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renthony · 5 months ago

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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.

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mostlysignssomeportents · 5 months ago

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The reason you can’t buy a car is the same reason that your health insurer let hackers dox you

On July 14, I'm giving the closing keynote for the fifteenth HACKERS ON PLANET EARTH, in QUEENS, NY. Happy Bastille Day! On July 20, I'm appearing in CHICAGO at Exile in Bookville.

In 2017, Equifax suffered the worst data-breach in world history, leaking the deep, nonconsensual dossiers it had compiled on 148m Americans and 15m Britons, (and 19k Canadians) into the world, to form an immortal, undeletable reservoir of kompromat and premade identity-theft kits:

https://en.wikipedia.org/wiki/2017_Equifax_data_breach

Equifax knew the breach was coming. It wasn't just that their top execs liquidated their stock in Equifax before the announcement of the breach – it was also that they ignored years of increasingly urgent warnings from IT staff about the problems with their server security.

Things didn't improve after the breach. Indeed, the 2017 Equifax breach was the starting gun for a string of more breaches, because Equifax's servers didn't just have one fubared system – it was composed of pure, refined fubar. After one group of hackers breached the main Equifax system, other groups breached other Equifax systems, over and over, and over:

https://finance.yahoo.com/news/equifax-password-username-admin-lawsuit-201118316.html

Doesn't this remind you of Boeing? It reminds me of Boeing. The spectacular 737 Max failures in 2018 weren't the end of the scandal. They weren't even the scandal's start – they were the tipping point, the moment in which a long history of lethally defective planes "breached" from the world of aviation wonks and into the wider public consciousness:

https://en.wikipedia.org/wiki/List_of_accidents_and_incidents_involving_the_Boeing_737

Just like with Equifax, the 737 Max disasters tipped Boeing into a string of increasingly grim catastrophes. Each fresh disaster landed with the grim inevitability of your general contractor texting you that he's just opened up your ceiling and discovered that all your joists had rotted out – and that he won't be able to deal with that until he deals with the termites he found last week, and that they'll have to wait until he gets to the cracks in the foundation slab from the week before, and that those will have to wait until he gets to the asbestos he just discovered in the walls.

Drip, drip, drip, as you realize that the most expensive thing you own – which is also the thing you had hoped to shelter for the rest of your life – isn't even a teardown, it's just a pure liability. Even if you razed the structure, you couldn't start over, because the soil is full of PCBs. It's not a toxic asset, because it's not an asset. It's just toxic.

Equifax isn't just a company: it's infrastructure. It started out as an engine for racial, political and sexual discrimination, paying snoops to collect gossip from nosy neighbors, which was assembled into vast warehouses full of binders that told bank officers which loan applicants should be denied for being queer, or leftists, or, you know, Black:

https://jacobin.com/2017/09/equifax-retail-credit-company-discrimination-loans

This witch-hunts-as-a-service morphed into an official part of the economy, the backbone of the credit industry, with a license to secretly destroy your life with haphazardly assembled "facts" about your life that you had the most minimal, grudging right to appeal (or even see). Turns out there are a lot of customers for this kind of service, and the capital markets showered Equifax with the cash needed to buy almost all of its rivals, in mergers that were waved through by a generation of Reaganomics-sedated antitrust regulators.

There's a direct line from that acquisition spree to the Equifax breach(es). First of all, companies like Equifax were early adopters of technology. They're a database company, so they were the crash-test dummies for ever generation of database. These bug-riddled, heavily patched systems were overlaid with subsequent layers of new tech, with new defects to be patched and then overlaid with the next generation.

These systems are intrinsically fragile, because things fall apart at the seams, and these systems are all seams. They are tech-debt personified. Now, every kind of enterprise will eventually reach this state if it keeps going long enough, but the early digitizers are the bow-wave of that coming infopocalypse, both because they got there first and because the bottom tiers of their systems are composed of layers of punchcards and COBOL, crumbling under the geological stresses of seventy years of subsequent technology.

The single best account of this phenomenon is the British Library's postmortem of their ransomware attack, which is also in the running for "best hard-eyed assessment of how fucked things are":

https://www.bl.uk/home/british-library-cyber-incident-review-8-march-2024.pdf

There's a reason libraries, cities, insurance companies, and other giant institutions keep getting breached: they started accumulating tech debt before anyone else, so they've got more asbestos in the walls, more sagging joists, more foundation cracks and more termites.

That was the starting point for Equifax – a company with a massive tech debt that it would struggle to pay down under the most ideal circumstances.

Then, Equifax deliberately made this situation infinitely worse through a series of mergers in which it bought dozens of other companies that all had their own version of this problem, and duct-taped their failing, fucked up IT systems to its own. The more seams an IT system has, the more brittle and insecure it is. Equifax deliberately added so many seams that you need to be able to visualized additional spatial dimensions to grasp them – they had fractal seams.

