#battle regime

[sphelon8565]

Howdy! I just finished a portion of the 1st chapters of my crossover FANFIC involving Superman against the Mad Man of Latveria: Dr.Doom! Read it for those who haven't yet! can't wait to do chapters 4 and beyond starting with Luxanna and her misadventures!

[indybluemage97]

And so it begins....

[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/.

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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/.

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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/.

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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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[pucksandpower]

Find Me Again

Lando Norris x Reader

Summary: in which two soulmates are destined to always find each other only to be torn apart lifetime after lifetime after lifetime … until finally, they’re not (aka the reincarnation AU)

Alexandria, 30 BC

The scorching Egyptian sun beats down on Alexandria as you hurry through the bustling streets, your sandals slapping against the warm stone. The air is thick with tension — whispers of Octavian’s approaching army have the city on edge. But your mind is elsewhere, focused on the stolen moments you’ll soon share with Lando.

You slip into a secluded alleyway, heart racing as you spot his familiar silhouette. Lando’s face lights up when he sees you, though worry creases his brow.

“There you are,” he murmurs, pulling you close. “I was beginning to think you wouldn’t come.”

You melt into his embrace, savoring his warmth. “I’m sorry I’m late. The palace has been in chaos with all the rumors flying about.”

Lando’s arms tighten around you. “It’s true then? Octavian draws near?”

You nod against his chest. “I fear so. Cleopatra grows more desperate by the day.”

He pulls back, cupping your face in his calloused hands. His dark eyes search yours intently. “Come away with me,” he pleads. “We can leave the city tonight, find passage on a ship bound for Greece or Cyprus.”

Your heart aches at the longing in his voice. “Lando, you know I can’t abandon my duty to the queen. She needs me now more than ever.”

“And what of my need for you?” Lando’s voice cracks with emotion. “Each day I’m torn between my loyalty to Rome and my love for you. I cannot bear the thought of you in danger when Octavian’s forces arrive.”

You reach up to caress his cheek, feeling the stubble beneath your fingers. “My brave soldier,” you murmur. “Always trying to protect me. But I’ve survived far worse than regime changes. We’ll find a way through this, as we always do.”

Lando leans into your touch, his eyes fluttering closed. “I wish I had your optimism. Every time I close my eyes, I see visions of you lying lifeless amidst the chaos of battle.”

A chill runs down your spine despite the oppressive heat. “Don’t speak of such things,” you chide gently. “We make our own fate, remember?”

He sighs, pressing his forehead to yours. “I know. I just ... I can’t shake this feeling of impending doom. Promise me you’ll be careful, my love. Promise you’ll do whatever it takes to stay safe.”

“I promise,” you whisper, sealing the vow with a tender kiss.

Lando responds eagerly, drawing you closer as the kiss deepens. For a blissful moment, the world fades away and there is only the two of you, lost in each other’s embrace.

A distant shout breaks the spell. You reluctantly pull away, both breathing heavily.

“I should go,” you murmur regretfully. “Cleopatra will be wondering where I’ve disappeared to.”

Lando nods, though he doesn’t release you from his arms. “When can I see you again?”

You bite your lip, considering. “Three days from now, at sunset. Meet me by the lighthouse?”

“I’ll be there,” he vows solemnly. “Be safe, my love.”

With a final lingering kiss, you slip from his embrace and hurry back towards the palace. Your heart feels lighter despite the looming threats, buoyed by Lando’s love and the promise of your next rendezvous.

But fate, it seems, has other plans.

The next few days pass in a blur of mounting tension. Cleopatra grows increasingly erratic, oscillating between grandiose plans to seduce Octavian and talks of ending her own life. You do your best to comfort and counsel her, all while stealing moments to daydream about your upcoming meeting with Lando.

On the fated evening, you’re helping Cleopatra prepare for bed when she suddenly fixates on a basket of figs brought by a servant.

“Ah, how fitting,” she muses, a strange glint in her eye. “Did you know, my dear, that the Egyptians that came before us believed figs to be the fruit of the afterlife?”

A chill runs down your spine. “My queen?”

Cleopatra waves a hand dismissively. “Oh, don’t look so worried. I was simply contemplating the cyclical nature of life and death. Come, help me into bed.”

You obey, tucking the sheets around her with practiced ease. As you turn to leave, her hand darts out to grasp your wrist.

“Stay with me a while longer,” she implores. “I find I cannot bear to be alone with my thoughts tonight.”

Your heart sinks, knowing you’ll miss your rendezvous with Lando. But duty wins out over desire. “Of course, my queen. I’ll stay as long as you need me.”

Hours pass as you sit by Cleopatra’s bedside, listening to her reminisce about better days. Just as your eyelids begin to grow heavy, a commotion in the hall startles you both fully awake.

“What’s happening?” Cleopatra demands, sitting up.

Before you can answer, the doors burst open and a breathless messenger stumbles in. “My queen,” he pants, “Octavian’s army has breached the city walls!”

Cleopatra’s face hardens. “So, the end has come at last.” She turns to you, her gaze intense. “Fetch me the asp.”

Your blood runs cold. “My queen, surely there must be another way-”

“Do not argue with me!” She snaps. “I will not be paraded through Rome as Octavian’s prize. Now go, quickly!”

With a heavy heart, you hurry to retrieve the venomous snake from its hidden chamber. Your hands shake as you return, presenting the basket to Cleopatra.

She reaches for it eagerly, but pauses. Her eyes meet yours, softening slightly. “My faithful friend,” she murmurs. “You have served me well. I release you from your duties. Go, find that Roman boy of yours and flee while you still can.”

Your eyes widen in shock. “You knew?”

Cleopatra’s lips quirk in a sad smile. “I’ve always known. Now go, before it’s too late.”

Torn between duty and desire, you hesitate. In that moment of indecision, everything changes.

Cleopatra reaches for the asp, but in her haste, she knocks the basket from your hands. The snake falls to the floor, immediately striking at the nearest target … you.

Pain explodes in your ankle as the asp’s fangs sink into your flesh. You cry out, stumbling backwards.

“No!” Cleopatra wails, lunging to catch you as you fall.

The world begins to spin as the venom courses through your veins. Your last coherent thought is of Lando, waiting faithfully by the lighthouse. As darkness closes in, you pray he’ll forgive you for breaking your promise.

Hours later, Lando fights his way through the chaos of the conquered city. He charges into the palace, heedless of the danger, desperate to find you.

When he bursts into Cleopatra’s chambers, his worst fears are realized. Two bodies lie motionless on the floor — the queen and beside her ...

“No,” he chokes out, falling to his knees beside your lifeless form. “No, no, no. This can’t be happening.”

Lando gathers you into his arms, cradling you against his chest as sobs wrack his body. “You promised,” he whispers brokenly. “You promised you’d stay safe.”

But promises, like empires, are so easily broken. As the sun rises on a new era for Egypt, it sets on this chapter of your shared story. Yet even as this life ends, the seeds of the next are already taking root, waiting to bloom in another time, another place.

For true love, like the mighty Nile, cannot be contained. It flows ever onward, carving new paths through the landscape of eternity.

Pompeii, 79 AD

The ground trembles beneath your feet as you race through the chaotic streets of Pompeii. Ash rains from the sky, coating everything in a ghostly gray shroud. All around, people scream and push, desperately seeking escape from the fury of Mount Vesuvius.

“Lando!” You call out, your voice hoarse from the acrid air. “Lando, where are you?”

A hand suddenly grabs your arm, yanking you into a narrow alleyway. You whirl around, ready to fight, only to find yourself face to face with Lando. His usually immaculate toga is torn and stained with soot, his dark curls matted with ash.

“Thank the gods,” he breathes, pulling you into a fierce embrace. “I thought I’d lost you in the crowd.”

You cling to him tightly, savoring his familiar warmth amidst the chaos. “We need to get out of the city,” you say urgently. “The mountain — it’s like nothing I’ve ever seen before.”

Lando nods grimly. “I know. I’ve been trying to make it to the harbor, but the roads are completely blocked. It’s madness out there.”

Another tremor rocks the ground, stronger than before. Pieces of masonry rain down from the surrounding buildings. Lando shields you with his body as you both press against the alley wall.

“We can’t stay here,” you say once the shaking subsides. “It’s not safe.”

“Nowhere is safe,” Lando replies, his eyes haunted. “But you’re right, we need to keep moving. Come on, I know another way to the docks.”

Hand-in-hand, you dash back out into the crowded street. The air grows thicker with each passing moment, making it harder to breathe. You pull the edge of your stola over your mouth and nose, squinting through the haze.

Lando leads you through a maze of side streets and back alleys, avoiding the worst of the panicked crowds. But with each turn, your hope dwindles. The mountain’s fury seems to be growing by the minute, raining down fire and ash with terrifying intensity.

