#There is nothing that is not perfect about this quote

[spockandstars]

I was thinking about how Spock is intentionally paralleled with Sydney Carton from A Tale of Two Cities in The Wrath of Khan, and now I am unwell!

At the beginning of the movie, Spock famously gives Kirk A Tale of Two Cities as a birthday present. This book was specifically included for its themes of sacrifice and resurrection, which obviously mirror Spock’s decision to give up his life to save the crew. Notably, Kirk’s final lines reference the famous closing of the novel.

Kirk: It is a far, far better thing I do than I have ever done before... a far better resting in place I go to than I have ever known...

Carol: is that a poem?

Kirk: Something Spock was trying to tell me. On my birthday.

So what’s the importance of this line? The famous “far better thing” quote is from the book’s ending when Carton has just sacrificed himself for his beloved Lucie, giving himself up to be executed in place of her husband so that she may find happiness. (Live long and prosper, anyone?)

Interestingly, both Spock and Carton are emotionally repressed characters, and anguish over the depth of their love for the people who uniquely see them for who they are — in this case, Jim and Lucie. While I’d argue that Spock is more at peace with himself and his feelings for Jim after the events of the first movie, the point still stands that Jim is the one to truly understand him in a world that labels him as a cold and calculating being.

I believe that this is what Kirk’s line calling Spock’s soul “the most human I have ever encountered,” is supposed to represent. (Even though I agree with the criticism that it could have been worded better!) Similarly, Lucie is the one to recognize Carton’s inner nature in spite of his aloof facade, begging “I would ask you to believe that [Carton] has a heart he very, very seldom reveals, and that there are deep wounds in it.” (Book 2, Chapter 20.)

When Carton finally admits his love to Lucie, it’s hard not to see the resemblance to Spock’s dilemma in the first movie. You know, that time when Spock, in his heartbreak over something related to Jim (that were not given an explanation for), cries out “Jim! Good-bye my . . . my t’hy’la. This is the last time I will permit myself to think of you or even your name again!” before attempting to purge himself of all feelings in an ancient ritual, and failing because the Vulcan priestess can totally sense that he’s still thinking about Kirk. (Yup, that totally straight time!)

Well, Carton is in a similarly agonizing predicament, because he can’t get his feelings for Lucie to go away. He tells her, “I break down before the knowledge of what I want to say to you” and “I have had the weakness, and have still the weakness, to wish you to know with what a sudden mastery you kindled me, heap of ashes that I am, into fire—a fire, however, inseparable in its nature from myself, quickening nothing, lighting nothing, doing no service, idly burning away.” (Book 2, Chapter 13)

He also expresses that he could never separate his love for her from himself, saying that “Within myself, I shall always be, towards you, what I am now.” (Book 2, Chapter 13) Yeah, I know the fact this mirrors Spock’s famous “I have been and always shall be yours” is probably a coincidence, but I’ll be damned if I don’t mention it.

Finally, Carton expresses his love for her in his willingness to sacrifice himself for her sake: “For you, and for any dear to you, I would do anything. If my career were of that better kind that there was any opportunity or capacity of sacrifice in it, I would embrace any sacrifice for you and for those dear to you… there is a man who would give his life, to keep a life you love beside you!” (Book 2, Chapter 13.) Of course, Carton’s story ends when he sacrifices himself for her, fulfilling this promise. Hmm, now who else does that sound like?

This is definitely not a perfect parallel: Spock doesn’t start out as a lazy alcoholic, although there is an argument to be made that Carton’s low self-worth reflects Spock’s before he went on his conversion therapy fueled journey of self discovery. Additionally, I wouldn’t say that Spock’s love for Kirk is unrequited like Carton’s for Lucie, (as evidenced by many things, but I’ll primarily point to the events of The Motion Picture and The Search for Spock), but you could potentially cast Carol in the role of Darnay, Lucie’s husband.

The most important thing to glean from this is that Spock was very deliberately set up to be the Carton figure, which is interesting given that Carton’s actions are driven by his willingness to do anything to see his beloved be happy and prosper.

[thisbuildinghasfeelings]

TK Babe/Baby ❤️🌈

A quote from every single time TK has called Carlos "babe" or "baby" SO FAR.