But wait, there's more! The reason to merge with your competitors is to create a monopoly position, and the value of a monopoly position is that it makes a company too big to fail, which makes it too big to jail, which makes it too big to care. Each Equifax acquisition took a piece off the game board, making it that much harder to replace Equifax if it fucked up. That, in turn, made it harder to punish Equifax if it fucked up. And that meant that Equifax didn't have to care if it fucked up.

Which is why the increasingly desperate pleas for more resources to shore up Equifax's crumbling IT and security infrastructure went unheeded. Top management could see that they were steaming directly into an iceberg, but they also knew that they had a guaranteed spot on the lifeboats, and that someone else would be responsible for fishing the dead passengers out of the sea. Why turn the wheel?

That's what happened to Boeing, too: the company acquired new layers of technical complexity by merging with rivals (principally McDonnell-Douglas), and then starved the departments that would have to deal with that complexity because it was being managed by execs whose driving passion was to run a company that was too big to care. Those execs then added more complexity by chasing lower costs by firing unionized, competent, senior staff and replacing them with untrained scabs in jurisdictions chosen for their lax labor and environmental enforcement regimes.

(The biggest difference was that Boeing once had a useful, high-quality product, whereas Equifax started off as an irredeemably terrible, if efficient, discrimination machine, and grew to become an equally terrible, but also ferociously incompetent, enterprise.)

This is the American story of the past four decades: accumulate tech debt, merge to monopoly, exponentially compound your tech debt by combining barely functional IT systems. Every corporate behemoth is locked in a race between the eventual discovery of its irreparable structural defects and its ability to become so enmeshed in our lives that we have to assume the costs of fixing those defects. It's a contest between "too rotten to stand" and "too big to care."

Remember last February, when we all discovered that there was a company called Change Healthcare, and that they were key to processing virtually every prescription filled in America? Remember how we discovered this? Change was hacked, went down, ransomed, and no one could fill a scrip in America for more than a week, until they paid the hackers $22m in Bitcoin?

https://en.wikipedia.org/wiki/2024_Change_Healthcare_ransomware_attack

How did we end up with Change Healthcare as the linchpin of the entire American prescription system? Well, first Unitedhealthcare became the largest health insurer in America by buying all its competitors in a series of mergers that comatose antitrust regulators failed to block. Then it combined all those other companies' IT systems into a cosmic-scale dog's breakfast that barely ran. Then it bought Change and used its monopoly power to ensure that every Rx ran through Change's servers, which were part of that asbestos-filled, termite-infested, crack-foundationed, sag-joisted teardown. Then, it got hacked.

United's execs are the kind of execs on a relentless quest to be too big to care, and so they don't care. Which is why their they had to subsequently announce that they had suffered a breach that turned the complete medical histories of one third of Americans into immortal Darknet kompromat that is – even now – being combined with breach data from Equifax and force-fed to the slaves in Cambodia and Laos's pig-butchering factories:

https://www.cnn.com/2024/05/01/politics/data-stolen-healthcare-hack/index.html

Those slaves are beaten, tortured, and punitively raped in compounds to force them to drain the life's savings of everyone in Canada, Australia, Singapore, the UK and Europe. Remember that they are downstream of the forseeable, inevitable IT failures of companies that set out to be too big to care that this was going to happen.

Failures like Ticketmaster's, which flushed 500 million users' personal information into the identity-theft mills just last month. Ticketmaster, you'll recall, grew to its current scale through (you guessed it), a series of mergers en route to "too big to care" status, that resulted in its IT systems being combined with those of Ticketron, Live Nation, and dozens of others:

https://www.nytimes.com/2024/05/31/business/ticketmaster-hack-data-breach.html

But enough about that. Let's go car-shopping!

Good luck with that. There's a company you've never heard. It's called CDK Global. They provide "dealer management software." They are a monopolist. They got that way after being bought by a private equity fund called Brookfield. You can't complete a car purchase without their systems, and their systems have been hacked. No one can buy a car:

https://www.cnn.com/2024/06/27/business/cdk-global-cyber-attack-update/index.html

Writing for his BIG newsletter, Matt Stoller tells the all-too-familiar story of how CDK Global filled the walls of the nation's auto-dealers with the IT equivalent of termites and asbestos, and lays the blame where it belongs: with a legal and economics establishment that wanted it this way:

https://www.thebignewsletter.com/p/a-supreme-court-justice-is-why-you

The CDK story follows the Equifax/Boeing/Change Healthcare/Ticketmaster pattern, but with an important difference. As CDK was amassing its monopoly power, one of its execs, Dan McCray, told a competitor, Authenticom founder Steve Cottrell that if he didn't sell to CDK that he would "fucking destroy" Authenticom by illegally colluding with the number two dealer management company Reynolds.