As you round another corner, you come face to face with a wall of rubble blocking the entire street. Lando curses under his breath, pounding his fist against a fallen column.

“It’s no use,” he says, defeat creeping into his voice. “Every path to the harbor is cut off. We’re trapped.”

You squeeze his hand reassuringly. “Then we’ll find somewhere to wait it out. The gods won’t abandon us. We just have to have faith.”

He turns to you, a sad smile playing on his lips. “Always the optimist, aren’t you? Even in the face of certain doom.”

“One of us has to be,” you reply, managing a weak smile of your own.

Another violent tremor shakes the ground, nearly knocking you both off your feet. In the distance, you hear the ominous rumble of collapsing buildings.

“Quick, in here!” Lando shouts, pulling you towards a sturdy-looking stone building. You duck inside just as a fresh barrage of burning rocks pelts the street where you were standing moments ago.

As your eyes adjust to the dimness, you realize you’re in some kind of workshop. Half-finished statues and blocks of marble are scattered about, coated in a fine layer of ash that has sifted through the cracks.

“A sculptor’s studio,” Lando muses, running his hand along a nearby bust. “Rather fitting, don’t you think? To spend our last moments surrounded by art meant to outlast us all.”

You shoot him a reproachful look. “Don’t talk like that. This isn’t the end. We’ll get through this, just like we always do.”

He sighs, pulling you close. “I admire your spirit, my love. But I fear this time, the Fates have other plans for us.”

As if to punctuate his words, the ground gives another violent lurch. The air grows even thicker, filled with choking dust and sulfurous fumes.

“It’s getting harder to breathe,” you gasp, fighting back a coughing fit.

Lando guides you to a relatively clear corner of the room, helping you sit on the floor before settling beside you. He wraps his arm around your shoulders, drawing you against his side.

“Just try to take shallow breaths,” he instructs, his own voice strained. “Like this, see?”

You nod, focusing on matching your breathing to his. For a moment, there’s nothing but the sound of your labored breaths and the distant rumble of the mountain.

“Lando?” You whisper after a while.

“Hmm?”

“I’m scared.”

He tightens his hold on you, pressing a kiss to your temple. “I know, love. I am too.”

“Tell me a story?” You ask, your voice small. “Like you used to, when we first met. Remember?”

Lando chuckles softly. “How could I forget? You were the most stubborn student I’ve ever had the misfortune of tutoring.”

“Hey!” You protest weakly, managing a smile despite everything. “I wasn’t that bad.”

“Oh no?” He teases. “Who was it that insisted the Odyssey would be vastly improved if Odysseus had simply asked for directions?”

You laugh, the sound quickly dissolving into a cough. “Well, it’s true! Twenty years to get home? Penelope should have moved on.”

Lando shakes his head in mock dismay. “Such disrespect for the classics. I clearly failed as your tutor.”

“Never,” you murmur, snuggling closer to him. “You taught me far more important things than dusty old stories.”

“Oh? And what might those be?”

You tilt your head up to meet his gaze. “You taught me what it means to truly love someone. To find a home not in a place, but in a person.”

Lando’s eyes shine with unshed tears as he leans down to kiss you softly. “And you, my darling, taught me that life is meant to be lived, not just studied. You brought color to my world of scrolls and stone.”

Another tremor shakes the building, sending a fresh wave of dust raining down on you both. The air grows thicker, each breath a struggle.

“Lando,” you wheeze, gripping his hand tightly. “I don’t want to die.”

He pulls you onto his lap, cradling you against his chest. “Shh, it’s alright. I’m here. I’ve got you.”

“Promise you won’t leave me?” You plead, your vision starting to blur.

“Never,” he vows fiercely. “Not in this life or any other. Wherever our souls go next, we go together. I promise.”

You manage a weak nod, focusing on the steady beat of his heart against your cheek. As consciousness begins to slip away, you’re struck by a strange sense of déjà vu.

“Lando?” You murmur, your voice barely audible.

“Yes, love?”

“I think ... I think we’ve done this before.”

He lets out a shaky laugh. “What, died in each other’s arms while a volcano erupts? I think I’d remember that.”

You shake your head slightly. “No, not exactly. But this feeling ... like we’ve known each other forever. Like we’ll find each other again, no matter what.”

Lando is quiet for a long moment. When he speaks, his voice is thick with emotion. “Maybe we have. Maybe we will. I’d like to think so.”

“Me too,” you whisper.

As the world crumbles around you, you cling to each other. Your last thoughts are not of fear or regret, but of the love you share. A love so powerful it transcends time itself.

And as this chapter closes, another waits to begin. For some bonds are too strong to be broken, even by death. Your souls are destined to find each other again and again, weaving an eternal tapestry of love across the ages.

Salem, 1692

The air in the Salem courthouse is thick with tension and the bitter scent of fear. You stand before the assembled judges, your wrists bound tightly with rough rope that chafes your skin. The crowd of onlookers murmurs and shifts restlessly, their faces a sea of suspicion and barely concealed hostility.

Lando sits among them, his face a mask of anguish as he watches the proceedings. He wants nothing more than to rush to your side, to shield you from the madness that has gripped the town. But he knows that any show of support would only damn you further in the eyes of the court.

Judge Hathorne’s voice rings out, silencing the whispers. “The accused will step forward.”

You take a shaky step, raising your chin defiantly despite the terror coursing through your veins.

“You stand accused of witchcraft and consorting with the devil,” Hathorne intones gravely. “How do you plead?”

“Not guilty,” you declare, your voice stronger than you feel. “I am no witch, merely a midwife and herbalist. I have done nothing but help this community.”

A snort of derision comes from the crowd. You turn to see Goodwife Putnam, her face twisted with malice. “Lies!” She shrieks. “I saw her dancing naked in the woods, consorting with dark spirits!”

“That’s not true!” You protest. “I was gathering herbs for my remedies, nothing more!”

Judge Hathorne raises an eyebrow. “And can anyone vouch for your whereabouts on the night in question?”

Your heart sinks. You had been alone that night, as you often were when foraging. “I ... I was alone, your honor. But I swear on all that is holy, I am no witch.”

A ripple of whispers sweeps through the crowd. Lando’s fists clench at his sides, his jaw tight with the effort of remaining silent.

“Very convenient,” Hathorne remarks dryly. “Goody Putnam, you may continue with your testimony.”

The woman stands, her eyes gleaming with a fervor that chills you to the bone. “I’ve seen her speaking to animals as if they could understand her. And just last week, my cow’s milk turned sour the very day after she visited our farm!”

“That’s ridiculous!” You exclaim. “Milk spoils, it’s a natural occurrence. And I often speak to animals, as do many others. It does not make me a witch!”

But your protests fall on deaf ears. One by one, your neighbors step forward with increasingly outlandish accusations. Every misfortune, every unexplained event is laid at your feet.

“She cursed my crops!”

“My child fell ill after eating her bread!”

“I saw her flying on a broomstick!”

The claims grow more absurd, but the judges nod solemnly at each one. You feel the noose of suspicion tightening around your neck with each passing moment.

Finally, unable to bear it any longer, Lando leaps to his feet. “This is madness!” He shouts. “You’re condemning an innocent woman based on nothing but gossip and superstition!”

All eyes turn to him. Judge Danforth fixes him with a steely glare. “Master Norris, you will remain silent or be removed from this courtroom.”

“I will not be silent while you murder an innocent woman!” Lando retorts. He turns to the crowd, imploring them. “Can’t you see what’s happening? We’re tearing our community apart with these baseless accusations!”

A murmur of uncertainty ripples through the onlookers. For a moment, you dare to hope that reason might prevail.

But then Abigail Williams, one of the young girls at the center of the witch hunt, lets out a blood-curdling shriek. She points a trembling finger at you. “Her specter! I see her specter tormenting me even now!”

The other girls quickly join in, writhing and screaming as if in the throes of possession. The courtroom erupts into chaos.

“Order!” Judge Hathorne bellows, pounding his gavel. “Order in the court!”

As the commotion dies down, he turns to you, his expression grave. “The evidence against you is overwhelming. Unless you confess and repent, I have no choice but to find you guilty of witchcraft.”

Your heart pounds in your chest. You know that a confession might spare your life, but it would mean living a lie. And worse, it would lend credence to the madness gripping Salem.

“I will not confess to crimes I did not commit,” you say quietly but firmly. “I am innocent before God and man.”

Judge Hathorne’s face hardens. “Then you leave us no choice. You are hereby sentenced to death by hanging. May God have mercy on your soul.”

The crowd erupts into a mix of cheers and shocked gasps. Lando’s anguished cry rises above the din. “No! You can’t do this!”

He rushes towards you, but is quickly restrained by two burly constables. “Let me go!” He shouts, struggling against their grip. “She’s innocent!”

