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bnfadvertisngagency · 2 years ago

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Hessen Advertising Services Boost Your Business With BNF Advertising Agency in Hessen

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lifes-little-corner · 1 month ago

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Master Any Skill: Your Blueprint for Effective Online Learning

Ever thought about mastering any skill online? Today, learning platforms and tech have changed how we learn. I’m here to share a powerful plan to change how you learn online. Imagine learning any skill quickly and well. The right strategies and tools make it possible. The “Learn Any Skill Faster and Better” course focuses on four key areas for learning fast1. This new way of learning isn’t just…

#Learning online effectively #Online education strategies #Self-directed online learning #Skill acquisition online

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jcmarchi · 5 months ago

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AI and The Coming Implosion of Media

New Post has been published on https://thedigitalinsider.com/ai-and-the-coming-implosion-of-media/

AI and The Coming Implosion of Media

It is popular among journalists these days to warn that AI might have catastrophic effects on humanity. These concerns are overblown with regards to humanity as a whole. But they are actually quite prescient with regards to journalists themselves.

To understand why, let’s take a closer look at the sub-disciplines that we collectively call AI. AI is the widest umbrella term, but we can generally break it down into rule-based systems and machine-learning systems. Machine-learning systems can be broken down by their application (video, images, natural language, etc). Among these, we’ve seen the greatest recent strides made in natural language processing. Specifically, we’ve seen the invention of the transformer model in 2017, followed by rapid growth in the size of transformers. Once the model exceeds 7 billion parameters, it is generally referred to as a large language model (LLM).

The core “skill” (if you might call it that) of an LLM is its ability to predict the most likely next word in an incomplete block of text. We can use this predictive mechanism to generate large blocks of text from scratch, by asking the LLM to predict one word at a time.

If you train the LLM on large datasets with variable quality, this predictive mechanism will often produce bad writing. This is the case with ChatGPT today. This is why, whenever I broach the topic with journalists, I encounter skepticism – journalists see how badly ChatGPT writes, and they assume AI poses no threat to them because it’s inept.

But ChatGPT is not the only LLM out there. If an LLM is trained on a carefully-selected dataset of text written by the best journalists – and no one else – then it will develop the ability to write like the best journalists.

Unlike journalists, however, this LLM will require no salary.

Writing vs. Knowing What to Write

Before we proceed, we need to distinguish between the mechanics of writing and the creativity required to know what is worth writing about. AI can’t interview whistleblowers or to badger a politician long-enough for the politician to accidentally tell the truth.

AI cannot gather information. But it can describe information gathered by humans in an eloquent way. This is a skill that journalists and writers used to have a monopoly over. They no longer do.

Given the current rate of progress, within a year, AI could write better than 99% of journalists and professional writers. It will do so for free, on demand, and with infinite throughput.

The Economics of Zero-Cost Writing

Anyone who has a list of facts to convey will be able to turn these facts into a well-written article. Anyone who finds an article on any subject will be able to produce another article, covering the same subject. This derivative article will be just as good as the first one, and won’t plagiarize it or violate its copyrights..

The marginal cost of written content will become zero.

Currently, the economics of written media are based on human labor. Well-written content is scarce, so it has value. Entire industries were built to capture this value.

When AI can produce high-quality content for free, the financial foundation of these industries will collapse.

The Abolition of Publications

Consider traditional publications. For decades, companies like The New York Times have employed skilled writers to produce a limited number of articles each day (typically around 300). This model is inherently constrained by the number of writers and the costs involved.

In a world where AI can generate an unlimited number of articles at no cost, why limit production to a fixed number? Why not create personalized content for every reader, tailored to their interests and generated on demand?

In this new paradigm, the traditional model of periodic issues and fixed article counts becomes obsolete. Publications can shift to a model where content is continuously created and personalized, catering to the specific needs of individual readers. One reader might need a single article each day. Another might need 5000.

Publications whose primary product is packing 300 articles into a single daily issue will go extinct.

Search Engines Becoming Answer Engines

Search engines act as distributors, connecting users to pre-existing content. To achieve this, they perform four steps.

First, they index vast amounts of pre-written content. Second, they receive a query from the user. Third, they search the pre-written content to find items that are relevant to the user’s query. And fourth, they rank the retrieved content and present a sorted list of results to the user.

So far so good. But if content can be created on demand, for free, then why would search engines return pre-existing content to the user? They could simply generate the answer instead. The user would certainly be happier with a single answer to her query, instead of a long list of results whose quality may vary.

Now let’s consider the logical next step. If search engines no longer lead users to any content written by others, what would happen to the “content” economy?

Most content on the internet was written to be monetized. People write articles, rank on Google, receive traffic, and turn it into income (using ads, affiliate links, or direct sales of products or services).

What will happen to this ecosystem when the traffic disappears?

