чего утонули Мартин Перро и Жан-Ив Керноас. В 1985 году противотуманный сигнал сжатого воздуха был заменен на электромагнитную систему мощностью 1200 Вт. Маяк был автоматизирован 6 октября 1993 года. В 2017 году он был классифицирован как исторический памятник.

The Le Four Lighthouse is a huge tower standing in the open sea, a category "hell", which is able to withstand waves of 30 meters high.

Le Four Lighthouse is located off the Saint-Laurent peninsula in France, between the western coast of the Land of Leon and the rocks of Roche d'Argenton, at the entrance to the bay of Chenal du Four.

The Le Four Lighthouse was built in the sea between 1869 and 1874. It is a twin lighthouse of the Pierres Noires lighthouse, built south of Molènes. It was erected on a granite reef with a diameter of 25 m and a height of 11.50 m. Construction under the direction of engineers Blanche, Léonce Reynaud and Fenoux began in April 1869 and was significantly hampered by the waves breaking on the rock. After six months, construction was suspended for the winter; the 1870 construction campaign began to repair the damage caused by the winter storms.

During construction, three men, Hervé Jézéquel, François Leborgne and foreman Le Brélivet, died when their supply boat hit a rock and sank. The lighthouse was commissioned on the night of 14-15 March 1874.

On 14 February 1899, lightning struck the lighthouse. Two other accidents have left their mark on its history. The keeper of the moyak died on 13 February 1913, after inhaling diesel fumes. On 9 December 1978, a supply boat capsized near the lighthouse, drowning Martin Perrault and Jean-Yves Kernoas. In 1985, the compressed air fog signal was replaced by a 1,200 W electromagnetic system. The lighthouse was automated on 6 October 1993. In 2017, it was classified as a historical monument.

Источник://www.mayachnik.ru/node/936,/www.ewan-photo.fr / actualites/le-phare-du-four-une-obsession-partagee/,/imgur.com/ phare-du-four-lighthouse-off-northern-coast-of-france-WqeQcjx, //www.jean-guichard.com/en/photo/france/phares-de-france/le-four-15,/vk.com/@morskoy_velikan-samye-krasivye-mayaki-mira, /otvet.mail.ru/question/225018328,/en.wikipedia.org/wiki/Le_Four_Lighthouse.

[cinematv]

RIVERDALE (2017 - 2023) Season 6, Episode 14: Venomous

[aralisj]

1. sew my name, josh pyke 2. the bear (2022-) 3. phantom thread (2017) 4. our flag means death (2022-2023) 5. stradivarius tag 6. luciality 7. kult tag 8. transformations of the lover, adonis 9. little women (2019, costume design by jacqueline durran) 10. cherry, harry styles 11. little women (2019) 12. i-wrotethisforme 13. challengers (2024, costume design by jonathan anderson) 14. sew my name, josh pyke

[imaginespazzi]

Part 3: Miss Me, Miss Me Not

Masterlist - Part 1 - Part 2 - Part 4 - Part 5 - Part 6 - Part 7 - Part 8 - Part 9 - Part 10 - Part 11 - Part 12 - Part 13 - Part 14

And it hits me when the lights go on (shit, maybe I miss you)

(In which a lazy writer somehow still manages to make her deadlines, much to her own shock)

Pairing: Paige Bueckers X Azzi Fudd

Themes: Angst, Pining and a teensy bit of Fluff

Words: 5.8K

TW: Swearing (once again I think that's it?)

A/N: Hello my lovelies <3 I'm not gonna lie til about an hour ago, I very much did not think I was gonna give y'all a Monday update but here we are! A couple of housekeeping things, I went back and added months to the years so hopefully that's more helpful. I lowkey dislike this part but I felt like the fic needed it and I'm excited to write the next part. Ngl, the editing on this is pretty nonexistent because trying to read this back lowkey killed me so please feel free to point out mistakes so I can fix them. As always, let me know what you liked, and disliked and anything you wanna see going forward. I really appreciate all of y'alls feedback and the long reviews make my day! Have a good rest of your week lovies <3

September 2017

Azzi: just got home :) 

It’s a simple text and it should be easy for Paige to conjure up an equally simple reply. Instead she finds herself typing and deleting, over and over, because nothing sounds quite right. There’s this hollow feeling thrumming in her chest, that has only gotten stronger every passing minute since she’d said goodbye to Azzi at the airport. If she tries hard enough, she can still feel the remnants of their last hug lingering against every inch of her skin. She wants to memorize that feeling and create a blanket out of its threads to numb the ice cold shiver that’s been repeatedly running through her veins from the second Azzi had gotten on that plane. But even that might not be enough. Not when she’s learnt just how warm Azzi’s presence can be and how everything else pales in comparison. 