Your eyes meet his across the chaotic courtroom. Despite everything, you manage a small, sad smile. “It’s alright, Lando,” you call out. “Be strong. This isn’t your fault.”

As the guards move to lead you away, Lando breaks free and rushes to your side. He cups your face in his hands, his eyes wild with desperation. “I’ll find a way to stop this,” he vows. “I won’t let them take you.”

You lean into his touch, memorizing the feel of his hands on your skin. “There’s nothing you can do, my love. Promise me you’ll stay safe. Don’t let them take you too.”

“I can’t lose you,” he chokes out, tears streaming down his face.

“You won’t,” you whisper fiercely. “Not really. I don’t know how I know this, but I swear we’ll find each other again. In another life, another time. This isn’t the end for us.”

The guards roughly pull you apart. As they drag you away, you keep your eyes locked on Lando’s, drawing strength from his gaze.

The next few days pass in a blur of fear and desperate prayer. You cling to the strange certainty that had come over you in the courtroom — that somehow, someway, this is not truly the end for you and Lando.

On the day of your execution, you walk to the gallows with your head held high. The crowd that has gathered is subdued, some already beginning to question the justice of what’s happening.

You scan the faces, searching for Lando, but he’s nowhere to be seen. Your heart aches at his absence, but you understand. It would be too painful for him to watch.

As the noose is placed around your neck, you close your eyes and think of Lando. Of his laugh, his gentle touch, the way his eyes crinkle when he smiles. You hold onto these memories as the world falls away beneath your feet.

Your last conscious thought is a promise — to find him again, no matter how long it takes.

Miles away, hidden in the woods, Lando feels the exact moment you leave this world. He collapses to his knees, a wordless cry of anguish tearing from his throat. But even in his grief, he feels the echo of your final promise.

“I’ll find you,” he whispers to the uncaring forest. “In this life or the next. We’ll be together again. I swear it.”

And so another chapter closes, the threads of your shared destiny stretching onward through time. The cycle continues, each life bringing you closer to the moment when you’ll finally break free of this endless dance of death and rebirth.

Yekaterinburg, 1918

The Ipatiev House looms dark and foreboding in the Yekaterinburg night. You pace the confines of your makeshift prison, the once-opulent rooms now a stark reminder of how far the mighty Romanovs have fallen. The sound of raised voices and heavy footsteps from the floor below sends a chill down your spine.

“They’re coming,” your sister Maria whispers, her eyes wide with fear.

Before you can respond, the door bursts open. A group of armed men file in, their faces grim and purposeful. Your heart nearly stops when you spot a familiar face among them.

“Lando?” You gasp, scarcely able to believe your eyes.

He meets your gaze, his expression a turbulent mix of emotions. “Grand Duchess,” he says stiffly, the formal title at odds with the intimate moments you’ve shared in secret.

“What’s happening?” You demand, struggling to keep your voice steady. “Why are you here?”

Yakov Yurovsky, the commandant of the house, steps forward. “The Ural Soviet has decided to execute the Romanov family,” he announces coldly. “You are to be moved to the basement immediately.”

A wave of terror washes over you. “No,” you breathe. “No, this can’t be happening.”

Your eyes lock with Lando’s, silently pleading. For a moment, you see the conflict raging behind his eyes. But then his expression hardens, and he looks away.

As the guards begin herding your family towards the stairs, you manage to maneuver closer to Lando. “How could you be part of this?” You hiss under your breath.

His jaw clenches. “The revolution demands sacrifices,” he mutters. “Even from those we ... care about.”

“Care about?” You repeat incredulously. “Is that all I am to you now? After everything we’ve shared?”

A flicker of pain crosses his face. “You know it’s more complicated than that. Your family’s rule has caused immeasurable suffering. This ... this is justice.”

“Murder is not justice,” you retort, your voice trembling with a mix of fear and anger.

Before he can respond, you’re roughly pushed forward. The journey to the basement is a blur of terror and disbelief. Your mind races, desperately seeking a way out of this nightmare.

In the dank cellar, Yurovsky instructs your family to line up against the wall. You find yourself between your younger siblings, instinctively trying to shield them even as your own knees threaten to give out.

“Wait,” you cry out as Yurovsky raises his hand to signal the firing squad. “Please, spare the children at least. They’re innocent in all this!”

Yurovsky’s face remains impassive. “There can be no Romanov heirs left to rally around. The old regime must end here and now.”

You turn to Lando, making one last desperate appeal. “Lando, please. If what we had meant anything to you, don’t let this happen. Help us!”

For a moment, you see the Lando you knew — the passionate young man who spoke of creating a better world, who held you under the stars and whispered promises of a future together. But then the revolutionary mask slips back into place.

“I’m sorry,” he says, his voice barely audible. “But this is bigger than us.”

As the soldiers raise their weapons, time seems to slow. You think of all the lives you might have lived — the futures now forever lost to you. A strange sense of déjà vu washes over you, as if you’ve faced death with Lando before.

“Ready!” Yurovsky’s voice cuts through your reverie.

You straighten your spine, determined to face your end with dignity. Your eyes find Lando’s one last time.

“Aim!”

“I forgive you,” you mouth silently, even as tears stream down your face.

You see Lando’s composure crack, anguish flooding his features. He takes a half-step forward, as if to intervene, but it’s too late.

“Fire!”

The basement erupts in a deafening cacophony of gunshots and screams. You feel a searing pain in your chest as bullets tear through you. As you crumple to the ground, your fading vision fixates on Lando’s horrified face.

With your last breath, you whisper, “Find me again.”

Then darkness claims you.

Lando stands frozen, unable to tear his eyes away from your lifeless form. The smokey smell of gunpowder mixes with the metallic scent of blood, turning his stomach.

“Finish them off,” Yurovsky orders dispassionately. “No survivors.”

As his comrades move forward with bayonets, Lando stumbles back, retching. He staggers up the stairs and out into the cool night air, gulping it down desperately.

What has he done?

He’d believed so fervently in the revolution, in the need to sweep away the old order to build a better world. But staring at his blood-stained hands, Lando feels nothing but horror and soul-crushing guilt.

Your final words haunt him. “Find me again.” But how can he, when he’s destroyed any chance of a future together?

As dawn breaks over Yekaterinburg, Lando makes a decision. He can’t undo what’s been done, but he can ensure the truth isn’t buried along with your body.

Over the coming weeks, as the Bolsheviks spread lies about your family’s fate, Lando works in secret to document what really happened. He gathers evidence, writes detailed accounts, and arranges for the information to be smuggled out of the country.

It’s a dangerous game. If caught, he’ll be branded a traitor to the revolution. But Lando no longer cares about ideology or politics. His only goal is to honor your memory and ensure that history remembers the truth.

Late one night, as he prepares to flee the country with his damning documents, Lando allows himself a moment of quiet reflection. He thinks of your smile, your compassion, the way you challenged him to see beyond his rigid beliefs.

“I’m so sorry,” he whispers to the empty room. “I failed you in this life. But I swear, somehow, I’ll make it right. If there’s any justice in the universe, we’ll meet again. And next time, I’ll protect you. I’ll choose you over everything else.”

As he slips out into the night, Lando feels a strange sense of certainty. This isn’t the end of your story. Somehow, someway, you’ll find each other again.

The wheel of fate continues to turn, carrying your intertwined souls towards yet another lifetime. But with each cycle, the bond between you grows stronger. Perhaps next time, you’ll finally break free of this tragic pattern and find the happiness that’s eluded you for so long.

Jonestown, 1978

The humid Guyanese air hangs heavy over Jonestown, thick with tension and the cloying scent of tropical flowers. You stand among the gathered crowd, your heart pounding so hard you fear it might burst from your chest. Beside you, Lando’s hand finds yours, squeezing tightly.

“This isn’t right,” he murmurs, his voice barely audible over the droning speech coming from the pavilion. “We need to get out of here.”

You nod imperceptibly, not daring to speak. Jim Jones’ paranoid ravings have reached a fever pitch in recent days, and you both know that even the slightest hint of dissent could be deadly.

“My children,” Jones’ voice booms out over the loudspeakers, “the time has come for us to make our final stand against the oppressors who seek to destroy our paradise.”

A murmur ripples through the crowd. You scan the sea of faces, seeing a mix of blind devotion and barely concealed terror.

“Our Congressional visitors have betrayed us,” Jones continues, his words slurring slightly. “They will bring nothing but destruction. We have no choice but to enact our glorious revolutionary suicide.”

Your blood runs cold. You’d heard whispers of this plan, but had desperately hoped it was just another of Jones’ manipulative tactics.

“Lando,” you whisper urgently, “we have to run. Now.”

He nods, his face pale but determined. “Follow my lead. When I give the signal, we make a break for the jungle.”

But before you can move, you feel a vice-like grip on your arm. You turn to see your mother, her eyes wild with fervor.