Rather than selling out, Cottrell blew the whistle, using Cottrell's own words to convince a district court that CDK had violated antitrust law. The court agreed, and ordered CDK and Reynolds – who controlled 90% of the market – to continue to allow Authenticom to participate in the DMS market.

Dealers cheered this on: CDK/Reynolds had been steadily hiking prices, while ingesting dealer data and using it to gouge the dealers on additional services, while denying dealers access to their own data. The services that Authenticom provided for $35/month cost $735/month from CDK/Reynolds (they justified this price hike by saying they needed the additional funds to cover the costs of increased information security!).

CDK/Reynolds appealed the judgment to the 7th Circuit, where a panel of economists weighed in. As Stoller writes, this panel included monopoly's most notorious (and well-compensated) cheerleader, Frank Easterbrook, and the "legendary" Democrat Diane Wood. They argued for CDK/Reynolds, demanding that the court release them from their obligations to share the market with Authenticom:

https://caselaw.findlaw.com/court/us-7th-circuit/1879150.html

The 7th Circuit bought the argument, overturning the lower court and paving the way for the CDK/Reynolds monopoly, which is how we ended up with one company's objectively shitty IT systems interwoven into the sale of every car, which meant that when Russian hackers looked at that crosseyed, it split wide open, allowing them to halt auto sales nationwide. What happens next is a near-certainty: CDK will pay a multimillion dollar ransom, and the hackers will reward them by breaching the personal details of everyone who's ever bought a car, and the slaves in Cambodian pig-butchering compounds will get a fresh supply of kompromat.

But on the plus side, the need to pay these huge ransoms is key to ensuring liquidity in the cryptocurrency markets, because ransoms are now the only nondiscretionary liability that can only be settled in crypto:

https://locusmag.com/2022/09/cory-doctorow-moneylike/

When the 7th Circuit set up every American car owner to be pig-butchered, they cited one of the most important cases in antitrust history: the 2004 unanimous Supreme Court decision in Verizon v Trinko:

https://www.oyez.org/cases/2003/02-682

Trinko was a case about whether antitrust law could force Verizon, a telcoms monopolist, to share its lines with competitors, something it had been ordered to do and then cheated on. The decision was written by Antonin Scalia, and without it, Big Tech would never have been able to form. Scalia and Trinko gave us the modern, too-big-to-care versions of Google, Meta, Apple, Microsoft and the other tech baronies.

In his Trinko opinion, Scalia said that "possessing monopoly power" and "charging monopoly prices" was "not unlawful" – rather, it was "an important element of the free-market system." Scalia – writing on behalf of a unanimous court! – said that fighting monopolists "may lessen the incentive for the monopolist…to invest in those economically beneficial facilities."

In other words, in order to prevent monopolists from being too big to care, we have to let them have monopolies. No wonder Trinko is the Zelig of shitty antitrust rulings, from the decision to dismiss the antitrust case against Facebook and Apple's defense in its own ongoing case:

https://www.ftc.gov/system/files/documents/cases/073_2021.06.28_mtd_order_memo.pdf

Trinko is the origin node of too big to care. It's the reason that our whole economy is now composed of "infrastructure" that is made of splitting seams, asbestos, termites and dry rot. It's the reason that the entire automotive sector became dependent on companies like Reynolds, whose billionaire owner intentionally and illegally destroyed evidence of his company's crimes, before going on to commit the largest tax fraud in American history:

https://www.wsj.com/articles/billionaire-robert-brockman-accused-of-biggest-tax-fraud-in-u-s-history-dies-at-81-11660226505

Trinko begs companies to become too big to care. It ensures that they will exponentially increase their IT debt while becoming structurally important to whole swathes of the US economy. It guarantees that they will underinvest in IT security. It is the soil in which pig butchering grew.

It's why you can't buy a car.

Now, I am fond of quoting Stein's Law at moments like this: "anything that can't go on forever will eventually stop." As Stoller writes, after two decades of unchallenged rule, Trinko is looking awfully shaky. It was substantially narrowed in 2023 by the 10th Circuit, which had been briefed by Biden's antitrust division:

https://law.justia.com/cases/federal/appellate-courts/ca10/22-1164/22-1164-2023-08-21.html

And the cases of 2024 have something going for them that Trinko lacked in 2004: evidence of what a fucking disaster Trinko is. The wrongness of Trinko is so increasingly undeniable that there's a chance it will be overturned.

But it won't go down easy. As Stoller writes, Trinko didn't emerge from a vacuum: the economic theories that underpinned it come from some of the heroes of orthodox economics, like Joseph Schumpeter, who is positively worshipped. Schumpeter was antitrust's OG hater, who wrote extensively that antitrust law didn't need to exist because any harmful monopoly would be overturned by an inevitable market process dictated by iron laws of economics.