Paige lies to herself that it’s an accidental slip of her fingers, that she’d meant to press send not call, that she had every intention of hanging up the facetime on the first ring itself. 

But then Azzi picks up on the second one.

And really it would be rude to hang up. 

“Hey what’s up?” Azzi’s face fills the screen, tired eyes staring intently at Paige through the screen. 

“Oh um-” Paige fumbles for words, awkwardly shuffling her feet that are dangling off the side of her bed, “I just wanted to ask how your flight was?”

Azzi raises an eyebrow, “you couldn’t have texted me that?”

“Too tired to text,” Paige lies and the words i just wanted to hear your voice stay stuck, burning hot, in her throat, “gotta save these money-making fingers for more important things.”

“Yeah I’m hanging up-”

“NO-” it comes out far more forceful than it should and if possible, Azzi’s eyebrow shoots up even farther, as Paige clears her throat, “I mean- uh- you didn’t tell me how your flight was.”

Paige is too busy cringing at herself to notice the light blush that tinges Azzi’s cheeks. She’s too busy wondering why this girl brings out this nervous bumbling side of hers to notice the fond smile that almost cracks through Azzi’s lips. 

“The flight was okay. I actually got to sleep this time,” Azzi says pointedly and Paige laughs. 

“So what you’re saying is it was boring as hell.”

“I’m saying it was really peaceful not having someone yapping in my ear while I was trying to sleep.”

“So you didn’t miss me?” Paige presses, trying to keep her voice teasing despite how desperately she wants the admission. 

Azzi hesitates, as if she’s debating with herself, before, “I didn’t say that.”

It’s a little ridiculous how large Paige’s grin is but it’s okay, because Azzi’s smiling back, soft and shy. They’d look foolish to anyone else, the way they’re so intently gazing at each other through a screen as if there’s no barrier between them at all. 

“It’s gonna be weird going to the gym without you tomorrow morning,” Paige confesses after a second, moving to lay down on her stomach. 

“I bet. You’re gonna get absolutely nothing done without me,” Azzi teases dramatically before her eyes soften, “it’s weird that I’m not gonna see you at all tomorrow.”

There’s something gut-wrenching about that admission and yet, there’s something in it that heals a part of Paige’s heart that she hadn’t even known needed to be fixed. It means something to her that Azzi must feel it too. Because if she’s honest with herself, Paige had been just a little afraid that maybe the connection was just in her head, that maybe Azzi was simply tolerating her presence out of kindness. 

“You should just move to Minnesota,” Paige replies finally, “much nicer than Virgina or whatever.”

“Have you ever even been to Virginia?” Azzi asks, eyebrows raised as she flips herself to lie on her back, holding her phone above her in a way that lets Paige see entirely too much and yet not nearly enough. 

“No but it sounds boring as fuck.”

“Not with me,” Azzi says, biting her bottom lip sheepishly as soon as the words are out. 

Paige smirks, suddenly filled with a brand new confidence, “yeah? You’d make Virgina interesting for me Fudd? What would we do?”

Azzi licks her lips and Paige feels her mouth go dry. 

“We’d be together,” the younger girl says finally, averting her gaze as the depth of her words begin to make Paige feel like she’s being flooded by an ocean of emotions she’s not quite ready to feel yet, “anything can be interesting if we’re together.”

It would be so easy to come up with a sarcastic quip or tease Azzi for being a sap and yet there’s a certain sincerity in this moment that feels too fragile for Paige to feign nonchalance. 

“Is Virginia nice in the winter?” she asks finally, hands fidgeting with the hair ties secured around her wrist, “Minny’s a little too cold sometimes.”

Azzi’s eyes shine and Paige wants to try and read them, find the little clues hidden in her irises and solve the mystery lingering behind the crimson flush of her cheeks. But the truth is that Paige is a little scared of what she’d find, a little scared that discovering Azzi might mean discovering herself too. 

“You should come find out some time,” the brunette says, casual tone filled with intricacies of something far deeper. It’s the closest they’ve gotten to saying anything of actual substance and they tip-toe around saying what they both want, daring the other to ask first. 

“I dunno,” Paige says, determined to win the game, “I’m not in the habit of showing up to places without a proper invite.”

Azzi scoffs, “a proper invite? Are you expecting someone to send you a carrier pigeon with a gold letter addressed to her royal highness or something?”

“That would be nice,” Paige surmises and Azzi rolls her eyes.

“Does your back ever hurt from carrying that ego?”

“Only hurts from carrying my team.”

“Oh my god you’re so full of it.”

“Full of talent? Yessirrrr.”

Azzi huffs, “Paige.”

“Azzi,” Paige hums. 

“Do you wanna come visit me in Virginia during winter break?” Azzi says finally, a small smile playing on her lips like she’s okay with losing this game as long as it’s to Paige. 