Social Media: The Next Domino

Social media platforms were initially designed to facilitate interaction between users. I am old enough to remember the days when people logged into Facebook to write on a friend’s wall, poke, or throw a virtual sheep at someone.

Today’s social media is different. The most common number of followers users have on Instagram is zero. The second most common number of followers is one. The vast majority of views, shares, comments and followers is amassed by a small number of professional creators. Most users post nothing and are followed by no one.

Simply put – most users visit social media to find content they might enjoy. Social media companies act as distributors, just like search engines. The main difference between Facebook and Google is that Google uses a query to select content, whereas Facebook selects content without one.

If this is the case, then the next step becomes obvious. Why would social media promote user-generated content, when they can generate AI-based content on demand? Text-only at first, perhaps, but eventually images and videos too.

And once social media no longer leads users to content made by creators, what will happen to the “creator economy”?

The Star Trek Replicator Analogy

We are entering a new paradigm where AI functions as a Star Trek replicator for content.

In Star Trek, there is no need for farmers who grow food, stores who sell food, chefs who cook food or waiters who serve food. The replicator can create any food you like, on demand, by directly transforming raw materials into the final product.

Likewise, I see no place in our future for any company who creates written content, distributes written content, mixes written content in some special way, or serves pre-existing written content to the user. The only valuable functions will be obtaining raw materials and transforming them into the final product on demand.

We still need ways to create information that did not exist before and gather information that was not publicly available before. Everything else will be achieved by AI engines that convert the available information into personalized content.

Implications for Content Creators and Distributors

Traders often talk about “positive exposure” and “negative exposure”. The easiest way to understand these concepts is to ask yourself – if this thing goes up, will I benefit or suffer?

AI is going up. And it is going up especially fast in areas like natural language and other human-generated content. The question every professional needs to ask themselves is – do I have positive or negative exposure to AI right now?

If you are a content creator – let’s say a news publication – and your cost structure is non-zero, then you are likely in trouble. You will soon be competing with content creators whose cost is zero, and that is not a competition you can win. In all likelihood, you have exactly 3 choices: exit the market; reduce your costs to zero (by becoming an AI company); or go bankrupt.

If you are on the distribution side of things, you probably have more time before the full effects reach your bottom line. Network effects will help you stave off the disruption for a few years. But eventually, things that must happen, do happen. Search engines replaced web directories. Feeds replaced a large part of the function search engines served before. And soon, on-demand content creation will replace both.

The Role of Government and Regulation

As someone who was born in the Soviet Union, I am not a big fan of government regulating speech. The moral hazards are usually higher than any temporary benefit such regulation might bring.

Nevertheless, I think that governments might have an important role to play in determining how this unfolds.

We have good and bad examples of government regulations and the effects they’ve had on industry. The “26 words that created the internet” grew a nascent industry to trillions of dollars in value. The regulation of ISPs in the 90s, however, brought down the number of ISPs in the US from over 3000 to 6, and resulted in a situation where US consumers have the worst bandwidth access in the developed world.

When asked for my recommendations, I usually point out three ways in which government regulation can help, rather than hinder, the development of this new ecosystem:

1. Mandate interoperability, and make it easier for consumers to switch providers.

Capitalism works like natural selection – companies that do things better or more efficiently will grow faster than companies who don’t. “Lock in” mechanisms that make it harder to switch, like the inability to export one’s data out of a service and port it to a competitor, slow down this evolution and result in lower growth.

If governments can mandate interoperability throughout the tech industry, we will see more good features and good behaviors rewarded. We will create incentive for companies to innovate in things people want, rather than innovating in ways to squeeze more out of a captive audience.

2. Enforce antitrust by focusing on monopoly abuses, rather than monopoly risks.

We all know that when two companies merge, the resulting entity might become large and have outsized power relative to its customers. But the existence of outsized power does not always lead to bad service or predatory pricing.

Meanwhile, companies who already have outsized power are often engaging in anti-competitive behaviors right before our eyes. And yet the FTC focuses on blocking mergers and acquisitions.

If governments focus on banning and strict enforcement of anti-competitive practices like dumping and bundling, especially with regards to tech products that are used by the majority of the population, the entire system will become unclogged.

Some specific examples might help illustrate this point.

Providing a browser, which is a very complex piece of software that costs billions to develop, for free – is a clear case of dumping. New browser companies like Cliq or Brave find it hard to innovate in this space because their much larger competitors give this expensive product away for free. The result is that all browsers look the same these days, and there’s been no significant innovation in this space since 2016.

Providing a corporate messaging app as a part of a document editing suite that every business must buy – is a clear case of bundling. Even a very successful startup like Slack was essentially forced to sell itself to a larger company, just to be able to compete as a paid product in a space where their main competitor is bundled with something their customer must have anyway.