Babe/Baby Key under the cut!

Color-coded Key (I can't make text yellow, so pretend the pink is yellow!)

Thanks for being here babe. 2x02: TK thanking Carlos for being there for the tumor cake party.

Hi, baby. 2x08: A concussed TK greeting Carlos as he rushes in to save him from the murderous kidnapping bank robbers.

Two wheats, babe. 2x11: During a game of Catan.

Babe, thank god you're here. 2x12: When Carlos arrives at the firehouse as TK is fretting over why Owen got arrested for arson.

Baby, do you smell that? 2x12: When sex was interrupted by a fire.

Yeah, babe. 2x14: TK telling Carlos about Mateo's mic-drop moment during the dust storm.

Hey, baby, breathe. 3x04: TK waking up from a coma to tell Carlos to breathe.

Baby, it's 3 in the morning. 3x05: TK coming to look for Carlos when he's working on the missing child case at 3 in the morning.

Hi, babe, perfect timing. 3x07: TK greeting Carlos with an offer to play next when Carlos arrives at the firehouse to tell them about the Red vs Blue controversy.

Babe, I know you're going through it. 3x11: TK trying to get Carlos to cool it with the rage punching.

Our meeting's at 5 babe. 3x13: TK declining Carlos' offer for coffee or tea because he and Cooper have to get to their meeting.

I don't even know what that means, babe. 3x13: TK's response to Carlos telling him that he's just "trying to figure out what my place is."

Hi, baby. 3x13: TK greeting Carlos when coming home from a meeting.

Hey, babe. 3x15: TK greeting Carlos when coming home with a lizard.

Hey, baby. 3x15: TK greeting Carlos when coming home with mealworms.

Hey...babe. 3x15: TK trying his best to distract Carlos from the fact that Lou has escaped.

Oh my god, babe. 3x15: TK's reaction to finding out that Carlos found Lou and put him safely back in his tank.

Baby. 3x18: TK waking Carlos up to propose to him.

Baby, I'm serious. 3x18: TK reassuring Carlos that he's serious about this proposal.

Baby, this isn't drama. 3x18: TK telling Carlos that it isn't drama inspiring the proposal, it's love.

And baby, my life has been scarred with loss. 3x18: TK continuing to explain to Carlos the reasoning behind his proposal.

And baby, we only get so many. 3x18: TK emphasizing that every moment they're not married is a wasted moment and they only get so many moments.

Hi, baby. 4x01: TK greeting Carlos when he arrives at the firehouse.

Baby, that's fantastic! 4x01: TK's reaction to Carlos telling him that the dream wedding venue is available in 8 weeks.

Hey, babe, I was getting worried. 4x03: TK answering Carlos' call right before Carlos goes into the tunnel to get shoveled.

Stay with me, baby. 4x04: TK resuscitating Carlos.

Come on, baby. 4x04: More resuscitation.

Oh, baby, you saved your own life. 4x04: TK's response to Carlos' thanking him for saving his life.

Ok, babe. 4x12: TK nervously getting ready to interview officiants.

Babe, you don't even hike here. 4x12: TK trying to bring Carlos back to reality a bit after he says he wants to hike the Great Wall.

Babe, it's beautiful. 4x12: TK's response to being presented with a bearded dragon.

*gasp* Babe! 4x14: TK's reaction to Carlos' reveal as the pudding thief.

Yeah, babe. 4x15: TK confirming that he can see photos of the possible suspects for the kidney patient who gave him a black eye.

Babe, my dad's calling. 4x16: TK calling Carlos over to the call with Owen to find out the results of his Huntington's test.

Oh my god, baby, I'm freaking out. 4x16: TK freaking out before picking up the phone.

Babe. 4x17: TK's response to Gabriel making the offer for Carlos to join the Texas Rangers.

You should really try to, babe. 4x18: TK's response to Carlos telling him he doesn't feel much like sleeping the night after his father's funeral.

You've got nothing to be sorry about, baby. 4x18: TK reassuring a grief-stricken Carlos as they're about to postpone the wedding.

Hey, babe. 4x18: TK coming home to Carlos trying to set up a VCR.