“If I must,” Paige says dramatically, shrugging her shoulders and everything as Azzi lets out an offended squeak. But inside, her heart flutters at the offer, at the idea of seeing Azzi again, even if it feels like a lifetime away. Because as long as it’s Azzi on the other side, Paige and her impatient self can wait however long it takes. 

“Actually you know what nevermind, you don’t gotta come,” Azzi concedes bitterly,  scrunching her face (and Paige would never tell her this but she thinks Azzi looks just a little too cute when she’s mad and so maybe she riles her up on purpose)

“No takesies backsies Az,” Paige sing-songs before her lips uptick from a smirk into something more sincere, “hey Az,” she whispers, giggling to herself when Azzi pretends to ignore her, “I’d really like to come see you in Virginia during winter break.”

And as a brilliant grin dazzles across Azzi’s face, Paige realizes that her favorite thing about Azzi’s smile isn’t when her dimples show or when her eyes twinkle, it’s when it’s there because of Paige, when it’s there just for Paige. 

“Good,” Azzi whispers as they fall into a comfortable silence. 

There’s this serene sense of calm that laces itself around Paige’s nerves. Her normally fidgeting body is content to be perfectly still, an anomaly to her usual demeanor. The truth is that Paige isn’t the kind of person who’s okay with just existing; she likes to spend every second in motion, living out the high. There’s a part of her that’s scared of missing moments, scared that the people around her will leave her behind if she doesn’t chase them. But it’s different with Azzi. The younger girl makes Paige feel like it’s okay if she takes a moment to just breathe. Because Azzi will wait. Because Azzi won’t leave Paige behind. 

“Wait,” it’s a little while before Azzi pipes up, shaking Paige out of her thoughts, “what time is it?”

Paige’s eyes flicker to the time on her phone, confused by the line of questioning, “it’s almost 9 why?”

“Don’t you have a team party or something to go to tonight?” Azzi asks, face scrunching, “I swear you told me you had something tonight.”

“Oh-yeah- Amaya’s back to school thing,” Paige sheepishly scratches her neck, suddenly feeling itchy in her flannel shirt. She’d forgotten she was wearing that instead of her daily clothes. Hell, she’d forgotten she was supposed to be going somewhere in the first place, too occupied with other thoughts. 

“Bro get up,” Azzi orders, “you’re already late.”

“Nah it’s fine. I don’t think I’m gonna go,” Paige says and she thinks she should probably feel a little more guilty about it. 

“What do you mean you’re not gonna go?” Azzi asks in disbelief, “dude you’re the star of the team. You have to go.”

“Amaya will understand besides-” Paige drags in a deep breath, feeling vulnerable as the next words fall out in a quiet whisper, “I don’t wanna hang up yet.”

“Paige c’mon we can talk tomorrow,” Azzi tries to protest but it’s half-hearted at best.

“I wanna talk right now,” Paige argues, “you don’t wanna talk to me?”

For a second Paige thinks Azzi might just say no, might just chip away a little bit of heart with a well-intentioned rejection, but she doesn’t, “always wanna talk to you P.”

“Then don’t hang up. Talk to me.”

And Azzi does. All night. 

Two weeks laters there’s a letter, in an envelope with a picture of a carrier pigeon, that arrives in the Bueckers’ mail box. 

To her royal highness, 

Unfortunately I couldn’t find an actual carrier pigeon (I swear I tried) so this envelope and the mailman will have to do. 

~ You are formally invited this winter break to the Fudd family residence in Virginia. ~

(And you better show up Bueckers)

Yours, 

Azzi

February 2033

“I can’t believe you’re leaving me,” Ice whines petulantly as she makes herself comfortable on the couch across from where Paige is getting her makeup done, “this is parental neglect.”

Paige laughs, eyes closed, her makeup artist does her mascara, “you’ll survive.”

“You don’t know that” Ice argues, plucking a grape from the fruit basket before segueing into a rant about how boring Arlington, Texas is. 

Paige is grateful for the distraction her younger friend is providing. Her nerves had been on edge since the moment she’d woken up this morning, anxious to get the impending farewell press conference over with. She’d already started accepting that the Wings weren’t the right place for her but that feeling had only been heightened by her trip to the Valkyries. And ever since she’s come back, Paige feels a little bit like she’s sleepwalking through her final moments in Dallas. If she’s honest, she’s probably rushing things a little bit. There’s still plenty of time before she really has to move to Oakland but it had been her choice to move there as soon as possible. Paige had always been good at conjuring excuses and she had plenty as to why she needed to be in California so soon. But at the end of the day it isn’t about training or team bonding or any of the other hundred justifications she’s given anyone who’s asked. It’s about a little girl who’s eyes had been brimming with tears when saying goodbye, a little girl who had made Paige pinky swear that she’d be back as soon as possible. 

