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autumnalwalker · 2 years ago

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A Dream About Waking And Sleeping

Author's Note: No idea how my subconscious got stuck on vampires, but here we are. This was one of those weirdly vivid dreams that stuck with me so hard after waking up I had trouble concentrating on anything else all day. Content Warnings: Vampire stuff. Mentions of blood and death (because vampires). A brief scene of fantasy violence. Mention of unspecified animal hunting/death for food. Nothing graphic or in gory detail though.

I awake in a stone coffin. Or would “sarcophagus” be more accurate?

I slide the lid aside and find myself in a crypt with other such vessels of entombment. None of them stir.

I do not recognize this place.

In a daze, I explore, soon finding stairs going up. The crypt is beneath a church, or at least something resembling one. The roof has fallen in in most places, allowing snow to cover the floor.

It’s beautiful.

A man in armor of black chain and plate and brown leather leaps down from the broken rooftop to attack me with a spear, barely missing me with his initial landing. I can’t see his face under his pointed black helmet and he says nothing, silently going about his grim task of trying to impale me.

Somehow I manage to keep dodging and evading my attacker, if only just. We move from room to room within the church, but he is adept at cutting me off from any exits.

He raises a hand and several heavy books fly from a shelf behind me. The unexpected projectiles knock me off my feet, allowing the man in armor to close in on me and finish the job.

At the last moment I break free from my paralyzing fear, scramble out of the way, and pick up one of the fallen tomes.

While the man’s spear is still stuck in the floorboards I spring to my feet and begin beating him over the head with the book. Somehow this is to make him fall.

With the danger passed, it finally occurs to me how strong and fast I am. Between that and the circumstances of my waking, I find myself wondering if I am some manner of vampire or other accursed undead creature.

Funny, you’d think I’d remember something as important as dying, but now that I think about it, I can remember precious little before my waking.

To my surprise, the book in my hands is legible despite its exposure to the elements and its recent repurposing as a blunt instrument. Between it and the other books on the shelf I confirm my suspicions and learn something of my erstwhile attacker.

He was once in line to inherit some legendary sword from his father and go on to become a hero and leader of his people, but that glorious destiny was denied him when his thieving brigand of a brother challenged him for it, won, and went on to become little more than a glorified bandit. Meanwhile this man lying before me was cursed and exiled to this remote place to watch over the interred dead and put them down should they ever rise.

He was not a happy man, but he took his long and lonely duty with a sacred seriousness.

I drag him down to the crypt and lay him down in as best a place of honor as I can manage. I perform what last rites I can glean from the books.

I still feel horrified by my own action, but I try to comfort myself in telling myself that it was self-defense and at least the man can finally rest free from his own curse.

Further exploration confirms that the church is indeed far from civilization. I find nothing but snow-covered forest for miles in every direction.

I return to the ruined church.

Eventually another like me wakes. Or do I wake her? These things blur together.

She is a child, or at least she was when she died, and she continues to act like and view herself as one. She is perfectly content to play in the snow and the woods, alone, with me, or with the skeletons who rise from the crypt around the same time she does. I never am sure if it’s her that’s raising them or me. Or if they simply rise on their own.

Unlike us, the skeletons seem more like automatons than true people. They never speak and rarely act or change course from their current action without direction from either the child or myself. But every now and then I find myself wondering. Once in a while one of them will take an action unprompted, and with time I start to pick out small quirks and differences in - for lack of a better word - personality that allow me to tell them apart.

Also, unlike us, they require no sustenance.

After some days, a hunger takes me and I find myself in the woods to hunt. It turns out that I can sustain myself on the blood of animals and I bring enough back with me to feed the child as well. I’ve quickly come to feel protective of and responsible for her. Motherhood has never suited me, so I choose to think of her as a little sister.

Unlike me, she finds nothing strange about any of our circumstances and drinks the blood as a matter of course.

It’s a quiet, peaceful life we find ourselves living. For certain definitions of “life” and “living” at any rate.

But, even with regular feeding, we increasingly find ourselves growing tired. When Spring comes we return to our coffins in the crypt to sleep.

It is Winter again when I next wake, but the state of the church and the trees tell me that years have passed, not merely seasons. Neither I nor the child have aged, of course.

And so we settle into our cycle of waking for one Winter out of every four or five. Or is it a dozen? The gaps seem to be increasing with time.

Over the cycles I learn that the other “accursed interred dead” truly are the monsters the old texts claimed. I see to it that they don’t rise again.

I know not why I always seem to wake first, but it suits me just fine.