Baby, have you been up all night? 4x18: TK waking up to a spiraling Carlos who has indeed been up all night.

Baby, when's the last time you slept for more than a couple hours? 4x18: TK trying to encourage a spiraling Carlos to get some sleep.

[ro55ocorsa]

I recognize in thieves, traitors and murderers, in the ruthless and the cunning, a deep beauty - a sunken beauty.

[rotisseries]

i want to be a body for you...

[doctorwhoisadhd]

for context on the post before last: my entire team literally got incinerated during a solar eclipse game

[swinging-stars-from-satellites]

GO THEN BUT KNOW YOU GO AS ONE BELOVED THOUGH YOU GO WITHOUT YOUR MIND

(GO THEN IF YOU MUST AND YET OF THIS BE SURE THAT MAD AS IS YOUR GOING DEARLY ARE YOU LOVED BY THOSE YOU LOVE)

[teeth-kid]

were "[insert media] characters as vines/etc" videos ever good or was i just not paying attention

[selfconsumerofmywoes]

why is it going straight from summer to winter??? where’s my beloved autumn??? where’s my beautiful middle ground????

[myname-isnia]

The day I found out people actually find writing and drawing and generally creating art enjoyable is the day my perception of the world broke

[leatherbookmark]

okay, it seems reading from the “oh dear all those people are so fucked up” angle paid off, i’m barely 41 pages in (vs the book’s 428, that’s Nothing) but look at this quote (pgs 39, 41-42):

It happened that there was a black mirror stand opposite Yuichi. The round mirror had been knocked askew by the robe of someone walking past it, but there on its back, as it were, it reflected full in the face of Yuichi. While they talked, Yuichi felt as if his own face stared at him from time to time.

(...) All the while Yuichi was taken with the face of the beautiful youth that stared at him out of the mirror in the lamplight. The deep, mournful eyes under the intelligent brows stared fixedly in hsi direction.

Yuichi Minami tasted the mystery of that beauty. The face he had always known, filled with the energy of youth, carved with the depth of masculinity, bearing the unhappy bronze substance of youth -- it was his own. Until now Yuichi had felt only loathing in his consciousness of his own beauty. The beauty of the boys he loved, on the other hand, filled him with longing. As men in general do, Yuichi forbade himself ever to believe that he was beautiful. But the fervent praise of this old man before him now rang in his ears; and that artistic poison, the powerful poison of his words, loosened those inhibitions that had persisted so long. He now permitted himself to believe that he himself was beautiful. Now for the first time Yuichi saw himself in all his beauty. Within that little round mirror appeared the face of a surprisingly beautiful youth he had never seen before. The manly lips exposed a row of white teeth that involuntarily broke into a smile.

[homoquartz]

this post is not gonna be well put together but i am having feelings

mean girls is trending right now because the musical movie just came out and i feel insane. idk why i do, it was stupid of me to think that most people Got It, no one ever gets it, it was always about the memes and the aesthetic.

the first mean girls movie was based on a nonfiction book called queen bees and wannabes. it interviewed and discussed the social hierarchy system in teen girl friendships. how they hold each other to these insane standards of heternormative femininity out of sheer terror that they won't meet those standards themselves. the way they leverage their relationships for some small degree of power in a world designed to strip them of it, even if it drags other girls down.

the "you can only wear your hair in a ponytail once a week and on wednesdays we wear pink" speech was not an original creation for the script. it's a QUOTE from a real teenage girl. those were REAL RULES.

then the musical came, and it was one step removed from the intended messaging of the film. OG mean girls was not perfect (and was extremely racist), but it said what needed said. the musical leaned on the comedy more, but still left a heartfelt undertone, and still critiqued the systems in place. of course no piece of media is going to be perfect, but it was about the conversation.

then this new movie comes out and it is washed over in the veneer of white hollywood feminism so thick you can't see anymore. the problematic aspects of the original movie are taken out to avoid "offending" when the offense was the point. it becomes toothless, it becomes some other thing entirely. they changed karen's line "i expect to run the world in shoes i cannot walk in" to "watch me as i run the world in shoes i cannot walk in." because choice feminism is in vogue, suddenly this character whose entire point is that she doesn't think deeply about WHY she does anything is suddenly hip to the fact that the world is against her.