Really, Paige thinks she should be applauded for her restraint, because truth be told, the second Stephie’s lower lip had trembled, Paige had been prepared to ask Ice to just ship her stuff to Oakland so that she’d never have to let go of the little girl’s hand. 

And here’s the thing, Paige is willing to admit she wants to go back to the Bay Area for Stephie. It’s that pesky little part of her that’s desperate to go back for Stephie’s mother, to go back for one more hesitant yet lingering touch, that she won’t ever share with anyone else. 

“I never thought I’d live to see you and Azzi willingly playing together again,” Ice says as soon as Paige’s makeup artist leaves the room, “KK and I didn’t even try betting on it, we were that sure it wouldn’t happen. Shit I should have. I totally would have won.”

“Don’t y’all get tired of betting on my life?” Paige asks, rolling her eyes, trying to ignore the first part of what Ice said. 

“Betting on your life has made me hundreds of dollars bro,” Ice says, before a more earnest  look crosses her face, “but genuinely P, are you sure about this? There’s a lot of history there.”

Paige sighs, “it’s not about our history. It’s a basketball decision. And we’re both mature adults who know that. I’m just tryna win. Nothing else.”

“It’s never nothing when it comes to you two.”

“It is this time,” Paige argues adamantly and Ice raises her hands in surrender. 

“I just don’t want another set of teammates to have to deal with y’alls bullshit,” the younger girl teases, but it’s laced with a hint of seriousness that sends a flare of guilt shooting through Paige’s body. 

“Ice-” she begins.

But Ice is quick to change to a lighter subject, “can’t believe Jana’s the one that gets mom and dad back together. I always knew she was the favorite.”

“We didn’t have favorites,” Paige plays along, thankful for Ice and her ability to always keep the tension to a bare minimum. 

“Oh don’t lie. We all know you did,” Ice scoffs and then lets out a chuckle, “and now Azzi’s actually a mom. That’s kinda insane. And you met the kid right?”

“Yeah. Yeah I did,” Paige says and she can’t help the way her entire face breaks into a gleaming smile as her thoughts turn into memories of Stephie. She doesn’t even realize she’s gotten lost in a different world until Ice coughs, an amused grin playing on her lips. 

“You’re so royally fucked Paige,” Ice shakes her head, “the only person I’ve seen you smile that big for before is Azzi.”

“She’s a cute, smart, adorable kid, that’s why I’m smiling,” Paige tries to defend herself. 

“She’s Azzi’s cute, smart, adorable kid,” Ice counters. 

“That has nothing to do with it,” Paige protests again but it rings hollow to her own ears.

“Oh my god I needa call KK and get this bet started. It’s only a matter of time for real,” Ice says, more to herself than to Paige, as she whips out her phone, probably texting KK. 

“A matter of time till what?”

“You’ll find out Paigey,” Ice says gravely with a mocking smile, patting Paige’s head, “all in due time.”

***

The Dallas Wings media room is buzzing, reporters desperate to ask Paige questions and the blonde tries to maintain a smile despite the fact that her heart is lurching in her throat right now. Her opening speech had been short and sweet, parroting basically the same thing that had gone out on her social media the night before; she’d been desperate to just get it out. Generally, Paige is pretty good with the media, having been immersed in the spotlight since basically forever. The attention and how to maneuver it has always come naturally to her so she’s not sure why she feels so unnerved by it all today.  From the back of the media room, Ice sends her a thumbs up and a reassuring grin and Paige lets out a breath, glad to have at least that comforting presence with her. 

“Aidrian Ginsburger with Bleacher Report, Paige, you’ve obviously spent all of your career so far with the Wings, can you tell us a little bit about the impact this organization has had on you?”

Paige smiles at the question, letting her brain skim through pages and pages of fond memories she has of time spent with this team. It might be time to move on but that doesn’t mean she doesn’t have plenty of cherished moments. 

“Yeah um- this place has really shaped who I am as a person. Since day one, the front office, obviously it’s a different one to the one I came in with, they did a lot to make sure that I was comfortable. My teammates through the years have been incredible and I wouldn’t be the player I am today without them. And of course the fans you know, they always showed out for the team, for me. Always supported me in anyways and I hope that I was able to give back the love to them that they always gave to me,” she says, suddenly nostalgic for the team that had started it all. 

The next questions are similar in nature and Paige’s answer varies only in words but not substance. She feels herself start to settle into it, now fielding the expected questions about the Wings and Valkyries with an air of confidence. There are a couple questions about Azzi that make her heart thump, but that was to be expected. It’s a pretty brilliant story in the making, two MVPs who used to play on the same college team coming together. Talia had warned Paige in advance that there was no avoiding it. But for the most part the questions have an easy answer about how Azzi’s a brilliant player and she’s excited to play with her old friend again. That is until a familiar hand shoots up and all the tension that had previously dissipated, comes roaring back with a vengeance. 