Schumpeter wrote that monopolies could only be sustained by "alertness and energy" – that there would never be a monopoly so secure that its owner became too big to care. But he went further, insisting that the promise of attaining a monopoly was key to investment in great new things, because monopolists had the economic power that let them plan and execute great feats of innovation.

The idea that monopolies are benevolent dictators has pervaded our economic tale for decades. Even today, critics who deplore Facebook and Google do so on the basis that they do not wield their power wisely (say, to stamp out harassment or disinformation). When confronted with the possibility of breaking up these companies or replacing them with smaller platforms, those critics recoil, insisting that without Big Tech's scale, no one will ever have the power to accomplish their goals:

https://pluralistic.net/2023/07/18/urban-wildlife-interface/#combustible-walled-gardens

But they misunderstand the relationship between corporate power and corporate conduct. The reason corporations accumulate power is so that they can be insulated from the consequences of the harms they wreak upon the rest of us. They don't inflict those harms out of sadism: rather, they do so in order to externalize the costs of running a good system, reaping the profits of scale while we pay its costs.

The only reason to accumulate corporate power is to grow too big to care. Any corporation that amasses enough power that it need not care about us will not care about it. You can't fix Facebook by replacing Zuck with a good unelected social media czar with total power over billions of peoples' lives. We need to abolish Zuck, not fix Zuck.

Zuck is not exceptional: there were a million sociopaths whom investors would have funded to monopolistic dominance if he had balked. A monopoly like Facebook has a Zuck-shaped hole at the top of its org chart, and only someone Zuck-shaped will ever fit through that hole.

Our whole economy is now composed of companies with sociopath-shaped holes at the tops of their org chart. The reason these companies can only be run by sociopaths is the same reason that they have become infrastructure that is crumbling due to sociopathic neglect. The reckless disregard for the risk of combining companies is the source of the market power these companies accumulated, and the market power let them neglect their systems to the point of collapse.

This is the system that Schumpeter, and Easterbrook, and Wood, and Scalia – and the entire Supreme Court of 2004 – set out to make. The fact that you can't buy a car is a feature, not a bug. The pig-butcherers, wallowing in an ocean of breach data, are a feature, not a bug. The point of the system was what it did: create unimaginable wealth for a tiny cohort of the worst people on Earth without regard to the collapse this would provoke, or the plight of those of us trapped and suffocating in the rubble.

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

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/2024/06/28/dealer-management-software/#antonin-scalia-stole-your-car

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

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insanethrottlebikernews · 2 years ago

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Sonic Automotive Announces Acquisition of Black Hills Harley-Davidson

Click the Banner and listen to Motorcycle Madhouse Morning Mayhem on Spotify CHARLOTTE – Sonic Automotive, Inc. (‘Sonic” or the ‘Company’) (NYSE: SAH), a Fortune 500 Company and one of the nation’s largest automotive retailers, today announced the acquisition of Black Hills Harley-Davidson, the world-wide preeminent Harley-Davidson dealership located in Rapid City, South Dakota and home of the…

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#Biker News #biker news 1%#bikie news #black hills harley #harley davidson #harley davidson dealerships #harley davidson motorcycles #insane throttle #outlaw biker news 1%#Sonic Automotive Announces Acquisition of Black Hills Harley-Davidson

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gollancz · 1 year ago

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The Stars Too Fondly, which will be published in hardcover in summer 2024, follows Cleo and her group of post-grad friends who break into an abandoned spaceship, only for it to start up and send them into space. The synopsis reads: "The accidental astronauts must use their considerable intellects and the reluctant assistance of the ship’s previous captain Wilhelmina Lucas – an unsettlingly accurate hologram of the woman who disappeared with her crew 20 years ago – to maybe, if they’re lucky, figure out a way to get back home. "What Cleo is prepared for least of all are the confusing feelings she develops for the captain, which show no sign of going anywhere any time soon."

Can't wait for you guys to meet the lastest entry in our frankly phenomenal Lesbians In Space collection! Also falls under our Sexy Spaceships umbrella too.

#The Stars Too Fondly #Emily Hamilton #Acquisition Announcements #LGBTQIA+ SFF #Queer SF #Sexy Spaceships #Lesbians in Space

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hyperballart · 2 months ago

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perv!art thoughts…

it began the moment he saw you around campus for the first time; you’re one of tashi’s closest friends and roommate so he knows he’ll be spotting you more often. his heart is still sore from the loss of tashi’s number, so he figured you’d be a good temporary distraction, but the second you talk to him he knows that ‘temporary’ won’t be the case.

all interactions with you are somewhat fleeting; greeting exchanges and some small talk, but it hooks him in more and more. he starts cutting up pictures of you he finds from the school’s newspaper from the sports section you’re in and keeping them in a small box under his bed. in one instance, he’d taken a picture frame from your desk when he went over to lend tashi his phone charger when she lost her own — it was a picture of you with a friend back home at the beach. he studied the way that tiny bikini clung to your wet skin, the small arch in your back, and your sweet smile every night before bed.

he gets so unbelievably hard when his mind wanders to you — which is all the time. when patrick comes to visit tashi, the four of you gather in you and tashi’s dorm to hang out. he always sneaks off with one of your belongings, small enough that you thankfully don’t get too alarmed of — his recent acquisition had been one of your used athletic shorts. he knows he should’ve thought this through when he knocks on your door and you open wearing some of the tiniest jean shorts he’d ever seen.