i think of sokka losing his misogyny arc in the new atla. i think of the Heathers remake casting the bitchy, identical heathers as queer and hollywood-fat outcasts. as if the story, the meaning, the allegory is hidden in the sets and the jokes and the music. it's a whole new thing now, and it's a thing that means nothing in particular.

the plastics should not wear jeans. they should not have curves. their queerness should be suppressed, painful. their sexuality is not a slay, it's the only thing they think they have of value. the santa dance isn't sexy, it's shocking, it's mortifying - they are children.

they're not mean because "we are all mean." they are mean because they are girls in a world that brutalizes them and crushes them into a standardized shape. they are mean because the world is mean to them. they are mean because it gives them some power back. they are mean because it's the only weapon they have.

the landscape of femininity today has shifted to camera-ready makeup at the age of 10, stringent performative hygiene standards, and avoiding being caught on film while having a genuine emotion. the consumerism, the fatphobia, the racism, the classism, the homophobia remain. We could have had a conversation about that.

[sammydem0n64]

The whole plot of Crumbled! (at least the main plot since several characters aren’t. Involved in that. Funny side plots and characters baby!) is how organized crime affects people, inside of it and out. It’s how members of the mob don’t have anything else they can do in life aside from the life of crime, it’s how the general public are harmed by organized crime even if they aren’t being targeted personally, it’s how being a member of this lifestyle can destroy or build your relationships, it’s how no one is pure evil or pure good, it’s the complexity of people while also being about The Horrors.

No one here faces “traditional consequences” to their actions, aside from a few. Hershey doesn’t go to jail, Donna doesn’t die, etc etc. This is a story that doesn’t need those consequences. From day 1 you know these characters are doing horrible things, and at the same time these characters learn and fully comprehend they’re doing bad things. The most they get as “traditional retribution” is how some of their personal relationships are affected. Aside from that, these fuckers dont NEED what the masses would deem a traditional consequence because the entire fucking plot is them going through the horrors because of their actions! Being in the mafia and seeing and doing horrible things while having to just live with it is a pretty damn good “consequence” to me! Melphis doesn’t need to go to jail because “he needs to suffer the consequences of his actions” when every single damn day he suffers‼️

Even if Cheon’s family isn’t destroyed, even if the Oreona family doesn’t ostracize it’s members that are criminals, even if the extremes aren’t reached in these “consequences” there’s still a damn effect!!! But at the end of the day like I said these guys suffer the consequences of their actions constantly so they don’t need jail time or death or anything like that oh my god. And if you think that’s wrong and makes me romanticize, endorse or fucking glorify the mafia because Melphis doesn’t get locked up and only two members of the Oreo Gang die in the end then OHHHHHH GROW UP‼️ GROW UP‼️‼️

[orphicosmo]

☠︎︎ 𝐀𝐒𝐓𝐑𝐎𝐋𝐎𝐆𝐘 𝐎𝐁𝐒𝐄𝐑𝐕𝐀𝐓𝐈𝐎𝐍𝐒 ☠︎︎

Posted on :10 june , 2024

Divider credits : animatedglittergraphics-n-more

By ængel💄

Disclaimer: mature content // dont fight with me if you disagree

Moon square lilith - a lot of people be underestimating them, don't , they are the perfect epitom of 'you should be afraid of little me ' these people know your secrets , a lot of people try overpower of them by spilling their secrets , they'll seriously fuck you up , do not touch their wounds , they are going easy on you , these people are good debaters they have no mercy imo .

❁ Jupiter square/trine asc - i know you all are tired of taking on unnecessary drama for others , somehow people always involve you in their shit , a lot of people be trauma dumping on them for no reason , run you'll are not therapists .

❁ We dont talk about 12h sun's charm enough - you'll be making us crazy, these people are so emphathetic , sensual , and magnetic , literally oozes sex appeal

❁ Saggitarius dominants give off golden retriever vibes as well as "i'm better than you vibes" - because these people are big achievers , they dont stop at nothing, a lot of people think they are two faced but they be just projecting, also why you all friends with everyone? Stop rn

❁ Sagittarius moon attract people who want something out of them , they want them to do most of the work , sagii moon are really smart people tho , they know what you are plotting against them and they're usually aware, YOU just dont know it ,sag doms will never break their connections , they play you , you dont play them , nah .