“Olivia Reynolds with the Dallas Morning News, Paige, as others have said today, you and Azzi Fudd played together at UConn and you were best friends.” Olivia’s eyes glint viciously, “I mean it’s pretty well documented how hard you tried to recruit her to UConn. But despite being best friends, the two of you have been never seen hanging out, outside of games and formal events, unlike your other teammates that is-”

“Is there a point to this?” Paige asks, hands fisting in her lap as she tries to keep herself calm. 

Olivia smiles, sugary sweet, “I was just wondering if maybe there was some tension and how that would affect your on-court chemistry at the Valkyries?”

“There’s no tension,” Paige lies through gritted teeth, “we didn’t hang out because we live far apart. There isn’t much else to it. And even if there was, Azzi and I are professionals. We wouldn’t let anything off the court affect our goal to win.”

“You lived far apart before UConn too, but that didn’t seem to stop you guys. What changed?” Olivia presses.

“Time did. Our lives did. There’s nothing sensational here. It’s just a case of two people drifting apart,” Paige says and the fabrication feels heavy on her tongue. If only it really had been that simple. 

“But clearly not that much,” Olivia says, and Paige glances at the moderator, desperate for an intervention, “there were plenty of fan pictures of the two of you out getting ice cream with Azzi’s daughter. It seems like you’re already fitting into that Bay Area life-”

“I’m not hearing a question at the end of your sentence,” Paige hisses and she can practically already hear the scolding she’s going to get from Talia once her agent gets wind of how this press conference had gone. The entire media cohort is watching the exchange with wide eyes, no doubt questioning whether they were embarrassed or impressed by their colleague. Ice is mouthing something to Paige, probably something along the lines of please keep your shit together, but Paige is steaming. Really, she should have expected this. 

“Well if you’d let me finish,” Olivia snarls, the façade of innocence dropping, “even if the two of you have drifted, as you put it, clearly there’s still a relationship there. How big of a role did Azzi Fudd play in your choice to move to the Valkyries?”

Paige sucks in a deep breath, nails digging into her palm at the question, “Azzi is the best shooting guard in the country. That was her role in my decision to move to the Valkyries. I don’t know what else you’re trying to imply, but I want to play with her because we play well together. That’s it,” she stands up and there’s pin drop silence, “thank you all for coming but we’re done with this press conference. 

***

Paige is seething as she exits the media room, Ice hot on her heels trying to calm her down. The sane part of her knows she should head back to the makeup room or even to her car, instead she finds her feet carrying her in the direction of where she knows Olivia Reynolds will be, reviewing her press conference notes by the coffee machine like she always is. 

“What the actual fuck was that?” Paige spits as she comes to a halt in front of the reporter. 

“I know you think playing basketball is the only job in the world Paige, but that was a reporter doing her job,” Olivia says, her calm and composed voice only furthering Paige’s irritation. 

“Bull-fucking-shit.” Paige sneers, “that wasn’t a reporter out there, that was my ex-wife grilling me like we were back in fucking divorce court.”

Olivia cocks her head, “oh so you do remember who I am to you then?”

“Oliv-”

“Because if you did remember, I’d like to think you’d have the courtesy to at least personally tell me that you were moving to your,” she drops her voice, “ex-girlfriend’s team instead of letting me find out with the rest of the world. You don’t think you owed me that?”

“That’s what this is about?” Paige sighs, “Olivia we’ve been divorced for almost three years now, I don’t owe you-”

“You didn’t owe Azzi anything either,” Olivia whisper-yells, the calm in her voice replaced by the same anger that had tainted the last year of their marriage, “but when we first started dating, you kept us a secret for months. You wouldn’t even tell your fucking teammates cause you were so scared she’d find out,” her eyes drift towards Ice who looks like she wishes she’d made a different decision rather than following Paige out here, “you said she deserved to hear it from you but apparently I don’t-’

“I didn’t mean it like that Olivia. Look, I meant what I said up there. There’s nothing between- ”

“Spare me,” Olivia says, as she stuffs her notepad into her bag, “you can lie to all those other reporters out there about how all of this is a basketball decision. You can even lie to yourself if you want. But you can’t lie to me, not when I spent four years fighting to keep our relationship from getting crushed under whatever it is that Azzi is to you.”

***

It doesn’t matter how far Paige burrows her head into her pillows, she can’t seem to stop herself from hearing Olivia’s words reverberating through her ears. The two of them had done well at co-existing in their social circles after the divorce had been finalized. While no one could quite call them friends, they’d done a good job at being friendly, being able to converse and share an occasional drink when in their combined friend group. And if Paige is honest, she knows she’s fucked up, knows she probably did owe Olivia a call. But calling Olivia would have meant calling someone who would inevitably make Paige face the truth, just like she had today. The truth that, even with the deal Talia had concocted with the Liberty hanging in the background like a dark presence, the move to the Valkyries was about a lot more than just basketball for Paige. 