“Where do you think you’re going?” She hisses. “This is our moment of triumph. You will not ruin it with your lack of faith.”

On Lando’s other side, his father has a similar hold on him. The older man’s face is a mask of grim resignation. “Don’t make this harder than it has to be, son,” he says quietly.

You watch in horror as Jones’ lieutenants begin distributing paper cups filled with a sinister purple liquid. The bitter almond smell of cyanide fills the air.

“No,” you breathe, struggling against your mother’s grip. “Mom, please. This is insanity. We don’t have to do this!”

But your pleas fall on deaf ears. Your mother’s grip only tightens as she accepts two cups from a passing aide.

“Drink,” she commands, thrusting one towards you.

You shake your head vehemently, clamping your mouth shut. Beside you, Lando is engaged in a similar struggle with his father.

“You can’t force us to do this!” Lando shouts, drawing the attention of nearby cult members. “This is murder!”

Jones’ voice cuts through the growing commotion. “Those who resist are traitors to our cause. They must be made to comply, for the good of all.”

Suddenly, you’re surrounded by a group of Jones’ most fanatical followers. Rough hands grab you, forcing your head back. You struggle wildly, but it’s no use. You feel the cold rim of the cup pressed against your lips.

“No!” Lando cries out, fighting to reach you. “Leave her alone!”

But he too is overwhelmed, multiple hands restraining him as the poisoned drink is forced upon him.

The sickly-sweet liquid burns your throat as it’s poured into your mouth. You choke and splutter, but can’t prevent some of it from going down. Beside you, Lando’s muffled cries tell you he’s suffering the same fate.

As the hands release you, you collapse to your knees, coughing violently. Your vision swims, the world taking on a surreal, nightmarish quality.

“Lando,” you gasp, reaching out blindly.

His hand finds yours, gripping it weakly. “I’m here,” he manages, his voice raw. “I’m so sorry. I couldn’t protect you.”

You crawl closer, fighting against the growing weakness in your limbs. All around, people are collapsing, some screaming in agony while others slip away in eerie silence.

“It’s not your fault,” you whisper, cupping Lando’s face with a trembling hand. “We never stood a chance against this madness.”

Lando’s eyes, clouded with pain, meet yours. “This can’t be how it ends,” he says desperately. “Not again.”

A strange sense of déjà vu washes over you. “Again?” You murmur, confused.

He nods weakly. “I don’t know how, but I feel like we’ve been here before. Facing death together, unable to stop it.”

As the poison works its way through your system, flashes of other lives flicker through your mind. Ancient Egypt, Pompeii, Salem, Russia — each time, finding each other only to be torn apart.

“I remember,” you breathe, wonder mingling with the pain. “We keep finding each other, but we never get our happy ending.”

Lando pulls you closer, both of you shaking with the effort of fighting off the inevitable. “Next time,” he vows, his voice barely above a whisper. “Next time we’ll break this cycle. We’ll find a way to be together.”

You manage a small, sad smile. “Promise?”

“I promise,” he murmurs, pressing a weak kiss to your forehead.

As consciousness begins to slip away, you cling to each other. The sounds of screaming and Jones’ maniacal laughter fade into the background. In these final moments, there is only you and Lando, and the love that has somehow endured across lifetimes.

“Find me again,” you whisper, echoing words spoken in another life.

Lando’s grip on your hand tightens fractionally. “Always,” he breathes.

As darkness closes in, you’re filled with a strange sense of hope. This tragic cycle can’t go on forever. Someday, somehow, you’ll find a way to break free and finally have the life together you’ve been denied so many times.

Your last thought, as you slip away, is a prayer to whatever cosmic force keeps bringing you together.

Next time, let it be different.

Next time, let us live.

And as your souls depart this tragic scene, unseen wheels of fate begin to turn once more. The cycle continues, but perhaps this time, with the weight of so many shared lifetimes behind you, you’ll finally find your way to a happier ending.

In the years that follow, as the horror of Jonestown is revealed to the world, two names are lost among the hundreds of victims. But your story — the story of a love that refuses to be extinguished — lives on, waiting for the next chapter to unfold.

Monaco, 2024

The soft glow of computer screens illuminates Lando’s face as he leans into his microphone, his eyes darting between the chat and his game. “No, chat, I’m not going to sing the Baby Shark song,” he chuckles, shaking his head. “You lot are absolutely mental, you know that?”

The door to his streaming room creaks open, and he glances over, his face softening into a warm smile as you pad in, wrapped in an oversized hoodie you’ve stolen from his wardrobe.

“Speaking of sharks,” Lando grins, addressing his audience, “look who’s decided to join us. It’s my favorite cuddly shark!”

You roll your eyes fondly at the nickname, a reference to your habit of playfully nipping at his shoulder when you’re feeling particularly affectionate. As you approach, Lando pushes his chair back slightly, making room for you to settle onto his lap.

“Come here, you,” he murmurs, wrapping an arm around your waist as you curl into him, burying your face in the crook of his neck. To his stream, he explains, “Sorry chat, the missus is feeling a bit clingy tonight. Not that I’m complaining, mind you.”

You mumble something unintelligible into his skin, making him laugh. “What was that, love? The stream can’t hear you when you’re trying to become one with my neck.”

Lifting your head slightly, you repeat, “I said, don’t let me interrupt your gaming. I just wanted cuddles.”

Lando presses a quick kiss to your forehead. “You’re never an interruption. Besides, I think the chat’s been asking for a cameo from you all night.”

You turn to face the camera, waving sleepily. “Hi, chat. Sorry I’m not more entertaining tonight. Long day at work.”

The chat explodes with greetings and well-wishes, scrolling by almost too fast to read. Lando chuckles, giving you a gentle squeeze. “See? They love you. Probably more than they love me, to be honest.”

“That’s fair,” you murmur, nuzzling back into his neck. “No one loves you more than I do.”

Lando’s breath catches for a moment, and you feel his heart rate pick up. Even after all this time together, simple declarations of love still affect him deeply. It’s one of the many things you adore about him.

“Alright, chat,” Lando says, his voice a touch huskier than before. “You’ve gone and made her all sappy. I hope you’re happy with yourselves.”

You can’t help but giggle at his attempt to deflect. “Oh please, you love it when I’m sappy.”

“Maybe,” he concedes with a grin. “But if I admit that, they’ll never let me hear the end of it. I have a reputation to maintain, you know.”

You snort inelegantly. “What reputation? Everyone knows you’re a big softie.”

“Oi!” Lando protests, poking you in the side and making you squirm. “I’ll have you know I’m very tough and manly. Right, chat?”

The stream erupts with a mix of agreement and playful disagreement, peppered with emotes and inside jokes. You watch the scrolling text with amusement, marveling at the community Lando has built.

“See?” Lando says triumphantly. “They agree with me.”

You raise an eyebrow. “I’m pretty sure at least half of those messages were sarcastic, babe.”

Lando waves a hand dismissively. “Details, details. The point is, I’m incredibly macho and not at all a softie.”

“Mmhmm,” you hum skeptically. “Is that why you cried watching Up last week?”

“Hey!” Lando exclaims, his cheeks flushing slightly. “That’s classified information, that is. You can’t just go revealing my secrets to the entire internet!”

The chat goes wild at this revelation, demanding to know more about Lando’s movie-watching habits. You can’t help but laugh at his mock-outraged expression.

“Sorry, love,” you say, not sounding sorry at all. “But if I have to put up with your sniffling during Disney movies, the least I can do is share the joy with your fans.”

Lando groans dramatically. “That’s it, I’m filing for divorce. Chat, you’re my witnesses. This is grounds for divorce, right? Revealing a man’s most intimate vulnerabilities?”

You roll your eyes fondly. “We’re not even married yet, you goof.”

The words slip out before you can think better of them, and suddenly the atmosphere in the room shifts. Lando’s eyes widen slightly, his gaze locking with yours.

“Yet?” He repeats softly, a note of wonder in his voice.

You feel your cheeks heat up, but you don’t look away. “Well, yeah. I mean, unless you had other plans?”

For a moment, Lando seems to forget entirely about the stream. His hand comes up to cup your cheek, thumb brushing gently across your skin. “No other plans,” he murmurs. “Just you. Always you.”

The intimacy of the moment is broken by the chat exploding once again, this time with a flurry of ring emotes and excited keysmashes. Lando blinks, seeming to remember where he is.

“Right,” he says, clearing his throat. “Well, chat, I think that’s my cue to end the stream for tonight. Got some, uh, important things to discuss with this one.”

You bury your face in his neck again, half embarrassed and half thrilled by the turn of events. As Lando rushes through his usual sign-off, you can feel the barely contained energy thrumming through him.

The moment the stream ends, Lando spins his chair to face you fully, his eyes bright with excitement. “Did you mean that?” He asks eagerly. “About the marriage thing?”