❁ 7h suns - you all be attracting jealously by just being yourselves, a lot of people literally try to bring them down and its mostly their own family and friends, you guys are drop dead gorgeous tho its hard to tie them down , gives me butterfly vibes .

❁ Saturn + jupiter dom childerens are trophy kids sadly , how does it feel to parent yourself?

❁ 12h saturn - first of all you guys are intimidating second you'll be looking edgy in a sexy way , third it's not your fault you all be triggering lack of accountability in authority figures , literally the most empathetic people ever .

❁ Libra chiron & lilith Libra- my gosh the beauty they have is UNMATCHED , these people will always be famous for their looks more than their personality, i said what i said .

❁ Did anyone noticed how aqua sun/ rising people are internet gorgeous? Nobody stands a chance against them

❁ Scorpio moons - have clout , a lot of people are curious about them , the reasons you all are misunderstood is because YOU GUYS DO NOT OPEN UP, stop internalizing your trauma

❁ Anything that touches cancer degree or cancer house /4h out of the world , unattainable beauty and intelligence, these people are overachievers , you don't know shit about them , they are analytical and good at reading you

❁ Lilith in sixth house - being sexualised for your body , i have seen a lot of people be simping over them like its not okay its kinda creepy how others be fantasizing about them .

❁ Jupiter in 11th house - people thinking they have everything THEY need in their life

❁ Pluto in 8th house - fuck boy /girl energy , dont quote me ...its just you guys look like you have so many options

❁ Uranus mc - found in most online famous people, their persona is relatable, someone who rightfully critise others , someone who's def gonna speak to any injustices , gives off warrior vibes

❁ Lots of Libra retrograde houses - princess+ victim syndrome , confused energy

❁ Moon in 6th house - gives off saviour vibes , if you are a man with this placement you won . These people have masculine energy & they look like everything is under their control.

❁ Mars in 4th house - control freaks , home was literally a war zone , was and is right about most of the things , gives off daddy vibes, probably has a sharp tongue , intimidating at first glance , very overprotective and possessive of their things & people.

❁ Libra placements and their never ending obsessions with collecting creepy stuff 😭 you guys are prone to get sick easily because they attract attention easily .

❁ N. North in 5th house- stop being chronically online 24/7 , we know you have a secret account, you guys do shit talk in a sarcastic way

❁ Aries sun's and their sexual appeal is too high , you all can arouse others easily also they have good teeth & their facial structure is attractive i dont know but something about their smirk .

❁ Mercury in 8th house - friends who casually make sun of their trauma , dark jokes , can charm others pant off .

❁ Mars 8h + jupiter 8h - stalkers , literally will find out your life history , they go all in or none at all . Super intriguing.

❁ Venus dom 🤝 others mistaking your kindness for flirting, people hitting up on you even if you are married, others having no sense of boundaries, criticise for your natural talents, discouraging behaviours from others , others using you for their own gain.

❁ Pluto 12th - has known every dark things that happens behind close doors , they have natural fbi talent, they have tons of secret account for sure , doesn't post easily, do not overshare easily , randomly waking up fron nightmares , have to tolerate others stalking them and obsessing over them and their achievements

❁ Scorpio 11th house - let me tell you a secret , your friends do compete with you , they are insecure and knows you are gonna get far .

❁ Sun sextile mc /conjuct ascendant - you all have notice how people be staring at you its cause they admire you and has heard about you from someone.

❁ Venus trine Lilith - people want you ,they masturbate to you , sorry

❁ Venus trine mars - androgyn beauty , delicate movements, attractive eyes ,soft body , sensitive skin

❁ Moon square pluto - you all be saying they dont have control over their emotions? Have they ever even showed emotions ? These people get wrongly accused the most , they are either " i heal others because i have been hurt " or " i fuck others because i have been hurt " - nothing. In. Between.