She’s so entrenched in her thought that she doesn’t bother checking who it is when the facetime rings, irritation seeping into her voice as she answers it, face still buried in her pillows, “WHAT?”

“Miss Buecks?” a tiny voice comes through the phone and for a second, Paige thinks she must be dreaming, until she finally lifts her head to look at her phone, and Stephie’s small face lights up the whole screen. And it’s like she can feel little hands on her shoulders, slowly unknotting her tightened muscles. 

“Stephie,” she breathes out, a sudden sense of serene calm washing over her previously tense body. 

“Hi Miss Buecks,” Stephie says happily before she squints at the screen, “you sleep weird.”

Paige laughs, “and why’s that?”

“You’re not wearing pajamas and it’s only seven. ‘Dults don’t sleep at seven,” Stephie says matter-of-factly. 

“It’s actually nine here,” Paige says, a little surprised by the time; she hadn’t realized she'd been moping in her bed for that long. Ice had forced her to get lunch together, not wanting to leave Paige alone after the encounter with Olivia. Once she’d finally gotten back to her apartment, Paige had flopped on her bed, taking out her frustrations on her poor pillow. 

“That’s not poss-ble,” Stephie scrunches her face, “Mama’s phone says it’s seven.”

“It’s seven in California, it’s nine in Texas,” Paige tries to explain though by the way Stephie’s looking at her, she thinks she’s probably just confusing the girl more, “how’d you figure out how to call me babe?”

Stephie gives her an exasperated look, “Miss Buecks I’m five. I know how to use facetime.”

“And does your Mama know you're facetiming me?” Paige asks, eyebrows raised.

“She’s in the shower,” Stephie whispers, grinning sheepishly. 

As if on cue, Azzi appears on the corner of the screen and Paige feels her mouth run dry. The darker skinned woman is clad in a light pink fluffy bathrobe that ends right above her knees, giving Paige the perfect view of her long, toned legs that seem to shimmer despite the shitty quality of the facetime. Rivulets of water cling to her neck, delicately cascading down the valley of her breasts before disappearing from sight. And Paige must be dehydrated because never has she wanted to taste a drop of liquid more than she does right now. 

“Stephie,” Azzi groans, as she walks towards the phone and Paige gulps, heart beating faster with every step the other woman takes, everything about her becoming clearer and clearer, “what did I say about using my phone.”

“Only in em-a-gencies,” Stephie recites, “but Mama I had an em-a-gency.”

Azzi tilts her head, eyebrows raised as she gives her daughter a knowing look, “and what was your emergency?”

“I really, really, really, this much” Stephie stretches out her hands as far as they’ll go,  really, really, really, miss Miss Buecks.”

Paige feels her heart flutter. Stephie’s words feel like a hand carefully pulling her out from under the pile of stress she’d been buried under the whole day. It’s like the little girl is pushing away the rubble pressing against her lungs, turning the rocks into dust with a light touch and Paige feels like she can finally breathe. 

“Sounds like a pretty big emergency to me,” she says, relishing the way Stephie’s face lights up at the admission, “cause I really, really, really miss you too Steph.”

“See Mama,” Stephie says, placing the phone against a wall so can place her hands on her hips and look up at Azzi with a pleased smirk. 

Azzi rolls her eyes before glaring at Paige, “you’re a bad influence on her.”

“I’m the best influence on her,” Paige argues, sending Stephie a conspiratorial wink, “just you wait Az, I’mma teach her all the good things.”

Something unreadable flashes across Azzi’s face before she’s back to looking at Paige with an unimpressed arched eyebrow, “I am not letting you corrupt my daughter Paige Bueckers.”

“We’ll see,” Paige says slowly and Azzi shakes her head before turning to Stephie. 

“Alright Stephie bean time to go brush your teeth. It’s almost bedtime babes,” she says with a stern look 

“But Mama-”

“No arguing, you have school tomorrow missy,” Azzi reminds the little girl and Paige can’t help but marvel at the mother that Azzi’s become. And it makes her heart ache for the fantasies she’d dreamed of when she was in her early twenties. She’d always known Azzi would be a great mother; Paige had just naively thought she’d be there alongside her too. 

“Can Miss Buecks stay on the phone till I fall asleep?” Stephie asks, peering up at Azzi with big doe eyes, “please Mama pleeeease.”

“I’m sure Miss Buecks has other things-”

“I don’t,” Paige cuts in far too enthusiastically, clearing her throat to get back some semblance of restraint as both mother and daughter turn to look at each other, “I don’t have anything to do tonight so I can stay till you fall asleep Stephie.”