You lift your head, meeting his gaze with a soft smile. “Of course I did. Lando, I’ve loved you for lifetimes. There’s nothing I want more than to marry you.”

Something flashes in his eyes at your words — a fleeting moment of recognition, as if some long-buried memory is struggling to surface. But then it’s gone, replaced by pure joy.

“Lifetimes, huh?” He grins, pulling you closer. “Well, in that case, I suppose we better make this one count.”

As his lips meet yours in a tender kiss, you’re filled with an overwhelming sense of rightness. After so many tragic endings, you’ve finally found your happily ever after. And this time, you’re not letting go.

“I love you,” you murmur against his lips. “In this life and every other.”

Lando’s answering smile is radiant. “And I love you. Always have, always will.”

As you lose yourselves in each other’s embrace, the echoes of past lives fade away. This is your time, your chance at happiness. And you plan to make the most of every single moment.

[shepherd-tothestars]

"I've never been in a human food lab before, this is so exciting!" Because the home ec class was obviously a 'human food lab'. Saguaro would be dealing with this odd 'Alolan exchange student' from now on, but hey she had the spirit. But it wasn't normal for Alolans to have blue skin now was it? Or address other people as 'human'. But she had the spirit! And she was excruciatingly eager to begin taking classes in an Academy such as this.

Sure, she spent the majority of her life by now in a different kind of Academy, the URS training regime, but this was entirely new. They never taught you how to cook in Ultra Space, people don't even know what cooking is in Ultra Space! Although, it wasn't class time just yet, she had merely been taking her own tour of all the class rooms before they would begin. The teacher of this particular one had an incredible presence to her, no such buffness was ever obtainable in Ultra Megaloplis!

@dxmesticbliss

[doumadono]

Silent Waves, Silent Wounds - Touya Todoroki x Reader

A/N: today's episode broke my heart and made me cry uncontrollably. With a nice prompt set for this week's challenge in a community I'm part of, I decided to combine the two. I just hope my Touya will survive. Gif was made by @gamergirl-niffler

MY HERO ACADEMIA

Touya's first breaths of freedom were laced with the sterile scent of antiseptics and the distant echoes of calamity.

Beneath the flickering streetlights of Musutafu, shadows twirled across the damp pavement, casting the world in veils of half-truths and murmured secrets.

It was upon a night cloaked in despair that Touya Todoroki, shrouded in the remnants of his shattered past, escaped the suffocating confines of what should have been a sanctuary. The hospital, ostensibly a bastion of healing and hope, had morphed into nothing but a prison, all under the malevolent gaze of All For One.

In a moment fueled by raw desperation and a primal urge for freedom, Touya, with hands trembling and heart pounding against the cage of his ribcage, ignited the very foundations that had ensnared him. Flames, hungry and unrestrained, licked upwards, clawing at the structure with a ferocity. Fire roared through the hallways, a fierce, unforgiving inferno that consumed everything in its path — medical charts, synthetic bed linens, the false promises of recovery.

As the inferno raged behind him, Touya stumbled into the cold embrace of the night.

The city loomed large and indifferent, its countless lights flickering like distant stars, unreachable and cold. Each step was a battle, his body a map of wounds both fresh and long endured, scars that told tales he could barely remember, tales of a mere boy who once dreamed of heroism but found himself ensnared in a nightmare of his father's making.

He moved through the shadows, a spectral figure haunted by the echoes of his past and the uncertain horrors of his future. Tonight, the world was both his enemy and his ally, hiding him from those who would seek to drag him back to that hellish place, yet offering no comfort from the relentless grip of his solitude and sorrow. His face, marred with scars that told stories of a tragic past and unresolved pain, was not one that people usually turned to for comfort.

As he navigated through the dimly lit streets, his eyes were cautious and wary of the stares that followed him like specters.

It was then he saw you - a girl sitting alone on the curb, your sobs cutting through the muffled sounds of the city like a siren’s call. You were young, perhaps no older than he, with tears streaking your cheeks and your shoulders trembling under the weight of your unseen burdens.

Despite his fears and the fresh pain of his own memories, something within him stirred - a remnant of the hero he once aspired to be. Hesitant, he approached you, his voice barely above a whisper after he cleared his throat, trying to sound normal, even though he knew it was no longer possible. “Hey, are you okay?”

You jerked your head up, your eyes wide with a mixture of fear and surprise as they landed on his disfigured features.

For a heartbeat, Touya thought you would scream, run away, or recoil in horror.

But then, something remarkable happened - your expression softened, and your initial fright melted into a sad, understanding smile. “Not really,” you confessed, wiping your tears away with the back of your shaking hand. “My dad… he drinks too much. And my mom, she doesn’t really care. She threw me out tonight. Said she’d had enough of me being useless.”

The words struck a chord in Touya. Abandonment, pain, a longing for something better - themes that resonated deeply within his own life. Sitting heavily beside you on the cold curb, he offered you a timid smile, one that seemed almost out of place on his scarred visage. "I’m sorry,” he said, his voice a mixture of warmth and a chilling detachment born from years of conditioning under his father’s harsh regime. “I… I know what it’s like to feel like you have no one.”

You studied him, your reddened eyes lingering on his scars with a curiosity born from your own pain rather than judgement. “What happened to you?” you asked gently, perhaps too gently for the horror that his story contained.

Touya looked away, his eyes tracing the patterns of light and shadow on the ground. “I don’t remember everything,” he confessed. “But I know I was trying to prove something to my dad. It didn’t end well, as you can see.”

You sat in silence, the world around you bustling with life, yet oblivious to the shared moment of grief between two strangers.

People passed by, their glances sharp and sometimes filled with a disdain that neither of you were unfamiliar with.

Sensing Touya’s discomfort, you made a decision. “Let’s go somewhere else,” you suggested, a spark of resolve lighting up your tear-stained face. “Somewhere away from prying eyes. I know a nice place, if you'd like to join me.”

Touya nodded casually, “I think I’d like that. I have nowhere to be anyway.”

Without another word, you stood, holding out you hand to help him up. Your touch was warm, a stark contrast to the coldness he had come to expect from the world.

Together, you walked through the deserted streets, your steps in sync, until the city sounds faded into the background, replaced by the soothing rhythm of waves crashing against the shore.

Beneath the expansive canopy of the night sky, the beach lay deserted, bathed in the ethereal, silvery glow of the moon. The ocean before them transformed into a shimmering tapestry, each wave weaving threads of light across the dark canvas of water. It was here, with the cool sand cradling your steps and the vast, relentless sea stretching into infinity, that you discovered a fleeting sanctuary — a momentary escape from the ravages of your tormented existences.

As you settled onto the sand, the ocean's eternal murmurs surrounding you, Touya found himself unexpectedly comforted by the raw, natural beauty of the scene. Yet, he was taken aback when you revealed that it was not just chance that brought you to this tranquil haven in the dead of night.

“I come here often, especially after fights at home,” you confessed softly, your eyes reflecting the moonlight like fragments of a broken mirror. “The sound of the waves… it calms the storm inside me. Maybe it can do the same for you.”

Touya hesitated before his voice broke the silence. "I'm like these waves," he murmured, his voice tinged with a haunting sadness. "Crashing again and again, with no control, no end. I don't even remember why I started… what I was trying to prove." His gaze was lost to the horizon, where the dark sea met the darker sky, his face a mask of sorrow sculpted by the silvery light.

"It's hard, isn't it?" you said softly, pulling your knees closer to your chest, feeling the chill of the night seeping through your clothes. "Feeling like you're caught in a storm with no shelter in sight. I sit here, night after night, wondering if the screaming will ever stop, if there will ever be a night without tears, without all this emptiness."

"Does it help? Coming here, hearing the waves?" Touya asked.

"It doesn't stop the pain," you admitted, "but sometimes, it makes it bearable. The sea doesn't judge, doesn't demand. It just is. And for a little while, I can just be too, without worrying about the next wave that might knock me down."

"I wish I could remember what peace feels like," he confessed, his words blending with the whisper of the wind.

You reached out, your hand brushing against his, a small gesture of comfort in the overwhelming vastness of your shared solitude.

"Maybe we can't go back to who we were," you suggested, your voice a tentative whisper against the symphony of the sea. "But perhaps we can find new reasons to look forward to the sunrise."

Touya's hand trembled slightly under yours, but he didn't pull away. Instead, he gripped your hand, his hold tentative but needing the connection. "I'd like that," he said, a flicker of a smile ghosting across his lips, as fragile and fleeting as a wave’s crest as a single tear rolled down his cheek. "To look forward to something, to hope for something better."