As AI develops into a new ecosystem that becomes larger than the internet, we’re bound to see even greater abuses in this nascent space – unless governments step in and ensure that dumping and bundling do not pay.

3. Consider ways to subsidize or protect original content creation.

Government funds basic research and science through grants and other subsidies. It also protects new ideas that people discover in their research through patents. The reason these two mechanisms are necessary is that copying an idea that works is much cheaper than coming up with a new idea that works. Without intervention, this might lead to a tragedy of the commons where everyone copies from their neighbor and no one creates anything new.

In journalism, and content creation in general, these mechanisms were unnecessary because copying without violating copyrights was a difficult process. But with the advent of AI, this is no longer true. As the price of paraphrasing others’ writing approaches zero, we will need mechanisms to incentivize something other than paraphrasing – and the best answers might look a lot like the ones we have in basic research today.

Making the Best of this Challenge

The transformation brought about by AI is one of the greatest challenges facing humanity today. Journalists and other content creators will be affected first. Distributors of content will follow soon thereafter. We will eventually enter a completely new paradigm, which I referred to as the “Star Trek Replicator” model for content creation and distribution.

We have an opportunity here to build something much better than what exists today. Just as the invention of the printing press led to the Enlightenment, the invention of AI could lead to a second Enlightenment. But unfortunately, not all the possible futures are benign.

It’s up to us to nudge this evolution in the right direction.

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powerexec · 6 months ago

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The Power of Big Data Profits Lead Gen For Insurance & Real Estate Agents

Big Data Profits: Hyper-targeted Leads for Insurance & Real Estate Agents The data power of fortune 500 companies without breaking the bank! You know how Fortune 500 companies have access to massive amounts of data and use it to generate leads at will? Well, guess what? You can now tap into that same data power without breaking the bank! Imagine having access to the same level of data insights…

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fancy-rock-dove · 2 years ago

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@goodbye-blue

#DYING #mandarin #(sorta this is not exactly directed at my language acquisition)#(it IS a fantastic illustration of the perks though)#hahahaha #I do NOT even go here but #hannibal

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cathkaesque · 10 months ago

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Relentless direct action has secured another victory in the fight against Israel’s arms trade, as Elbit Systems are forced to sell their ‘Elite KL’ factory in Tamworth.

The company had previously manufactured cooling and power management systems for military vehicles, but was sold on after stating that it faced falling profits and increased security costs resulting from Palestine Action’s efforts.

After the sale was completed last month, Elite KL’s new owners, listed as Griffin Newco Ltd, confirmed in an email to Palestine Action that they will have nothing to do with the previous owners, Elbit, and have discontinued any arms manufacturing:

“Following the recent acquisition of Elite KL Limited by a UK investment syndicate, the newly appointed board has unanimously agreed to withdraw from all future defence contracts and terminate its association with its former parent company”.

This victory is a direct result of sustained direct action which has sought, throughout Palestine Action’s existence, to make it impossible for Elbit to afford to operate in Britain. Before they sold the enterprise to a private equity syndicate, Elbit had reported that Elite KL operating profits had been slashed by over three-quarters, with Palestine Action responsible: Elbit directly cited the increased expenditure on security they’d been forced to make, and higher supply chain costs they faced.

And these actions did, indeed, cost them. The first action at the site, in November 2020, saw Elite KL’s premises smashed into, the building covered in blood-red paint. Between March and July 2021, the site was put out of action three times by roof-top occupations – drenched red in March 2021, with the factory’s camera systems dismantled, before again being occupied in in May. Another roof-top occupation in July, despite increased security, saw the site forced closed – once again painted blood-red, and with its windows and fixings smashed through.

In February 2022, activists decommissioned the site for weeks – closed off after an occupation that saw over £250,000 of damages caused, the roof tiles removed one-by-one. After this, Elbit erected a security perimeter around the site – but to no avail. One month later, six were arrested after Palestine Action returned to Tamworth – again taking the roof and smashing through, preventing the production of parts for Israel’s military machine.

Elite KL is a ‘specialist thermal management business’. Since the sale, the company focuses on cooling systems for buses and trains, but it had, under Elbit, manufactured these systems for military vehicles. Until December of last year, Elite KL’s website was advertising its military and defence products, and it was known to provide parts for Israel’s deadly Merkava tanks, with export license records demonstrating its provision of ‘ML6a’ components for military ground vehicles to Israel. The company was also known to manufacture crew cooling systems, for the military vests of tank operators.

Elbit Systems itself provides 85% of the drones and land-based military equipment for the Israeli military, along with a wide range of the munitions and armaments currently being used against Gaza’s beseiged population. Its CEO, Bazhalel Machlis, has claimed that the Israeli military has offered the company its thanks for their “crucial” services during the ongoing genocide in Gaza

A Palestine Action spokesperson has stated:

“Each activist who occupied and dismantled Tamworth’s Israeli weapons factory did so in order to bring an end to Israel’s weapons trade, and to end the profiteering from Palestinian repression. Every defeat Elbit faces is a victory for the Palestinian people.