“hi art!”

he snaps out of it and greets you with a flustered hey before making himself comfortable. patrick, tashi, art, and you sit on the floor sipping on cold beers from the mini fridge and making conversation. art keeps zoning out throughout the night — he stares at your bare legs and thighs. he stares between them more specifically, at the way the denim is tightening with every subtle move around your thighs, he wants to rip the fabric off and kiss the red marks left behind better. as if on cue, you start to speak.

“—i don’t know where all my shorts keep disappearing,” you giggle as you adjust the hem on the ones you’re wearing, “i think they have to add cameras in the laundry room, i haven’t worn this pair since high school — god.”

art gulps as tashi replies, “maybe it’s just you at this point, this is like the 20th time you’ve misplaced something.”

the night carries on, art chimes into the conversation every once in a while and he struggles to hide his boner in his pants. he feels himself twitch when you get up and bend over to retrieve another beer. his head turns fuzzy and he replies with a stiff nod when patrick asks if he’s good.

he needs to touch his dick soon, he knows he won’t last but it kills him to be this close to you without his hands on your skin. he muffles a whimper when you get on your hands and knees and reach across between patrick and tashi to change the radio station.

you’re almost flush against his chest, he sees the way your tank top lifts up and reveals your midriff and waist, the dip in your lower back when your back naturally arches. he casts his eyes lower and notices the way your tiny jean shorts slide down a bit and tease a hot pink lacy thong — this one must be new, he hasn’t seen it in your drawer before — and he feels sweat building at his temple.

“there,” you sit back down next to him again as a rock song comes on, “oh god i’m sorry art, i didn’t realize i was gonna be in your space like that.”

“it— it’s okay, don’t worry about it,” he needs to leave now, “i actually have practice early tomorrow, i’m gonna go to bed.”

he says his goodbyes and you offer to walk him out, when you hug him he hopes you didn’t feel his erection. he quickly runs to his room.

he locks the door before plopping on his bed and immediately strips down. he spits on his tip and groans when he remembers the way you pouted when he announced his departure. he grips himself nice and hard — he bets you’ll be even tighter. he strokes himself upwards, base to head, and watches as more cum oozes from his slit. he sighs out your name as his eyes flutter shut and goes back to the way your thighs were bulging out of your shorts earlier.

“mmm, fuck,” he searches around under his pillow until he feels the stretchy fabric — your missing garment. he brings the crotch to his nose while his other hand frantically fucks his throbbing cock. he’s whining into it, the smell of you slightly lingering is enough to have him panting and really, really fucking close.

in his state of delirium he barely recognizes that he’s started licking and lapping at them, “tastes so fucking good, oh god, nnghh —“ he reaches down to his balls and squeezes them, wheezing out your name yet again as he glances to his bedside table where the picture of you in your bikini rests. he cums instantly in ropes that paint his chest.

#what would happen if he got caught…#<3art being a creep<3 #if you have any ideas for this send!!#i have another part in mind for this #perv!art #art donaldson smut #art donaldson x reader #art donaldson fic #my writing

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otkuhotgirl · 4 months ago

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─── 𝐂𝐈𝐓𝐑𝐔𝐒 .

# with black leg sanji.

returning earlier from the crew’s usual strolling through the newest island, you’re startled to witness sanji viciously lapping his tongue at a stolen tangerine. pitying his position, you allow him to have a taste of the real thing.

⎰ & afab!reader. smut (mdni!). oral. slightly sub!sanji. he eats you out like he’s starving. no y/n used.

W.C: 3K

when you decided to announce an early retreat to the sunny, much too dizzy to withstand the island’s scalding heat and deciding the most suitable course of action would be to seclude yourself within the cooler walls of the ship, the last thing you had expected was to find sanji in such a compromising position.

minutes previous to that encounter, you were quite frustrated. the shore town was a beating heart of commerce and people, filled with opportunities to find useful acquisitions to oneself. you were looking forward to a shopping-filled afternoon; to observe nami’s wits in action — her bargaining that was nothing but diplomatic theft — and listen to chopper’s ramblings about the books he managed to find. of course, the midday sun and its ruthless warmth had ruined it all, meaning that a day of privacy with sanji was the second best thing.

he had been the one assigned to watch the ship while the rest of the crew explored the town. considering the high temperature and his never-ending will to be of use, you had no doubt that the cook could be found in the kitchen, slicing up fruits to prepare delicious cocktails. hence why you followed the scent of tangerines, growing slightly puzzled. he was one brave man — or a suicidal one, you could not quite decide — for picking up nami’s tangerines when she was not around.