[adisquietfollows]

[L]ong before October 7, the Palestinian struggle against Israel had become widely understood by academic and progressive activists as the vanguard of a global battle against settler colonialism, a struggle also waged in the United States, Canada, Australia, and other countries created by European settlement. In these circles, Palestine was transformed into a standard reference point for every kind of social wrong, even those that seem to have no connection to the Middle East. [...] Although Israel fails in obvious ways to fit the model of settler colonialism, it has become the standard reference point because it offers theorists and activists something that the United States does not: a plausible target.

Full text:

On October 7, Hamas killed four times as many Israelis in a single day as had been killed in the previous 15 years of conflict. In the months since, protesters have rallied against Israel’s retaliatory invasion of Gaza, which has killed tens of thousands of Palestinians. But a new tone of excitement and enthusiasm could be heard among pro-Palestinian activistsfrom the moment that news of the attacks arrived, well before the Israeli response began. Celebrations of Hamas’s exploits are familiar sights in Gaza and the West Bank, Cairo and Damascus; this time, they spread to elite college campuses, where Gaza-solidarity encampments became ubiquitous this past spring. Why?

The answer is that, long before October 7, the Palestinian struggle against Israel had become widely understood by academic and progressive activists as the vanguard of a global battle against settler colonialism, a struggle also waged in the United States, Canada, Australia, and other countries created by European settlement. In these circles, Palestine was transformed into a standard reference point for every kind of social wrong, even those that seem to have no connection to the Middle East.

Western activists and academics have leaned heavily on the idea. Opposition to building an oil pipeline under a Sioux reservation was like the Palestinian cause in that it “makes visible the continuum of systems of subjugation and expropriation across liberal democracies and settler-­colonial regimes.” When the city of Toronto evicted a homeless encampment from a park, it was like Palestine because both are examples of “ethnic cleansing” and “colonial ‘domicide,’ making Indigenous people homeless on their homelands.” Health problems among Native Americans can be understood in terms of Palestine, because the “hyper-­visible Palestine case …  provides a unique temporal lens for understanding settler colonial health determinants more broadly.” Pollution, too, can be understood through a Palestinian lens, according to the British organization Friends of the Earth, because Palestine demonstrates that “the world is an unequal place” where “marginalised and vulnerable people bear the brunt of injustice.”

Although Israel fails in obvious ways to fit the model of settler colonialism, it has become the standard reference point because it offers theorists and activists something that the United States does not: a plausible target. It is hard to imagine America or Canada being truly decolonized, with the descendants of the original settlers returning to the countries from which they came and Native peoples reclaiming the land. But armed struggle against Israel has been ongoing since it was founded, and Hamas and its allies still hope to abolish the Jewish state “between the river and the sea.” In the contemporary world, only in Israel can the fight against settler colonialism move from theory to practice.

The concept of settler colonialism was developed in the 1990s by theorists in Australia, Canada, and the U.S., as a way of linking social evils in these countries today—such as climate change, patriarchy, and economic inequality—to their origin in colonial settlement. In the past decade, settler colonialism has become one of the most important concepts in the academic humanities, the subject of hundreds of books and thousands of papers, as well as college courses on topics such as U.S. history, public health, and gender studies.

For the academic field of settler-colonial studies, the settlement process is characterized by European settlers discovering a land that they consider “terra nullius,” the legal property of no one; their insatiable hunger for expansion that fills an entire continent; and the destruction of Indigenous peoples and cultures. This model, drawn from the history of Anglophone colonies such as the U.S. and Australia, is regularly applied to the history of Israel even though it does not include any of these hallmarks.

When modern Zionist settlement in what is now Israel began in the 1880s, Palestine was a province of the Ottoman empire, and after World War I, it was ruled by the British under a mandate from the League of Nations. Far from being “no one’s land,” Jews could settle there only with the permission of an imperial government, and when that permission was withdrawn—­as it fatefully was in 1939, when the British sharply limited Jewish immigration on the eve of the Holocaust—they had no recourse. Far from expanding to fill a continent, as in North America and Australia, the state of Israel today is about the size of New Jersey. The language, culture, and religion of the Arab peoples remain overwhelmingly dominant: 76 years after Israel was founded, it is still the only Jewish country in the region, among 22 Arab countries, from Morocco to Iraq.

Most important, the Jewish state did not erase or replace the people already living in Palestine, though it did displace many of them. Here the comparison between European settlement in North America and Jewish settlement in Israel is especially inapt. In the decades after Europeans arrived in Massachusetts, the Native American population of New England declined from about 140,000 to 10,000, by one estimate. In the decades after 1948, the Arab population of historic Palestine more than quintupled, from about 1.4 million to about 7.4 million. The persistence of the conflict in Israel-Palestine is due precisely to the coexistence of two peoples in the same land—­as opposed to the classic sites of settler colonialism, where European settlers decimated Native peoples.

In the 21st century, the clearest examples of ongoing settler colonialism can probably be found in China. In 2023, the United Nations Human Rights office reported that the Chinese government had compelled nearly 1 million Tibetan children to attend residential schools “aimed at assimilating Tibetan people culturally, religiously and linguistically.” Forcing the next generation of Tibetans to speak Mandarin is part of a long-­term effort to Sinicize the region, which also includes encouraging Han Chinese to settle there and prohibiting public displays of traditional Buddhist faith.

China has mounted a similar campaign against the Uyghur people in the northwestern province of Xinjiang. Since 2017, more than 1 million Uyghur Muslims have been detained in what the Chinese government calls vocational training centers, which other countries describe as detention or reeducation camps. The government is also seeking to bring down Uyghur birth rates through mass sterilization and involuntary birth control.

These campaigns include every element of settler colonialism as defined by academic theorists. They aim to replace an existing people and culture with a new one imported from the imperial metropole, using techniques frequently described as genocidal in the context of North American history. Tibet’s residential schools are a tool of forced assimilation, like the ones established for Native American children in Canada and the United States in the 19th century.And some scholars of settler colonialism have drawn these parallels, acknowledging, in the words of the anthropologist Carole McGranahan, “that an imperial formation is as likely to be Chinese, communist, and of the twentieth or twenty-­first centuries as it is to be English, capitalist, and of the eighteenth or nineteenth centuries.”

Yet Tibet and Xinjiang—­like India’s rule in Kashmir, and the Indonesian occupation of East Timor from 1975 to 1999—­occupy a tiny fraction of the space devoted to Israel-­Palestine on the mental map of settler-colonial studies. Some of the reasons for this are practical. The academic discipline mainly flourishes in English-­speaking countries, and its practitioners usually seem to be monolingual, making it necessary to focus on countries where sources are either written in English or easily available in translation. This rules out any place where a language barrier is heightened by strict government censorship, like China. Just as important, settler-colonial theorists tend to come from the fields of anthropology and sociology rather than history, area studies, and international relations, where they would be exposed to a wider range of examples of past and present conflict.

But the focus on Israel-­Palestine isn’t only a product of the discipline’s limitations. It is doctrinal. Academics and activists find adding the Israeli-Palestinian conflict to other causes powerfully energizing, a way to give a local address to a struggle that can otherwise feel all too abstract. The price of collapsing together such different causes, however, is that it inhibits understanding of each individual cause. Any conflict that fails to fit the settler-colonial model must be made to fit.

Israel also fails to fit the model of settler colonialism in another key way: It defies the usual division between foreign colonizers and Indigenous people. In the discourse of settler colonialism, Indigenous peoples aren’t simply those who happen to occupy a territory before Europeans discovered it. Rather, indigeneity is a moral and spiritual status, associated with qualities such as authenticity, selflessness, and wisdom. These values stand as a reproof to settler ways of being, which are insatiably destructive. And the moral contrast between settler and indigene comes to overlap with other binaries—­white and nonwhite, exploiter and exploited, victor and victim.

Until recently, Palestinian leaders preferred to avoid the language of indigeneity, seeing the implicit comparison between themselves and Native Americans as defeatist. In an interview near the end of his life, in 2004, PLO Chair Yasser Arafat declared, “We are not Red Indians.” But today’s activists are more eager to embrace the Indigenous label and the moral valences that go with it, and some theorists have begun to recast Palestinian identity in ecological, spiritual, and aesthetic terms long associated with Native American identity. The American academic Steven Salaita has written that “Palestinian claims to life” are based in having “a culture indivisible from their surroundings, a language of freedom concordant to the beauty of the land.” Jamal Nabulsi of the University of Queensland writes that “Palestinian Indigenous sovereignty is in and of the land. It is grounded in an embodied connection to Palestine and articulated in Palestinian ways of being, knowing, and resisting on and for this land.”

This kind of language points to an aspect of the concept of indigeneity that is often tacitly overlooked in the Native American context: its irrationalism. The idea that different peoples have incommensurable ways of being and knowing, rooted in their relationship to a particular landscape, comes out of German Romantic nationalism. Originating in the early 19th century in the work of philosophers such as Johann Gottlieb Fichte and Johann Gottfried Herder, it eventually degenerated into the blood-­and-­soil nationalism of Nazi ideologues such as Richard Walther Darré, who in 1930 hymned what might be called an embodied connection to Germany: “The German soul, with all its warmness, is rooted in its native landscape and has, in a sense, always grown out of it … Whoever takes the natural landscape away from the German soul, kills it.”