“YAYY,” Stephie cheers enthusiastically while Azzi studies her with a weary look, “I’m gonna go brush my teeth and then you can read me, my story Mama.”

With that, the little girl runs in the direction of what Paige can only assume is the bathroom, skipping with childlike joy as she sing-songs about something Paige can’t quite make out. 

“You know you don’t have to say yes to everything she asks right?” Azzi says slowly as she grabs her phone and sits on the couch. 

Paige shrugs, “I have time to stay.”

“Do you?” Azzi asks skeptically, “because from what I heard the Wings are having a little farewell party tonight, for you.”

Paige narrows her eyes, “and how exactly did you hear that?”

“I have connections.”

“You talked to Ice.”

“I talked to Ice,” Azzi concedes, “and I’m pretty sure you’re already an hour or so late for it.”

“Exactly. I’m already an hour late so why bother,” Paige says, sitting up so she can rest head against her headboard, “why were you talking to Ice?”

“I can’t talk to my friend?” Azzi asks slowly. 

“Of course you can but why specifically today?” Paige presses 

Azzi bites her lip, “I um- I watched your press conference today. You uh-” she averts her gaze, “you seemed really stressed at the end and I wanted to make sure you were okay.”

A soft grin upturns Paige’s lips before she can stop it, “were you worried for me Fudd?”

“That’s not-” Azzi groans, “shut up.”

Paige smirks, “you were worried for me.”

“I was concerned for my future teammate," Azzi huffs, “besides,” her face hardens, “she was way out of line.”

Paige sighs at the implied mention of Olivia, “maybe but maybe I deserved it.”

“No you didn’t,” Azzi protests and that oh so familiar protective tone in her voice carves itself into every crevice of Paige’s heart, “no one deserves to be put on the spot like that. She was being unethical trying to dig into your personal life like that.”

“This is nice,” Paige says softly, unable to help herself. 

“What is?” 

“Seeing you get all defensive over me. It's nice to see you still care. I didn’t know if you still did.”

Azzi’s quiet for a second, gnawing at her bottom lip as she looks at Paige, “I’ve always cared Paige. And-” she hesitates as the tightrope beneath them wavers, “I’m always gonna care.”

There’s years worth of unsaid words lingering in the silence between them as they breach some unspoken rule they’d both inadvertently agreed to. And they both know that they shouldn’t be saying things like this to each other, that they’re teetering on the edge of falling into an abyss that has nothing but destruction at the bottom. But Azzi’s words feel like sunshine, like heat waves across her skin and Paige is so tired of feeling cold. 

Before either of them can say another word, Stephie comes back into the room, crawling into Azzi’s lap.

“I’m back,” she beams, completely unaware of the way the two adults are scrambling to act normal around her. 

“Here baby,” Azzi hands the phone to Stephie, “take Miss Buecks to your room. Mama’s gonna go change and then she’ll come read to you okay?”

“‘Kay Mama,” Stephie complies, pressing a soft kiss to Azzi’s cheek before running towards her room. For a second Paige’s screen is blurred in motion until Stephie fixes her again and Paige catches a glimpse of Stephie’s room, specifically the walls that are painted the perfect shade of Valkyrie purple. 

“I love your walls Stephie,” she compliments.

“They’re pu-ple,” Stephie exclaims, “that’s my favorite color.”

“First the ice-cream, now the color, you’re stealing all of my favorites kid,” Paige teases but she’s secretly pleased by this revelation. It’s dangerous how fast Stephie’s starting to whittle down Paige’s walls and build herself a permanent shelf in Paige’s cabinet of my people. 

“Can I tell you a secret Miss Buecks,” Stephie whispers, bringing her lips closer to the phone. 

Paige smiles, “of course you can.”

“I think Mama misses you too,” Stephie says softly and Paige feels her heart catch in her throat, “I heard her tell Nanna on the phone.”

“Can I tell you a secret Stephie?” Paige lowers her voice, leaning into her phone. 

“‘Course you can Miss Buecks.”

Paige swallows as the admission falls from her lips, “I really miss your Mama too.”

I miss her always and I think I’ll miss her forever. 

“What are you the two of you whispering about,” Azzi’s voice cuts in as she tucks herself next to Stephie, a children’s book in her hand. 

“Nothing Mama,” Stephie says immediately, winking at Paige through the phone. 

“Yeah,” Paige echoes, ignoring her erratic heartbeat, “nothing Azzi.”