you should have knocked, truly. it was a mistake not to have done so. but you hadn’t cared much for courtesies whatsoever, eager for a refreshing beverage and perhaps the chance to share a pleasant conversation with the cook.

upon entering the kitchen, you were expecting to be met with ice and diced fruit, yes, but not under those circumstances.

half a tangerine was placed on the counter, as well as a glass cup with a singular and melting cube of ice. sanji busied himself with the other half of the fruit, swirling his tongue around the middle, his chin dripping with its juice, which caused you to clench around nothing; your legs forcing together as you observed the scene without a word.

after hearing the opened door, sanji froze in place, moving his head to catch a glimpse of the intruder as though he was experiencing the most terrifying seconds of his life. his shoulders slumped with a temporary sense of relief as he noticed your figure, before his entire frame threatened to burst up in flames out of embarrassment.

you cleared your throat, forcing a rough snicker in an attempt to lighten the shared atmosphere. then, finding yourself a seat, you grabbed the tangerine with one hand, placing the other on your chin. “having fun?”

although not aflame, sanji was as red as that one clown-pirate’s nose, averting eye contact as he placed the tangerine on the sink and searched for a cigarette. it became clearer that he had no courage to meet your eyes, stressing over the consequences of that endeavor. your glance, however, was tethered to the positioning of his fingers above his half of the tangerine, noticing polished and short nails, the well maintained hands, for a cook of his caliber could not indulge in carelessness.

the saliva sent to your dried throat was a fuel to a forest fire, rather than a soothing rain to a desert. your treacherous mind flashed sinful scenarios of those fingers. your juices of pleasure tainting them, warmth enveloping its skin as he curled them close to your sweetest spot before shoving his fingers into his mouth, loyal to his personal code of never wasting any food—

“pearl of my life,” he began at last, sounding a bit hesitant, yet calmer. “i can explain.”

sanji’s voice grew rougher due to the cigarette between his lips. inhaled nicotine that traveled past his vocal chords to settle on his lungs before he expelled them through his nostrils. you found yourself at a loss for words, wondering how one could differentiate the intonation of desire from the consequential coarseness of smoking. was there even a difference? oh, how desperately you wished to find out.

the cook seemed to have misinterpreted your silence, all of the sudden growing anxious, searching for a lighter despite not having finished his first cigarette just yet. luckily, for the both of you, the oven filled in the gaps with a repetitive beep, informing that the dish he had prepared was set to be served.

the scent of one of your most favored desserts danced around the talons of smoke from sanji’s unfinished cigarette. he smashed the tip of it against the ashtray, and hid his hands from your luscious eyes with the kitchen gloves. sanji had to bend to remove the sweet treat from the oven, offering you a clear sight of his butt and the powerful muscles of his thighs, strained against the fabric of his pants. as if hypnotized, you observed, with a certain hunger — for both the dish and the cook — as he then moved towards the counter.

sanji, at last, faced you. “a bargain, mon sirène.”

you raised an eyebrow with an expression of pure confusion, having your next words swallowed by hushed explanations as sanji’s composure crumbled, no longer bearing the weight of your silence. he knelt and encapsulated your hand with his, assuming a pleading tone.

“i thought i’d have a tad more time for myself, you see. at first, i was merely preparing you something sweet, planning to welcome you back with the luxury you deserved, but then my thoughts trailed entirely to you—”

sanji cleared his throat, the gears of his mind turning as he searched for a better explanation. “we’re discovering more of the new world, and oh, my golden star of the open seas, not a thing will ever be able to diminish your brightness and influence over my beating heart—”

“sanji,” you voiced softly.

“but, you see, what if a lady ever so happens to reciprocate my passion and desires? how could i live up to what she deserves? by training, of course—”

“sanji.”

“and oh, well, i meant to prepare tangerine cocktails to ignore those thoughts. but the fruit does resemble a woman’s intimacy—”

“sanji.”

“or so i heard. from zeff. i never had the honor of verifying it myself—”

“sanji!” you interrupted his ramblings, caging his face with your hands, not at all surprised by the high temperature of his skin.

the cook was a passionate man, with a heart that had been dipped in molten gold; filled with nothing but love and the urge to please. but you hadn’t fallen prey to fantasies of his embrace due to bashful flirting, well-pondered gifts and delicious dishes. though those were of aid, sanji, while clueless, managed to become the center of your affection because of his endless kindness, the infinite will to help those in need, those alluring and prestative eyes that never failed to brighten up in your presence.

processing his previous words, and the reasoning behind the decision to train his tongue with a fruit, you felt as though a sharp blade toyed with the fragile skin of your heart. the mere thought of witnessing his care delivered to someone else — a stranger at that — was both vexing and painful. for a second, under the burning and expectation-filled glance of his, you struggled to maintain your thoughts linear. what was needed for him to keep his attention focused on you, and you alone? the answer came with such easiness that you felt a bit ashamed.

sanji squeezed your hand, as if to tether your mind to the instance at hand. with a clear of your throat, you offered him a sympathetic glance.