For Darré, this rootedness in the land meant that Germans could never thrive in cities, among the “rootless ways of thinking of the urbanite.” The rootless urbanite par excellence, for Nazi ideology, was of course the Jew. For Salaita, the exaltation of Palestinian indigeneity leads to the very same conclusion about “Zionists,” who usurp the land but can never be vitally rooted in it: “In their ruthless schema, land is neither pleasure nor sustenance. It is a commodity … Having been anointed Jewish, the land ceases to be dynamic. It is an ideological fabrication with fixed characteristics.”

In this way, anti-Zionism converges with older patterns of anti­-Semitic and anti­-Jewish thinking. It is true, of course, that criticism of Israel is not inherently anti-­Semitic. Virtually anything that an Israeli government does is likely to be harshly criticized by many Israeli Jews themselves. But it is also true that anti-­Semitism is not simply a matter of personal prejudice against Jews, existing on an entirely different plane from politics. The term anti­-Semitism was coined in Germany in the late 19th century because the old term, Jew hatred, sounded too instinctive and brutal to describe what was, in fact, a political ideology—­an account of the way the world works and how it should be changed.

Wilhelm Marr, the German writer who popularized the word, complained in his 1879 book, The Victory of Judaism Over Germanism, that “the Jewish spirit and Jewish consciousness have overpowered the world.” That spirit, for Marr, was materialism and selfishness, “profiteering and usury.” Anti-­Semitic political parties in Europe attacked “Semitism” in the same way that socialists attacked capitalism. The saying “Anti-­Semitism is the socialism of fools,” used by the German left at this time, recognized the structural similarity between these rival worldviews.

The identification of Jews with soulless materialism made sense to 19th-century Europeans because it translated one of the oldest doctrines of Christianity into the language of modern politics. The apostle Paul, a Jew who became a follower of Jesus, explained the difference between his old faith and his new one by identifying Judaism with material things (­the circumcision of the flesh, the letter of the law) and Christianity with spiritual things—­the circumcision of the heart, a new law “written not with ink but with the Spirit of the living God, not on tablets of stone but on tablets of human hearts.”

Simon Sebag Montefiore: The decolonization narrative is dangerous and false

Today this characterization of Jews as stubborn, heartless, and materialistic is seldom publicly expressed in the language of Christianity, as in the Middle Ages, or in the language of race, as in the late 19th century. But it is quite respectable to say exactly the same thing in the language of settler colonialism. As the historian David Nirenberg has written, “We live in an age in which millions of people are exposed daily to some variant of the argument that the challenges of the world they live in are best explained in terms of ‘Israel,’” except that today, Israel refers not to the Jewish people but to the Jewish state.

When those embracing the ideology of settler colonialism think about political evil, Israel is the example that comes instinctively to hand, just as Jews were for anti-Semitism and Judaism was for Christianity. Perhaps the most troubling reactions to the October 7 attacks were those of college students convinced that the liberation of Palestine is the key to banishing injustice from the world. In November 2023, for instance, Northwestern University’s student newspaper published a letter signed by 65 student organizations—­including the Rainbow Alliance, Ballet Folklórico Northwestern, and All Paws In, which sends volunteers to animal shelters—­defending the use of the slogan “From the river to the sea, Palestine will be free.” This phrase looks forward to the disappearance of any form of Jewish state between the Mediterranean and the Jordan, but the student groups denied that this entails “murder and genocide.” Rather, they wrote, “When we say from the river to the sea, Palestine will be free, we imagine a world free of Islamophobia, antisemitism, anti-­Blackness, militarism, occupation and apartheid.”

As a political program, this is nonsensical. How could dismantling Israel bring about the end of militarism in China, Russia, or Iran? How could it lead to the end of anti-Black racism in America, or anti-Muslim prejudice in India? But for the ideology of settler colonialism, actual political conflicts become symbolic battles between light and darkness, and anyone found on the wrong side is a fair target. Young Americans today who celebrate the massacre of Israelis and harass their Jewish peers on college campuses are not ashamed of themselves for the same reason that earlier generations were not ashamed to persecute and kill Jews—because they have been taught that it is an expression of virtue.

[silicacid]

BREAKING: ⚡US mercenaries from Ukraine spotted operating in Gaza on behalf of Israel The American mercenary firm, Forward Observations Group (FOG), previously known for its presence in Ukraine, has claimed to have active members engaged in combat inside Gaza on behalf of Israel. FOG's official social media accounts have posted numerous photos and videos from Israel, including the southern territories near the Gaza border and the Gaza Strip itself. Some of the images show equipment decked out with both US and Ukrainian flags. Since March 2022, FOG members have made multiple visits to Ukraine. The company openly acknowledges its involvement in fighting alongside the Kiev regime, namely, in the battle for Severodonetsk. US mercenaries, bombs, missiles, aviation, warships, tanks and after 70 days, apart from massacring innocent children, they failed to capture even 20% of Gaza. — Megatron (@Megatron_ron) December 11, 2023

[antigonick]

Fascism became an all-purpose term because one can eliminate from a fascist regime one or more features, and it will still be recognizable as fascist. […] But in spite of this fuzziness, I think it is possible to outline a list of features that are typical of what I would like to call Ur-Fascism, or Eternal Fascism. These features cannot be organized into a system; many of them contradict each other, and are also typical of other kinds of despotism or fanaticism. But it is enough that one of them be present to allow fascism to coagulate around it.

The first feature of Ur-Fascism is the cult of tradition [and syncretism]. Syncretism is not only, as the dictionary says, “the combination of different forms of belief or practice”; such a combination must tolerate contradictions. Each of the original messages contains a sliver of wisdom, and whenever they seem to say different or incompatible things it is only because all are alluding, allegorically, to the same primeval truth. As a consequence, there can be no advancement of learning. Truth has been already spelled out once and for all, and we can only keep interpreting its obscure message. […]

Traditionalism implies the rejection of modernism. [… For the Nazis], the rejection of the modern world was disguised as a rebuttal of the capitalistic way of life, but it mainly concerned the rejection of the Spirit of 1789 (and of 1776, of course). The Enlightenment, the Age of Reason, is seen as the beginning of modern depravity. In this sense Ur-Fascism can be defined as irrationalism.

Irrationalism also depends on the cult of action for action’s sake. Action being beautiful in itself, it must be taken before, or without, any previous reflection. Thinking is a form of emasculation. Therefore culture is suspect insofar as it is identified with critical attitudes. […]

No syncretistic faith can withstand analytical criticism. The critical spirit makes distinctions, and to distinguish is a sign of modernism. In modern culture the scientific community praises disagreement as a way to improve knowledge. For Ur-Fascism, disagreement is treason.

Besides, disagreement is a sign of diversity. Ur-Fascism grows up and seeks for consensus by exploiting and exacerbating the natural fear of difference. The first appeal of a fascist or prematurely fascist movement is an appeal against the intruders. Thus Ur-Fascism is racist by definition.

Ur-Fascism derives from individual or social frustration. That is why one of the most typical features of the historical fascism was the appeal to a frustrated middle class, a class suffering from an economic crisis or feelings of political humiliation, and frightened by the pressure of lower social groups [or other minorities]. [...]

To people who feel deprived of a clear social identity, Ur-Fascism says that their only privilege is the most common one, to be born in the same country. This is the origin of nationalism. Besides, the only ones who can provide an identity to the nation are its enemies. Thus at the root of the Ur-Fascist psychology there is the obsession with a plot, possibly an international one. [...]

[B]y a continuous shifting of rhetorical focus, the enemies are at the same time too strong and too weak.

For Ur-Fascism there is no struggle for life but, rather, life is lived for struggle. Thus pacifism is trafficking with the enemy. It is bad because life is permanent warfare. This, however, brings about an Armageddon complex. Since enemies have to be defeated, there must be a final battle, after which the movement will have control of the world. But such a “final solution” implies a further era of peace, a Golden Age, which contradicts the principle of permanent war. No fascist leader has ever succeeded in solving this predicament.

Elitism is a typical aspect of any reactionary ideology, insofar as it is fundamentally aristocratic, and aristocratic and militaristic elitism cruelly implies contempt for the weak. Ur-Fascism can only advocate a popular elitism. Every citizen belongs to the best people of the world, the members of the party are the best among the citizens, every citizen can (or ought to) become a member of the party. But there cannot be patricians without plebeians. Since the group is hierarchically organized (according to a military model), every subordinate leader despises his own underlings, and each of them despises his inferiors. This reinforces the sense of mass elitism.