One day, I wake to find my coffin harder to open than normal. Eventually I break free to find that the crypt has been converted into a basement. The stone coffins have all been covered beneath floorboards or sealed into plaster walls. Above, the church has been replaced by a strange house. It is too warm for winter and there are sun-bright humming bulbs inset into the ceiling and adorning suspended fans. Yet, when I look out the glass window it is dark outside and snow is falling to cover the ground.

A woman hears me moving around and is as shocked to find me in her home as I am to find hers built on top of mine.

It is a long talk to explain and to get her to believe. And to not fear me. And there are enough details that I keep accidentally surprising her by casually mentioning things I’ve grown too used to to think noteworthy. The skeletons in particular get a more amusing reaction than they ought to.

Meanwhile, she explains that it has been a long, long time since I last woke. Going out hunting for game in the woods is no longer viable, for the area is too developed now. She offers to do what she can to get me and the child through the Winter until it is time for us to sleep again, whether she winds up going to a butcher or a “blood bank.”

During all of this I learn that she is a single mother. I am delighted to hear that my little sister will finally have someone else her age (in a manner of speaking) to play with.

I’m concerned though about what finally drinking human blood will do to us. Not the woman’s or her child’s of course, but what she might bring us.

#dreams #my dreams #writeblr #my writing #dreamposting #There's a part of me that wants to make a whole WIP out of this.#Maybe I'll give these characters a cameo in Empty Names at some point?#I like to imagine this story continuing as a sort of slow buildup of the characters slowly becoming friends over the course of the Winter #but with this pervading melancholy of the knowledge that come Spring the two undead will have to sleep and never see their friends again.#But then Spring rolls around and they're NOT tired because it turns out THAT'S what human blood does for them #And now suddenly what had once been a comfortable inevitability that they'd long since made peace with becomes a choice they have to make:#Continue the comfortable cycle that will one day peacefully end in simply not waking up #versus actually trying to live and adapt and all the joys and hardships that come with that.

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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.

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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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nataliescatorccioapologist · 13 days ago

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Each Yellowjackets character’s role in the wilderness and how these roles overlap into the adult timeline

Natalie - The Hunter

Nat’s role as The Hunter aligns with her independent spirit and her familiarity with hardship, stemming from her difficult childhood. Natalie’s hunting skills give her a sense of purpose and power that she never experienced before. Living under her father’s thumb for most of her childhood, she was repeatedly told she was useless and was forced to comply with her father’s abusive control and humiliation of her. At school, she was frequently slut-shamed and referred to as a “burnout,” reinforcing her sense of worthlessness and lack of direction. Wielding the gun gives her power, protection, motivation, and appreciation from others that she never received before. Nat’s ability to provide for the group and keep them alive proves her father’s words about her wrong, and you can see her relishing in that.

Nat’s role as The Hunter also reflects her propensity for isolation. Nat has always been a bit of an outsider, trusting very few people and outcasting herself intentionally through the abrasive front she puts on. Nat’s hunting mirrors this as it isolates her from the rest of the group. She spends most of each day trekking through the wilderness looking for game while the rest of the group stays back at the cabin. This isolation creates an even stronger codependency with Travis, as he is the only person she interacts with and relies on for most of the day.

As an adult, Natalie still embodies The Hunter role, though her objectives have transformed from hunting for food to hunting for answers, truth, and meaning in her life. She relentlessly pursues elusive leads on the postcards, the blackmailers, and the circumstances of Travis’ death (all with a gun in her hand). Her role as a hunter ties into her need for control in the midst of chaos. In the wilderness, her hunting skills provided a measure of stability; as an adult, this manifests in her obsessive pursuit of answers and in her determination to confront the past head-on

Natalie also maintains the isolation and outsider status she had in the wilderness. Just as she was apart from the other girls in the wilderness, hunting alone, her adulthood is marked by pushing people away before they can get close to her and living a transient lifestyle similar to her treks through the woods on hunting trips.

Shauna - The Butcher

Shauna’s willingness to step into arguably the most emotionally taxing and gruesome role in the wilderness speaks to both her toughness and her aggressive, adrenaline-seeking tendencies. Shauna’s role as The Butcher gives her a sense of importance, contrasting how invisible she felt before the crash living in Jackie’s shadow. It also evokes a sense of intensity, thrill, and heightened emotions; something very absent from the mundanity of her life before and after the wilderness.

Shauna’s capacity to take on such a role reveals her ability to detach and perform the task with a cool-headedness that hints at a unique adaptability. However, it also hints at something deeper, a capability for darkness and violence that she suppresses. She doesn't panic under pressure but rather appears oddly at home in these extreme moments.