Azzi looks between the both of them, clearly aware she’s being left out of something, but doesn’t push further. Instead she flips open the book, pulls Stephie closer into her arms and starts reading. If anyone were to ask Paige later, she wouldn’t have the faintest idea about a single word in that damn book. Because as Azzi’s soothing voice begins to lull Stephie to sleep, and the younger girl, despite her yawns, holds the phone up so the blonde can be included in every second of it, Paige feels herself being pulled into a dream she has no right to dream. She dreams of being in Stephie’s purple bedroom. She dreams of her and Azzi lying against Stephie’s lilac bedspread, their hands entwined in the middle over Stephie’s little body. She dreams of a forever that she’d long forsaken.

[matan4il]

On this Yom Ha'Zikaron Le'Chalalei Ma'rachot Yisrael (Memorial Day for Israel's Fallen Soldiers and Terror Victims), I figured it's important to remember that Israeli victims did not exist solely on Oct 7. We have lost loved ones before and since. Here's a list with just one random victim to represent each year. Please scroll down the list to see how far back it goes.

(part 1/5, all parts in the reblogs)

2024: On Jan 7, we lost 19 years old Shai Garmai

2023: On Oct 7, we lost 28 years old Osama abu Madiam

2022: On Nov 23, we lost 18 years old Tiran Faro

2021: On May 12, we lost 5 years old Ido Avigal

2020: On Aug 26, we lost 39 years old Shai Ochayon

2019: On May 5, we lost 49 years old Zaid al-Chamamda

2018: On Dec 12, we lost Amiad Israel Yish Ran, who was murdered in his mother's womb

2017: On Nov 22, we lost 21 years old Hodaya Nechama Assoulin

2016: On Oct 25, we lost 14 years old Rami Namer abu Amar

2015: On Feb 17, we lost 4 years old Adelle Biton

2014: On Oct 22, we lost 2.5 months old Chaya Zissel Brown

2013: On Dec 24, we lost 22 years old Salech al-Din abu al-Atayef

2012: On Jul 18, we lost 28 years old Yitzchak Idan Kolangi

2011: On Apr 17, we lost 16 years old Daniel Aryeh Viplich

2010: On Feb 26, we lost 52 years old Netta Blatt Sorek

2009: On Apr 2, we lost 13 years old Shlomo Nativ

2008: On Mar 6, we lost 26 years old Doron Trunach Mahareta

2007: On Jun 17, we lost 85 years old Meir Cohen

2006: On Aug 10, we lost 4 years old Fatchi Assdi

2005: On Jul 12, we lost 16 years old Nofar Horvitz

2004: On Sep 29, we lost 2 years old Dorit Massarat Binsan

2003: On Sep 9, we lost 20 years old Naava Appelbom

2002: On Nov 10, we lost 4 years old Noam Levi Ochayon

2001: On Dec 12, we lost 42 years old Ester Avraham

2000: On Nov 21, we lost 19 years old Itamar Yefet

1999: On Jun 24, we lost 34 years old Tony Eliyahu Zanna

1998: On Dec 2, we lost 41 years old Osama Moussa abu Aisha

1997: On Mar 13, we lost 13 years old Natali Alkalai

1996: On Feb 25, we lost 57 years old Yitzchak Elbaz

1995: On Jul 24, we lost 60 years old Zehava Oren

As Tumblr limits a post to 30 images... part 1/5 - the next parts will be posted in the reblogs momentarily. Please check out the full list.

(for all of my updates and ask replies regarding Israel, click here)

[chipadequeso]

#falsettos recent posts simulator

person 1: omg.. does anyone like this show falsettos is the fandom dead am i the only one still here????

person 2: [revival cast art that makes the characters look like anime boy twinks]

person 3: [the seventh time youve seen the same joke about trolls 3 and hazbin hotel whizzer and marvin]

person 4: marvin is getting FUCKED hes getting his shit ROCKED BACKSHOTS HAIR PULLED EVERYTHING

person 5: I DIDNT KNOW FALSETTOS WAS SO SAD????? IM CRYING SO HARD MANN WHY DID WHIZZER DIE 😭😭 im gonna read fics where nobody dies and they celebrate christmas

person 6: OK HEAR ME OUT [worst au ever]

person 7: wow i love whizzvin i love falsettos i love the show abour gay people!!!!!! hi old man yaoi show hi gay people show falsettos is sooo gay its so so gay haha the thrill of first love is so gay guys its gay They break up over chess lol its a lesbian from next door!! its a gay show falsettos is gay guys

person 8: [2017 post stolen from pinterest]

person 9: i feel like we all forget about the obc cast like omg has anyone ever heard of or posted about this before???

person 10: mendel is so sillyyyyyy^_^

person 11: [retrofalsettos good post]

person 12: [genuinely the smartest analysis youll ever see]

person 13: [good art!!!!]

person 14: [the worst take on the history of the entire earth made with the smallest amount of media literacy ever you literally cant get this anywhere else]

person 15: marvins getting FINGERED straight up getting his shit PLOWED