Kicking Elbit out of Tamworth shows once again that direct action is a necessary tactic. It is one which must be utilised and amplified in the face of the Gaza genocide.”

#socialism #palestine #palestine action #elbit systems

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renthony · 7 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.

#original essays #original post #nimona #nimona movie #nimona 2023 #nimona film

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francescolelli · 1 year ago

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Marketplaces for Buying and Selling Internet Business

In this article I will try to list possible marketplaces for buying and selling websites, domain names, and online businesses. Such Platforms provide a facility where entrepreneurs, investors, and individuals can connect to buy or sell digital assets. The online marketplace for buying and selling websites and online businesses is diverse, dynamic and overall is implemented as a two side…

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#Acquisitions Direct #BizBuySell #buying websites #BuySellEmpire #Digital Acquisitions #Digital Exits #Empire Flippers #FE International #Flippa #Internet Business #Investors Club #Latona&039;s #marketplace #Motion Invest #Quiet Light #selling websites #two sides marketplaces #Website Properties #WebsiteClosers

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dynamics23 · 2 years ago

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At Royal Dynamics, we provide the direct sales and marketing approach that our clients need. Our innovative solutions will help you drive traffic,, and get a high return on investment for your campaigns.

#account management #business management #customer acquisition #direct sales #management jobs

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mostlysignssomeportents · 7 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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bnfadvertisngagency · 1 year ago

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Are you looking for a reliable and creative partner to help you grow your business in Hessen? Look no further than BuildNFuture GmbH advertising agency in hessen!

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musicallisto · 2 months ago

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· · · · ♡ IF (SAINZ WIN == TRUE) (cs55)

… starring carlos sainz x f!engineer!reader ... 4.4k words ... in which carlos is an effusive, self-assured lad to every member of his team... except ferrari's head software engineer, making her wonder if he secretly hates her guts. ... based on this request ... warnings for language (minor) ... my first ever (posted) fic for carlos aaaaa (i have written A Lot More about this man because he occupies my every waking hour, but i shan't share it yet). in honor of me missing my communication networks final last week i made the reader a software engineer, but you would Never catch me willingly coding anything in c++ outside of my mandated assignments. no not even for carlos sainz jr. i have morals. this is open for part 2 if you guys enjoy it <3

He speaks the language of princes.

It's not in anything he says, no, he's much too industrious to waste time boasting, but rather in all that he doesn't. Carlos walks into the Ferrari motorhome, with that good-natured smile and that slightly disheveled hair from the morning's cycling session, and heads bow. Not out of plight, or even obligation, but mostly because it's hard not to. His warm greetings to everyone—Ciao's and even Come stai?'s to his team members strolling down the hallways before the weekend—, his keen interest in remembering little things about engineers' and photographers' lives, his nonchalant stride around the parc fermé all force camaraderie at least; reverence to most.

Wherever the red car goes, Maranello or any other corner of the world, religion follows, and though Carlos Sainz has never quite fit into the nooks they keep for their idols—their walls are carved for Monégasque shoulders—, he's at least always carried the air of a rebel leader on unforgving land.

But if Carlos is Ferrari's bastard prince, then clearly you are a subject he would not go to war for.

Or so he makes you think, once again, on that hot Singaporean afternoon.

You hadn't meant to interrupt, really, but with only one hour to go before FP1, you needed to talk to Riccardo Adami; something about the software updates, optimization of the data acquisition systems to account for Marina Bay's sweltering heat—run for half a second too long, overheat half a degree too much, and everyone's calculations would be going to hell. So of course you'd corrected it, supervised a brand new version of your code for the weekend, for that tenth of a Celsius; competition drove you. Almost just as much as those solar eyes boring into you when you walk into the room.

"Riccardo, about the softw—oh. Carlos. Hi," you timidly trail off when Carlos' eyes meet yours.

The room gets quiet, and it is only then that you notice how much space his laugh takes. Usually, you would've recognized the accent from outside the door, the boisterous voice regaling the Fifty-fives with another funny story—how could you not, when it sends shockwaves down your stomach? He seems to have been in an animated conversation with his race engineer, but as you get closer to the two men you notice the crinkles lengthening Carlos' eyes are fading with his smile. You aren't sure he's even said hi back.

"We've changed the code for acquisition, but some loops could still cause problems with overheating, particularly the engine oil temperature sensors…" you explain, though half your attention is directed to your peripheral vision, in which Carlos sways on his two feet, averting your gaze at all costs.