Like the others, this role follows Shauna into the adult timeline. In a more obvious sense, she kills rabbits in her backyard and butchers them to feed to her family, and she cuts up Adam’s body after she murders him. But in a more subtle sense, Shauna is clearly still seeking the adrenaline that butchering in the wilderness provided her. She enters a risky affair with Adam, jumps off of bridges, sleeps with Adam in her home when Jeff could come in at any moment, tracks down the people who stole her minivan and clearly has to hold herself back from killing them, and she stabs Adam. Her (terrifying) monologue to the minivan thief about peeling human skin shows the rush that Shauna gets from these moments that remind her of the raw survival instincts she experienced in the wilderness.

Just as she was sick of being invisible behind Jackie as a teen, she is sick of the normalcy of being a suburban mom as an adult and craves what she had in the wilderness. In many ways, Shauna’s life is shaped by a tension between her past and present, where The Butcher’s ferocity lurks beneath her gentle, unassuming exterior. Her role in the wilderness forever alters her ability to experience life without craving intensity; it’s almost as if the ordinary doesn’t fulfill her, leaving her compelled to seek out higher stakes and indulge in morally dubious behavior.

Misty - The Caretaker

Misty’s role as a medic in the wilderness is an obvious sign of her need for validation and worship from others. Misty needs to be needed, and she manifests this by making people rely on her to survive in the wilderness. Her medical knowledge grants her the role of The Caretaker, a role that is especially important in the aftermath of an injurious plane crash and during Shauna’s pregnancy. Before the plane crash, Misty was ridiculed and ignored. But after the crash, she realizes she’s in a situation where the unique skills she was previously mocked and outcasted for are suddenly indispensable and praised. Misty delights in the fact that the group relies on her, and she ensures they will continue to value her by breaking the flight recorder, tripping and poisoning Coach Ben, and emphasizing her ability to deliver Shauna’s baby when the time comes. Her desire for power over others stems from a deep insecurity, and she will do anything to maintain this power.

As an adult, Misty still holds her role as The Caretaker. She works as a nurse for the elderly, a position that allows her to remain needed and in control over vulnerable people. We see Misty looking far too satisfied when she withholds pain medications from one of her patients after she disrespects Misty. We also see Misty relishing in her control over Jessica Roberts after she kidnaps her. She makes Jessica need by literally keeping her captive and at her mercy, chaining her to a bed and caring for her. In these scenes, she thrives on her (forced) emotional connection to Jessica.

Her obsessive need to be valued is also seen in her relationship with Nat. She desperately wants Nat to admit she needs her help and support. She goes to great lengths to make Nat rely on her (tampering with Nat’s car so she has to hitch a ride with Misty, spying on her so that she can leap into action and rescue her when needed, snorting Nat’s coke before she can, investigating Nat’s disappearance and infiltrating Lottie’s compound to “save” her).

Similar to Nat and Shauna, Misty is attempting to recreate the feelings of importance and purpose she had in the wilderness, and she does so by obsessively providing care to those around her, even if they don’t want it and even if it eventually ends up harming the very people she’s attempting to help.

Lottie - The Prophet

Lottie's role as The Prophet reveals her complex and often contradictory psyche. She’s modest but confident, empathetic but manipulative, gentle but dangerous, afraid of her power but also inclined to wield it. Lottie is trapped in her own mental health struggles and the pressure of others’ expectations. She is highly intuitive, both emotionally and psychologically, and her visions and interpretations suggest she has an acute awareness of others’ fears and needs, even if filtered through her delusions. This makes her a natural figure for people to gravitate toward in times of uncertainty. Her peers’ reliance on her prophecies builds her confidence and identity as a leader, though it also places her in a role where she becomes responsible for the group’s downward spiral. Her authority in the wilderness often vacillates between comforting her teammates and manipulating them, blurring her true intentions and leaving room for her power to turn darker.

Lottie’s role as The Prophet remains with her long after the rescue. We see her spiritually guiding other patients during her time in the psychiatric ward. And after she gets out of the hospital, we know that she eventually starts a full-on cult (wellness community). The wellness center is a modern extension of the community she led in the woods, blending healing practices with a lingering undercurrent of fear and control as she continues to influence others while grappling with the guilt of the disastrous consequences her influence has caused in the past. When the rest of the survivors arrive at the compound, Lottie slips right back into that familiar Prophet role. Within the span of a few hours, Lottie has the group engaging in her spiritual treatments and making a ritualistic sacrifice to the Wilderness. It remains unclear whether Lottie's prophetic abilities are rooted in genuine intuition, trauma-induced delusions, or supernatural forces, but her impact on those around her is still as powerful and dangerous as it was in the wilderness.