“i’m not zoro,” you told him, aiming for a reassuring tone. “embarrassing you for the sake of having the last word isn’t something i’m interested in. if you want me to keep this interaction a secret, i will. no bargaining needed.”

he observed you as if the moon was kept in a pendant wrapped around your neck. for a second, your very name escaped from your mind.

“i have always known that you were as kind and merciful as a heaven sent angel. i’ll make sure to return the favor.”

oh! you were surprised that he caught on your desires. sanji was observant, but you were obstinate to a fault and thought that your behavior had been one of composure. well! at least you wouldn’t have to take the first step. he’d be the one to slide down the material of your shorts and panties and guide your hand to his blonde hair and—

sanji got up and moved towards the dessert, scanning the kitchen for the scarce fine cutlery in order to serve the sweet with a noble-worthy decoration. you shoved the revolt that surged due to the distance, mouth agape in both embarrassment and bewilderment. without a second thought or an ounce of patience, you gathered up the courage to act.

“you know, sanji,” you hummed. his sudden straightened posture made you feel a bit wicked, for he behaved as though a deer caught in the woods at the intonation shift of your voice. “if you wanted to practice, you could’ve asked me.”

the cherries he was carefully piling up on the plate crumbled like a house of cards. his nervousness was palpable. sanji turned his head towards your figure, face adorned with a smile that didn’t reach his eyes.

“mockery isn’t a kind act, my seastar,” he said, voice strained. “but i would have forgiven you for committing even the most violent crimes.”

you blinked, straightening your posture. a bit disheartened, for he seemed unable to believe that you were capable of nurturing a genuine desire for him.

“sanji, i mean it. it would be my pleasure,” literally.

sanji shifted his entire body, facing you with certain hesitation. his adam’s apple bobbed up and down as his glance trailed to your lips; then to your breasts; then glued to your crossed legs. his pupils dilated.

with careful steps, as if fearing that a sudden move would tear him from what he believed to be a dream, sanji approached you. the cook breathed in, trembling with nitid nervousness and excitement.

“how do we—should i kneel? i don’t—”

somehow, both his innocence and lack of experience managed to soothe your own nerves. although sanji seemed a wreck, your confidence grew as you tapped a finger on the dining table.

“would you mind if i sat on it?”

he flushed immediately. “what?”

sanji then noticed his error, clearing his throat and gripping a fistful of his hair with an apologetic expression, almost as if expecting a reprimand.

you merely smiled instead. “i can sit on your ‘it’ later, but you should learn the basics first.”

he nodded with fervor, observing with certain desperation as you sat on the edge of the dining table, parting your legs with ease; beckoning him closer.

sanji remained glued in place as though a statue, stunned to a fault. “would you get on your knees for me?”

his reaction was immediate, and the sound of his bones meeting the wooden surface of the ground made you wince for his sake. if the impact caused him pain, sanji didn’t express it. instead, he crawled closer, his breath fanning above your thighs.

“don’t feel forced to do it,” he stuttered at last, offering you the chance to halt.

“this is the part where you remove my shorts,” you instructed instead, and his fingers eagerly worked to unbutton the piece of clothing.

with a raise of your hips, you aided him in the task at hand, watching sanji drool at the sight of your drenched panties. it was endearing, but the lack of contact was maddening.

“you’re allowed to touch me.”

“where?”

“everywhere.”

he placed a careful hand on your thigh. with a groan, your fingers encouraged him to squeeze the tender flesh, and so he did. sanji approached your clothed cunt, his hot breath fanning above the sensible spot. you shivered in anticipation, gripping the blonde locks of his hair with non-thought strength.

before you managed to apologize for the harshness, sanji moaned, latching his mouth to your core. his tongue lapped at it as though a beast, carrying nothing but desperation, with no regards for the piece of cloth that separated you both. you let out a yelp of surprise, breathing heavily at the contact.

“sanji,” you whined, pressing his nose to your folds. “the p-panties.”

he understood it well enough, moving his face afar, nimble fingers tugging on the straps. you raised your hips to help him, and watched as sanji sniffed the material before shoving it inside his back pocket.

sanji trailed his eyes to your cunt. a broken whimper tore through his throat. “where is it?”

“what?”

he flushed, pressing one of his fingers at your slick entrance. you shuddered, and his face inched closer, a temptative kiss pressed to your middle. sanji’s visible eye caught on whatever he seemed to be searching, and his tongue followed-in-suit. he circled the muscle around your clit, slowly, as if testing out the waters.

you tugged on his hair. “faster. use your fingers as well.”

he hummed, sending a wave of vibrations through your core. an involuntary noise escaped your lips once sanji inserted two of his fingers inside. removing your hand from the one he had above your thigh, you gripped his wrist, correcting the angle.