But you're not a college girl with a crush, you're Scuderia Ferrari's head software engineer and so you go on with your precisions to Riccardo. What to expect during free practice, how to overshoot any nonessential sensors that might fuck up the data analysis... until, mid-sentence, Carlos excuses himself awkwardly, pats Ricky on the shoulder, and walks out of the room.

You will your face into not betraying the sudden ache in your throat. How he simply acted like you weren't there... didn't even inquire about the updates. About the race. About your flight, about how much you loved Singapore's twinkling lights, about... you.

"Xavi and Charles know this already, but we really gotta test it all now before it gets cooler for FP2," you conclude with a too-hard swallow. Back firmly turned to the door Carlos just disappeared out of.

Riccardo thanks you, offers his own insight, some banalities about the risks of rain—no, you shouldn't consider them banalities. Nothing, on a Friday, is a banality anymore; yet everything is when you remember how Carlos' entire face shuts close when you're around, how his tone quietens down, how he repeatedly and stubbornly conceals all his rays of brazenness from you.

Does he hate you? Despise you? Are you not worth his effrontery?

This is ridiculous. You're not a college girl with a crush, you're a damn senior member of the team with responsibilities and he doesn't owe you anything more or less than you him—

"Riccardo," you neither ask nor plead. "Has Carlos... said anything about me?"

"About you? Like what?"

"I don't know... but you did see he just... left while I was in the middle of talking, right? And he looked annoyed as soon as I came in." And for all that's holy, try to pass this off as mere politeness and not a heartache that is eating you alive.

"Maybe he was just bored."

"So I'm boring?"

"No," Riccardo wheezes, in uncharacteristically high spirits for the conversation. "But I've worked with a ton of drivers, and you know, they're all the same. Less time discussing boring analytics is more time they spend in the sim. Or on track. What, you think he's angry at you or something?"

"I just... don't get why he's always so guarded and distant with me but so outgoing and confident with you guys. Charles isn't like that either. It makes no sense. We're a team, all of us."

The Italian looks at you for long seconds, amusement noticeable on his features, and you would shake him up and tell him to stop giving you those pity eyes if you lacked the tiniest bit of respect for the man; instead, you frown and cross your arms.

"He'll be in a good mood tonight when we top free practice," Riccardo assures you before you can ask him if he needs anything else. "and even better tomorrow after getting pole. You can talk to him then if you want."

A smile creeps its way on your lips without you conjuring it. There it is, that loyal veneration that only men and women of the Scuderia possess. Something in those southern eyes Carlos shares with legend has made you religious, too.

"I'll hold you to that... we could all use a Singapore miracle."

Singapore is a miracle.

Surely any other team would scoff at the word, bragging that a pole position has nothing to do with miracles, that it's all meticulous teamwork and endless iterations on calculators, but Ferrari is deeply supersitious at its core. You—the centenarian team, its red-hot beating heart—don't shy away from thanking divine intervention. Maybe that's the reason why it still works.

After Carlos' last pole in Monza, the whole Scuderia had dared to dream of something different, a glimmer of scarlet in the season's overwhelming orange. Of course, an uncatchable Max had put a dampen on the fervent Tifosi's mood, but the formidable hope machine had revved back to life...

and now it's roaring in Marina Bay.

Leclerc's side of the garage claps for a hard-earned P3, but it's the Spaniard's team that erupts into cheers and rushes out into the pitlane to congratulate their hero. You stare at his lap time on your monitor with a grin—1:30.984, not even a tenth faster than his teammate—as cheerful screams, in Italian and Spanish, fill the garage; they get louder when Carlos walks back inside, grinning ear to ear and not even bothering to dodge the strong-arm pats on his head and back.

"Twice in a row, cazzo!"

"And this time you won't have Verstappen underfoot!"

"Perfect lap, Carlos, that was a perfect lap..."

"Grazie a tutti," Carlos beams, fire suit down to his waist, running clammy hands through his hair—he parts the red sea as he walks deeper into the garage, close to where you are. "I think we all did a very good job today, and now we gotta finish the job tomorrow..."

He laughs with the mechanics, a sun of fire and victory casting its rays onto the tarmac, and maybe it's the euphoria of the moment, but a sudden wind of courage rushes through your blood, and you walk up to him.

"Bravo, Carlos."

Your voice hits him like the purr of an engine in the ruckus, overshadowing any other sound; he whips his head in your direction, shiny eyes colliding with yours, and for the first time you don't back off but hold them in awe, and his smile doesn't fade, but rather shifts. To surprise, or... coyness?

"You were incredible out there, we're all so so proud of you," you praise, and the more you look at him the wider your smile grows, and the quieter the rest of the world gets.

"Thank you, Y/N," he rubs the back of his neck, his free hand fiddling with the hanging sleeves of his fire suit. "We... I couldn't have done this without you. Because, you know, the overheating, or what you were saying to Ricky before? I didn't understand everything, but at least I didn't cook to death."