❁ Cancer /pisces /Virgo moon - give them space ? You all be all up in their space its disgusting how people are like leeches with them , you guys should be rude and bold , set those boundaries bae

❁ Leo placements - pissing people off because you guys are irreplaceable, they will always leave their footprint, they take up all the attention and are literally accused of being a pick me or an attention seeker most of the times , unforgettable people .

❁ Capricorn moons get attached to their lovers easily , its hard for them to forget those people who once were close to them or those who wronged them ,they get revenge by being the best version of themselves.

❁ Mercury 12h - accidentally being a motivational speaker lmfao 😭👍🏼 Literally validating people's emotions

❁ Mars in 12h men 🗣️ are the best in bed , unforgettable experience , they know how to pleasure you , their sensuality speaks for itself, very forward , you are lucky if you have them .

❁ Taurus Lilith/2nd house - their rights are violated by their family , they were sexualised as a child , they attract all the genders easily ,its disgusting how some of them has faced s/a at an young age , they were probably the most physically beautiful childeren .

❁Scorpio Lilith/9h - not feeling safe around people, being on guard , feeling paranoid, attracting aggresive obsessive people , people thinking they own you .

❁Scorpio moons make good chef

Cancer moons are so nice & understanding

❁Earth moons are sensitive to light and loud noises

2nd house is your childhood and how you were as a child

❁ Aqua 2h - may not remember a lot about their childhood , they have friends from other countries online the most , they are very smart with technology , others trusted you easily , prob adopted pets , they were disciplined children's ,they were mature than most adults , they have calming voice .

❁ Capricorn/Scorpios have the best dark themed aesthetic.

❁ Fire signs 🤝 lots of childhood friends

❁ Neptune 1h people are idealised a lot .

❁ 29 degree people are others favourite , has mental maturity, good at many things , insecure , constantly looking for self development , is good at grooming themselves , glowy dry skin .

❁ Mars in taurus/ gemini people be giving passive aggressive energy lol

❁ 10 degree on venus - you all are not gonna have an easy love life ,your lovers will teach you a lot in this lifetime,you guys will be unforgettable to your lovers , you give off " i'm high maintenance vibe" .

❁ toppers have gemini , libra and virgo placement full stop .

❁ N.node in saggitarius gives off - your best friend vibe , its like these people are so chill ,they'll vibe with you , they have the worst road rage tho , can't underestimate their power over others .

❁ Aries moon - do one thing right 😭 they be too bossy .

❁ Cancer placements - others be putting unrealistic expectations and beauty standards on them , just stop , they are traumatised by your projections , they are not dumbo cutie cry babies who cant do shit for themselves its embarassing how others be describing cancer placements as sensitive creatures the way people talk about cancer placements reminds me of renainnance period where everyone just thought women was dumb creatures who dont stand up for themselves. Yikes .

❁ Libra moon unhealed 🤝 victimisation , bitcy ass , jealousy , unsolicited advice , making people uncomfortable, literally pick me's .

Scorpio moons be romanticing their anti social behaviour too much .

10h saturn - your dad is socially influencial

Venus dom- look like they are from well off family , artistic people , revellious , entertainer's.

Water + fire placements unhealed = victimisation at its core , attachment issues .

Leo sun's being people's friend crush . You all are too cool fr

💋thank you for reading bae

[universesinoureyes]

/

[ryuuseini]

Okay, apparently, according to my professor I SHOULD be getting substantial critique (bc people have to use at least 3 sentences to respond to the questions about my work), however, I still fear I won't be able to choose my partner (as we're doing partner based critiques and not open critiques) bc someone would grab me and force me to be their partner. And that someone idolizes my writing AND has a really bad work ethic so if I even get critique... its a 90% chance it Wont Be Helpful

[renthony]

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

by Ren Basel renbasel.com

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

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

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

Then the Walt Disney Company made a huge mess.

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

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

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

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

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

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

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

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

Nimona, however, is hard to kill.

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

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

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

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

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

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

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

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

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

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

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

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

Enter Nimona.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

But she isn’t safe from the Director.

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

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

Nimona, however, is hard to kill.

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

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

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

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

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

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

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

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

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

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

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Notes:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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