“it’ll hurt less for you,” you explained, and sanji hadn’t even answered, too lost on your pussy to pay your words any mind. he was reacting to your instructions due to mere instinct.

sanji’s lips closed around your bud, sucking on it before he used his tongue to lap at your folds, moving it up and down. you arched your back, controlling the speed of his wrist until sanji caught on it himself, dominating the field.

as he moved his jaw, you felt the roughness of his goatee caressing your warm flesh. “scissor it.”

he obliged, alternating his movements. sanji removed his fingers until the nails, only to insert them again with your desired speed. he curled them inside, exploring your intimacy with his touch while he busied his mouth with your clit and folds.

the hand once placed on his wrist returned to the counter’s edge. you gripped it without much thought, eyes trailed to sanji’s face in between your legs. he interlocked his free fingers with yours, pressing open-mouthed kisses to your palm — aching due to your previous grip —, coating your hand with saliva as well. your juices dripped down his chin and glistened on his nose.

“don’t hurt yourself, bien-aimée,” sanji whispered, tears of glee pooling in his pleasure-wide eyes. “hurt me instead.”

you opened your mouth to retort, but the protest melted into a broken moan as sanji spat on your cunt, replacing the fingers inside with his tongue. he whimpered at the taste; his thumb drew circles around your clit, while the longer fingers busied themselves with your folds.

your legs trembled, and your fingers tightened on his hair. sanji’s mewl of pleasure lost itself within your cunt, his thumb pressing harder on your clit as he plunged his tongue deeper, angling his head as if he was trying to devour you.

“l-left,” you told him through a broken moan, seeing stars when his tongue managed to reach a particularly sweet spot.

you felt the built pressure that indicated the nearing of release. sanji parted his face from your cunt for the briefest of moments. softly, as if handling a luxurious and delicate piece of golden cluttery, sanji grabbed a fistful of your thighs with both of his hands, dragging your body closer. your back met the wooden surface of the dining table, and before you managed to ground yourself, sanji had guided your fingers back to his scalp, allowing you to force his face into your pussy.

two fingers stretched you as he bit on your clit, soothing it with his tongue afterwards. you arched your back against the table, toes curling with pleasure.

“so good,” sanji moaned with desperation, his voice mingling with the wet sound of his fingers working on your cunt.

you felt him hump against nothing, nose teasing your folds, and kicked his sides meekly, searching for his dick. sanji caressed your ankle before guiding it to rest on his shoulder.

“ma belle,” he mumbled, kissing your leg, dragging your essence through your skin. “don’t worry about me.”

he fastened his pace, sucking on your inner thigh as his fingers led you to the heavens. you saw stars. your eyes rolled and your mouth parted to give way to a scream, yet your voice failed. somewhere amidst that cloud of pleasure, you caught the sight of his figure towering over your own, one hand grabbing your breast as he pressed his lips against yours. sanji’s tongue invaded your mouth and the taste of your essence, combined with the movement of his fingers, led you to the edge.

your climax came accompanied by a broken moan, diligently muffled by sanji. again, he knelt, removing his fingers lick at your leaking hole, swallowing as much of your cum as he could. you squirmed due to the overstimulation, tugging on his hair to force his face away from your cunt.

“too much,” you whispered, observing the ceiling while coming off from your high.

sanji’s clean fingers caressed your cheek, and he supported your weight once you gathered the will to sit. he pressed loving kisses to your neck, mumbling compliments against the skin. your eyes landed on his softening cock, the wet patch indicating that he came undone.

you tugged at the waistband of his pants, beckoning him closer. your fingers toyed with the zipper, and sanji shivered, his hand trembling where it laid above your hip.

“there’s no need to repay me, mrs. princess,” sanji voice out softly, pressing a kiss to your forehead. “it was enough a pleasure to get to touch you, and your dessert—”

“i want it,” you interrupted, grinning with newfound confidence. “and besides, it’s your turn to teach me, isn’t it?”

sanji had to resort to a tangerine before tasting the real thing. luckily for the bananas, you managed to dodge the same fate.

— 🐈‍⬛ : this was actually supposed to be about teaching him how to kiss. and then i had ten tangerines for dinner and thought “waiiiiit it does look like a pussy” and boom, 3k words. i ended it with humor because i need to be funny at all times, otherwise i die. it’s a medical condition!

#one piece x you #one piece #op #op x reader #op x you #op x y/n #one piece x y/n #one piece x reader #one piece smut #black leg sanji #vinsmoke sanji #one piece sanji #sanji x reader #sanji #op sanji #sanji x you #sanji x y/n #sanji smut #sanji imagine

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