Coyness? In Carlos Sainz? When he's still sweaty and panting from qualifying first? What a bizarre sight, one that makes you giggle.

The way your nose scrunches up beneath sparkling eyes is so endearing, Carlos almost feels his breath hitch in his throat, almost reaches out to lightly brush your arm, hold the steady coolness of it.

"Great, that was what we were going for, pretty much," you reply, and for a second you could've sworn he wanted to touch your arm and changed his mind, but...

you bury the idea before a craving for his warmth can nestle in your chest.

"Great," he repeats. "So, I'll... see you later," and with that he leaves you there, stranded in the middle of the garage, to be lauded by the press and fans.

You'd be lying if you said his shadow disappearing out the backdoor as quickly as it had come doesn't slice a gash in your heart—always whisked away to some important obligation, and you, like everyone else, duty-bound to pick up the pieces behind him. But this time around the cut doesn't run as deep, doesn't bleed as red; because for the first time in months Carlos talked to you, joked with you, and looked the tiniest bit glad to be doing so.

If that's how good of a mood a pole puts him in... then clearly you'd better make damn sure he wins this race.

Ferrari is deeply superstitious at its core. Maybe that much is true in any sport—when victory eludes you, athletes find obscure laws to trick themselves into believing they still retain control—, but a team so old, on which glory has rained so often, does not withstand the passage of time without a few pillars of faith. And so it makes sense that Ferrari drivers, of all people, would have their pre-race traditions.

Leclerc plays the piano on Saturday nights; you hear him every time you pass by the team hotel's lounge, his melancholy tracks grounding you in a precise time and place. Now the car is out of bounds, the comfort of your object-oriented programming and optimized lines of code off-limits; now's the time for withdrawal and rest.

Typically, you like to hang out in the lounge while Charles plays, trying to distract yourself with a book or simply basking in the music. The predictable, calculated flow of Charles' arpeggios soothes you, like lines of code running one after the other. So does the Monégasque driver's easy conversation. Although it doesn't shoot butterflies in your belly like Carlos' does... but you're not supposed to play favorites.

This Grand Prix eve is just like any other, save for the unordinary trepidation that carpets the hotel. With one of their own sitting on pole, it's obvious strategists struggle more than usual to drop the words "tire management" and "pit stops". Eager to escape the nervousness, you excuse yourself from the dinner table, and make your way to the lounge.

Charles is already there, if the usual pieces echoing in the distance at dessert are any indication, and you barely even get lost in the elegant halls before you find the lounge... though there is no piano to be heard. Maybe this hotel has two music rooms—maybe Charles went to bed early—or maybe...

maybe he's sitting on the piano stool and chatting with Carlos, wet and sleepy from his evening shower.

Neither driver notices you at first, and you stop dead in your tracks, wondering if you should just leave. You wouldn't want to intrude—intrude on what, the rational part of your brain says, but with Carlos I always feel like I'm intruding on something bigger than myself, the rest of your body answers—, but you really enjoy this unspoken tradition with Charles... and, well, this is everybody's lounge, and...

"Y/N," Charles sees you eventually and beckons you over. "Sorry, I don't think there'll be a lot of music tonight, Carlos is distracting me."

"You could kick me out anytime," Carlos remarks good-naturedly, but you don't miss how he angles his body away from you ever so slightly. The sight sends a dagger through your heart. So he actually hates you then. So you didn't breach any barrier earlier at the circuit, didn't melt any ice. So he didn't look pleased and a little excited to be talking to you.

"That's okay, I'll just head to bed then—"

"Oh no no no," Charles interrupts, "come sit with us. I was trying to convince Carlos to give the piano a go, maybe you'll be more successful than me."

"Absolutely not, mate."

"Come on Carlos, it will relax you!"

"No, you're the musician, not me. One of us has to be the sportsman, no?"

Unsure, you flick between the two men, Charles' inviting face and Carlos, who's still doing everything he can to avoid looking at you in the eye. And then you decide—fuck it. You're just as much a member of the team as he is. He cannot drive you away with his... stupid cold shoulder tactics any longer.

You take a seat on the sofa opposite Carlos, and watch in half delight, half annoyance as he turns his shoulders away from you. Though his body language appears relaxed, one leg strewn across his knee and elbows hugging the backrest, he is, as usual, going to hell and beyond to not acknowledge your presence.

Charles has the merit of lightening the mood with his jokes and fan encounters of the day: some bizarre, some endearing, because he seemingly never has a boring day in the paddock. His easy laughter mixes with the distant voices down the halls when your attention drops—too fast, too soon, as always, it's irremediable—to Carlos, the soothing scent of his shampoo and the little droplets that run down his temple whenever he shakes his head in amusement... before you know it, you're staring again, eyes shining with undisclosed heartache. Something Charles sees, and recognizes very well, with a jot of curiosity.