Travis - The Gatherer/Follower

Travis’s role is often more supportive, as he frequently follows Natalie’s lead in hunting and survival tasks and Lottie’s lead regarding spiritual beliefs and the welfare of the group. He’s not the one holding the gun on most hunting trips, but he’ll be the one behind Nat coaching her through it and reminding her to breathe. He’s devoted to Lottie’s leadership and contributes to her prayer circles in his own small ways. This role reflects his position in the group as someone searching for acceptance and stability, still grappling with the trauma of his father’s death. His willingness to contribute in more secondary ways showcases his loyalty and his struggle to find his own identity amidst the group’s chaos.

We don’t get to see a lot of adult Travis, but echoes of his role in the wilderness are still evident. He desperately seeks out Lottie’s guidance and direction, even though it leads to his death. He also continues to fall into his old patterns with Nat, following her around and supporting her through her addiction, making her promise not to commit suicide, and saving her life when she overdoses.

Van - The Storyteller

Even before the crash, Van is a cinephile and pop culture obsessive. Her proclivity towards fiction and narratives translates to the wilderness as she becomes the group’s storyteller. During Tai’s expedition, she lightens the group’s mood with her iconic “our girl Sandy” retelling. She recaps Wiskayok High's gossip during the attic seance. In a darker moment, she begins to tell the story of the cabin and the Wilderness after the group eats Javi. Van's storytelling is her way of coping with the dark reality she has been presented with, as well as making sense of her trauma through the narrative format she is comfortable with. She begins by retelling the fictional stories she loved before the crash, and then shifts to fictionalizing the world she is actually living in. Van's stories and her happy-go-lucky, humorous demeanor serve as a distraction from the traumas of the wilderness for both the group and herself.

Van’s storytelling role continues after she is rescued from the wilderness as she opens her own video store, collecting stories and sharing them with her customers. She becomes a curator of nostalgia. Van is obsessed with the pop culture of the past, which shows her strong connection to stories and narratives, albeit in a way that allows her to maintain distance from her own. As an adult, Van appears to cope by living in the past, immersing herself in a realm of curated stories that are not her own, which speaks to her avoidance of the unresolved trauma of the wilderness. Her humor, a key part of her storytelling as a teenager, becomes a defense mechanism, masking her pain and reluctance to fully engage with what she did in the wilderness.

Taissa - The Protector/Warrior

Taissa's strength and endurance cast her in the role of The Warrior and Protector. She is ambitious, decisive, and often takes charge when the group needs direction. She leads the charge on leaving the crash site and hiking to the lake, a decision which likely ended up saving many of their lives. Tai is also the first to decide to seek out civilization, forming an expedition to find help for the rest of the group. When Van is gravely injured, Tai risks her own life to stay behind and care for her, refusing to leave her side. Similarly, when Shauna goes into labor during a blizzard, Tai supports her, physically and emotionally, leading them back to safety. Beneath her tough exterior lies a deep well of care and selflessness; Tai will go to great lengths to protect the people she loves.

However, her role also highlights her internal conflict and her propensity for self-destruction as she wrestles with a dual nature that makes her both a protector and a potential threat to the group. The dark side of Tai goes against everything she stands for; it puts Van and other members of the group in danger, and it presents a complete lack of control that she is unaccustomed to. The wilderness brings out her survival instincts but also forces her to confront her more dangerous side.

As an adult, Taissa is still a fierce, protective force for her family and the remaining survivors. She pays for Nat’s multiple stints in rehab, chases down and fully tackles the blackmailer, helps Shauna cover up Adam's murder to save her from incarceration, and runs a cutthroat political campaign hoping to create change. Her pursuit of becoming a state senator symbolizes her fight to protect and improve her community. This can be seen as an extension of her drive to ensure survival in the wilderness—fighting for stability, control, and order in a chaotic world. Her willingness to do whatever it takes to succeed, even resorting to morally gray actions (e.g., sabotaging her own family to protect her political image), reflects her wilderness-era ruthlessness. When the “Other Tai” emerges again, Taissa is determined to protect her family by distancing herself from them. The Other Tai’s actions can be seen as an extreme form of her protectiveness, as well, as she kills Biscuit as a sacrifice to the Wilderness to ensure her and her family's safety and power.

#and also Mari is the cook #and Akilah is the tailor #and Jackie was the leader and then the outsider #yellowjackets #natalie scatorccio #shauna shipman #misty quigley #travis martinez #taissa turner #van palmer #lottie matthews

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