Charles may not be the most perceptive when it comes to these things, but he is in love too, and he'd know the signs anywhere. That's why after a little while he lets silence blow his last words away like wind does the mist, and stands up from the piano stool.

"Well, I'm going to bed," he announces with an air of conniving finality, and he smiles his crooked smile at Carlos. "Gonna need all my energy to take the lead in turn 1."

This snaps you out of your reverie. Half-gone, you bid him goodnight at the same time as the Spaniard does, and you brace yourself for his own excuse... but it doesn't come. Carlos lazily watches as Charles leaves the lounge. You don't dare to move, as if your slightest sound could remind him you're there and trigger his fight.

You would've thought a tête-à-tête with you to be Carlos' worst nightmare... but he makes no sign of leaving. And sends solar flares up your chest and throat. "Whatever problem he's got with me, he'll have it sort it out with me like an adult" sounds much more intimidating when it's so plausible.

"You think he has the slightest chance of overtaking me in turn 1?" Carlos chuckles.

You look him straight in the eye and read no resentment, not even that sheepishness from before—just relaxed delight, and the slightest hint of reddened cheeks against tan, damp skin. It takes you a second, maybe even two, to realize there's no one else in the room. He's talking to you. Joking with you.

Why is the script running without error all of a sudden, even though you changed no variables?

"Maybe," you give a noncommittal shrug and a smile. "Why not? It all depends on you."

"He can lead the first lap if he wants. That will just make it more fun to cross the finish line ahead of him after."

"You better win this one, Sainz, because I..." you start, and midway through your sentence are hit by how absolutely ridiculous you're about to sound, but he's leaned in already, intrigued by your words, and his burning gaze and strong hands fiddling in his lap have you losing all notions of propriety. "I've... coded a little something for you. If you win. A surprise. It's not much, but... yeah."

Your whole face burns deep scarlet as you trail off... and the light in Carlos' eyes darkens, then goes out completely. His smile fades back to the usual professional grimace he reserves for you. Distant. Cold. He rises to his feet.

"I should get some sleep."

Terror strikes you. Incomprehension too.

"No, Carlos, wait."

He turns his head to your outstretched hand... your pleading eyes almost rip through his heart.

"Why do you dislike me so much?"

And then his shoulders slump, like crushed by an immense weariness, and he sighs, long and hard, before his gaze falls back to yours. Those big brown eyes, gentle, compassionate, and those fingers tapping against his thigh like they're waiting for an invisible cue to reach out for yours.

"... Can we talk about this after the race?" he says, shooting daggers through your stomach.

So he didn't deny it. Didn't reassure you, tell you it's all a misunderstanding, that he bears no ill will towards you, that you're imagining things as usual and that you two could be on the best of terms if you just got out of your head a little bit.

One more time, he's running away. Sweeping everything under the rug, for just one more session, one more race, hiding behind the excuse of concentration and professionalism.

But who are you to revoke him that? It's a damn good excuse. You need to win. He needs to win. Not be bothered about... interpersonal relationships while clipping walls.

"... Alright," you concede, voice and bones all broken, glistening under your frozen skin. "But if it's something I've done, then I'm sorry. I really do... enjoy your company. And you."

"It's not something you've done," he speaks quietly. Gosh, your frailty in this moment—you, so proud and unshakable on the pit wall, so dedicated and thorough on TV, so immeasurably devoted to Ferrari, to Charles, to him... "Or, well, I guess not directly..."

If he looks into your confused, imploring eyes one more second, almost brushes your arm with his one more time, then he's done for. But he thinks he knows this already.

"I don't dislike you," he starts speaking and as soon as he opens his mouth he knows there's no stopping himself now, so he blurts it all out as quickly as he can to get it over with and hopefully bury some meaning in the pits of his accent. "Not at all. In fact I really like you. I think you're gorgeous, and smart, and clever, and fun, and every day I wish I could spend more time with you outside of races and get to know you better but then I remember that can never happen and it's so frustrating and I have the hardest time concentrating. So I just avoid you. It's easier."

Silence thick as a thundercloud tethers you to one another. He runs a hand over his face, sighing deep, and you blink. Once, twice.

You've always prided yourself on your brains—not everyone gets to be in charge of all the computing for a Formula 1 car—but right now, you are all utterly lost.

"Carlos, I... I don't get it." Or maybe you do, heart thumping in your ears, but you're too scared you might be wrong.

"In any other life I would've asked you out on a date." This time he speaks more slowly, more purposefully, too. Like he's imbuing every syllable with the depth of his confession. "But it kills me that it can't be this one."

"... Why not?" you tentatively ask after an instant, feigning not to notice how his hand is now resting on the back of your sofa, right next to your ear and neck.

"Because you're a senior engineer! That would be like... like dating Ricky. Even if you're much prettier than Ricky. But you don't need to tell him that," he adds with a nervous laugh, which you mirror; though you fall silent as soon as his hand comes to rest on your shoulder, right where your collar ends, millimeters away from your skin. His body's warring with his own words... one wants to resist, the other to give in. "What if I leave Ferrari? That's a crazy conflict of interest."

"That's a silly idea, you're not leaving Ferrari anytime soon. Are you?"

"I don't know, it's... hypothetically... you know what I mean," he exhales in defeat. His hand clasps a little tighter on your shoulder, his scent dizzying, closer than ever before. Can he feel your frantic heart thumping underneath your skin? If he keeps licking his lips like this, will he sense your breathing getting more erratic?

"I do. But... the problem is I like you too, Carlos."

If embers could burn back to life, light a hearth out of nothingness... they wouldn't shine as bright as Carlos' eyes just then.

"Don't mess with me."

"I'm not messing with you. Why wouldn't I like you?"

"Because you're not supposed to have a favorite."

"I won't tell Fred if you don't."

He laughs, a brittle but adorable little thing, like a small bird taking its first flight. If you could hear the sound more often, see that bashful smile on his handsome face more every day... you wouldn't need any other prince to die in war for.

His hand runs down your arm, his thumb lightly caressing your skin through the fabric of your shirt before he grabs your shaky hand in his.

"Now's not the best time, but... I think we've got to have an important conversation after the race tomorrow," his deep, soft tone pacifying you just as much as the abstract shapes he traces on the back of your hand.

"After you win, you mean."

"Right. After I get my surprise, no?"

"After you win," you repeat with a grin, and he squeezes your hand, smiling too. Something, deep down, tells him he'll win regardless of the race result.

"Cosa diavolo sta facendo?"

Even in spite of the roaring crowd and the bellowing V8s speeding down the straight, the dumbfounded voices around the pit wall come to you clear as day.

"Russell 1.4 behind Lando," Ricky, sitting on the other side of Vasseur, speaks into his headset.

The team principal keeps quiet, eyes fixed on the cascade of numbers and brackets on your screen. He understands before the rest of the wall what his driver is doing; and as you relay all the information you get to the race engineers, you understand it too.

"Lando .8 behind, .8 behind with DRS—Russell no DRS... Copy that."

He's doing it on purpose. Keeping Norris just close enough to shield him from the Mercs while making sure he can't catch up. You'd laugh in triumph and disbelief if you weren't gritting your teeth so damn hard, heart on the verge of exploding as the last laps tick out in a blur.

Just a few more minutes. Just a few more seconds, and the night sky over Marina Bay will explode in crimson lights...

Mechanics spring to their feet and climb the wall to the track, bumping their fists in the air. Cheers, claps, exclamations, a bouquet of red roses swaying in the wind to greet its champion at the finish line. And then, the unmistakable roar of a racecar speeding past the chequered flag at three hundred kilometers an hour. Liberation.

You spring to your feet right as the fireworks go off, yelling to the sky. Carlos won. Carlos won! Your Carlos—in the middle of Red Bull's flawless season...

"¡Vamos Fred! ¡Vamos Ricky!" Flashes of red and gold pass his high spirits by, diligently braking into the first corner.

He laughs, he screams it all out, unclenching all his muscles, woozy from the G's, from the adrenaline, from the win... from you, watching him from the pit wall. From the memory of your skin against his, your adoring eyes and the formidable lightness inside his chest that has him feeling like he's the king of the world.

In a few minutes, he'll be posing with his trophy and the team in front of his P1 plaque for the group photo, and he'll drench you in champagne—your lively laughter will fill his heart with the gold of medals. And later in the evening, before the afterparty, he'll pull you aside and tell you maybe this victory has made him reckless, and he'll kiss you senselessly like a prize he fought for.

For now, though, he's nodding his head at Lando who gave him a congratulatory wave from his car when his on-board screen lights up with an unexpected message. Glowing red letters read, "Great job, smooth operator! 🌶️" Laughter escapes him as small virtual fireworks go off on his screen... and he presses the radio button on his steering wheel.

"Did she have one of these ready for Charles too?"

A few seconds of white noise, and then, your mischievous voice, dripping with joy.

"You know me, Carlos. Never play favorites."

… f1 taglist; @retvenkos @giuseppe-yuki (want to be added? send me an ask!)

#f1 #f1 x y/n #f1 x you #f1 x reader #f1 fanfic #f1 imagine #f1 fic #carlos sainz #carlos sainz x y/n #carlos sainz x you #carlos sainz x reader #cs55 imagine #cs55 fic #cs55 x reader #cs55 #mywriting #this got so much longer than i had originally planned lol <3

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