In such a perspective everybody is educated to become a hero. In every mythology the hero is an exceptional being, but in Ur-Fascist ideology, heroism is the norm. [...] The Ur-Fascist hero craves heroic death, advertised as the best reward for a heroic life. The Ur-Fascist hero is impatient to die. In his impatience, he more frequently sends other people to death.

Since both permanent war and heroism are difficult games to play, the Ur-Fascist transfers his will to power to sexual matters. This is the origin of machismo (which implies both disdain for women and intolerance and condemnation of nonstandard sexual habits, from chastity to homosexuality).

Ur-Fascism is based upon a selective populism, a qualitative populism, one might say. [...] For Ur-Fascism, however, individuals as individuals have no rights, and the People is conceived as a quality, a monolithic entity expressing the Common Will. Since no large quantity of human beings can have a common will, the Leader pretends to be their interpreter. Having lost their power of delegation, citizens do not act; they are only called on to play the role of the People. Thus the People is only a theatrical fiction. [...] There is in our future a TV or Internet populism, in which the emotional response of a selected group of citizens can be presented and accepted as the Voice of the People. Because of its qualitative populism Ur-Fascism must be against “rotten” parliamentary governments. Wherever a politician casts doubt on the legitimacy of a parliament because it no longer represents the Voice of the People, we can smell Ur-Fascism.

Ur-Fascism speaks Newspeak. Newspeak was invented by Orwell, in 1984, as the official language of Ingsoc, English Socialism. But elements of Ur-Fascism are common to different forms of dictatorship. All the Nazi or Fascist schoolbooks made use of an impoverished vocabulary, and an elementary syntax, in order to limit the instruments for complex and critical reasoning.

—Umberto Eco, in "Ur-Fascism or Eternal Fascism: Fourteen Ways of Looking at a Blackshirt”

[shaisuki]

｡‧˚ʚ°ɞ˚‧｡ ─── SATORU AND HIS OBSESSION WITH YOUR CHEEKS.

“satoru, no.”

“but”

“no.”

stepping back and making a distance from your boyfriend who is close to inhaling your cheek like a black hole. the white haired man whines, his hair deflating with a pout in his face like he was a child denied with candy in a store.

“satoru, behave. you're in the presence of your students and mine. set a good example for them.” you scolded him. glancing at the students who where at the school grounds waiting for the schedules to be brought up. flipping the papers clipped in the clipboard to check their activities for the incoming battle royale and training regimes.

“i love when you're strict (y/n)-chan~” he sing-sang. his face bright and there's a comical blush visible in his cheeks and in the background it looks like someone set up a green screen for the flowers and what looks like glitter sparkling in the background.

you sigh. satoru couldn't act like at his age but you love that side of him but sometimes it made you want to cry from how he distracts you in front of the students. their image of you turning into a less serious one due to satoru's antics and get often teased about it.

the first years stared at you two. they think you were so fed up with their teacher's antics that you were so close at beating up his ass which is true. a little. but yes.

“(y/n)-sensei and gojo-sensei are really going at it.” yuuji mused. staring in awe at his two teachers, two polar opposites. “keh, i'll pay good money to watch (y/n)-sensei punch gojo-sensei.” nobara added. the brunette waiting for some action to happen and she's going to be blessed.

you thought satoru would be done with his antics but no. you were wrong. the moment you dropped your guard down came the rikugan and limitless holder snaking his arms to your soft middle immediately. pressing you against his back and before you could squirm his other hand cupping your soft jaw to meet his lips. his soft, pink lips parted slightly before opening fully and engulfing your cheek in one massive bite.

chomp!

you let out a silent gasp before biting your lower lip to muffle the sound threatening to spill from your lips. “mmm....” gojo hums. a satisfying noise of contentment in his part while he nibbles your supple cheek like it was the softest mochi he ever tasted.

your mind generating a thousand ways to beat gojo and how to forget this had ever happened in front of people, your students nonetheless. such a inappropriate sight for the youngsters to see. you didn't dare to meet their gazes.

the first years, a disgusted look mixed with pity as they watch you get the worst kind of pda anyone can experience. kissing they can take it but sucking on someone's cheek — it's weird.

“thank you for the meal.” he says as he completely detaches his lips from your cheek. his hold on you loosening. a big smile in his face after the nibbles and sucking your cheek. you look at him in disbelief. your cheek covered in his saliva.

“eugh.” you grimaced. wiping your cheek with the back of your palm. “i'm done with you.” he heard you say and he dramatically reached out to you. pinching your cheeks and you slapped it away. “you're not.” he reasons out. “i'm serious.” you deadpan at him. “you're (y/n). not serious.” unfucking believable. he pouts at you and your fist met his shoulder. bypassing his infinity and followed by a kick. oops. your eyes widens as he dropped in the ground.

“that hurts!” itadori exclaims. biting his fist and as a man he knows how painful it was to be kicked in the nuts. not that he experienced it.

nobara's eyes twinkles. fists pumping in the air. deserved. it's funny how the strongest sorcerer alive — the holder of six eyes and limitless is on his knees. clutching his part where you kicked him.

“oh fuck, satoru. i didn't mean to.” you immediately comfort him. rubbing his shoulder to ease the pain. it didn't help with the pain but you felt guilty about it. you didn't mean to kick him in that part.

“are you taking back the "i'm done with you part"?” he asks you and you nodded. not giving the question about the thought. “yeah. i'm sorry.” you murmur. “kiss me.” he requested in which you complied. pressing a kiss to his forehead. even he's like this — you love him.

it was too late before you realize he was faking it. he started giggling and you roll your eyes at him. falling for his antics again. “i can't believe you!” you stand up, huffing. picking up the clipboard and gojo is quick to call you. “(y/n), it's true. it really hurts.” he says. wincing a bit and you gave him a side eye.

“next time, it's going to be real and i'm doing it hard.” you warned him and gojo just laugh at you. draping his arms around you. “you love me though.” unfortunately, it's true. you can't deny that.

the trio stared at you two. it looks like they'll be having second thoughts if they're given a shot in having a relationship. hopefully, it's not weird as their teachers.

[gusty-wind]

TEXAS IS THE BATTLE GROUND TO STAND AGAINST BIDEN'S REGIME TYRANNY.

[felassan]

July 15th Game Informer article on BioWare's companion design philosophy in DA:TV - cliff notes:

DA:TV wasn't made with the intention of making a sequel or 'the same again as DA:I'. They wanted to do something different

The companions are key to everything in DA:TV; the special centerpiece, load-bearing pillars. The studio uses the phrase "DA is about characters, not causes"

These are the most fully realized, complex, fleshed out & complicated companions from BioWare yet (and DA's best). They have stories of their own, and roles both in and out of combat. They are authentic and relatable

For the first time in the series, BioWare feels that they have purposefully and intentionally created great companions. In previous entries, they sort of 'stumbled' onto great companions

Rook goes on a journey with the companions, rather than how it felt in previous games where the companions are more like going on an adventure with the PC

The companions have complicated problems. We will explore how they think and feel, and help them through their problems. They participate in the game's dark parts and optimistic parts

Corinne: "They feel like my dear friends, and I absolutely adore them"

Corinne quote: "We've really moved into a place where you can have the highest of highs, and it can be colorful, it can be optimistic, but also, you can have the lowest of lows where it gets gritty, it gets painful, it gets quite dark. But throughout it all, there is a sense of optimism. And it creates this delightful throughline throughout the game." 

When creating DA:TV one of BW's principles was that the world exists even when you/Rook isn't around, with ancient conflicts, grudges and more going on. Rook kind of comes in in the middle of some of these plots

John quote: "For example – the Grey Wardens are an interesting faction but by themselves, they don't tell a story, but there are characters within that faction that do. And the same thing with other characters in the story. They represent these factions, they show the face of the other parts of Thedas and of the storytelling we really want to do, which, again, shows Thedas as this large, diverse living world that has things going on when you're not there. [...] Where can Rook come into [the companions'] stories, and what interesting ways can those stories develop not just based on themselves but also based on Rook's presence within them?"

Companions are the faces of their factions. Some, like Bellara, are the faces for an entire area of the world

BW hopes that the companions' visual design challenges and excites cosplayers. Matt Rhodes: "The previous art director had the mindset we should make things easier for [cosplayers], which I think is a misunderstanding of cosplayers. We've seen the kind of challenges they're willing to take on, and so we've gone for, in some cases, a level of complexity and detail"

Tevinter is an oppressive, totalitarian regime that has slavery. "If you’re not a mage in Tevinter, you are lower than dirt for a lot of people". A damaging regime has taken over Minrathous

The Shadow Dragons are a rebel faction that fight back against this Tevinter mage-ocracy (so does Neve)

Neve believes that good exists in Tevinter. She's there for the common people, and believes in fighting oppression and tyranny. She represents the voice of the streets and the common people. BW "wanted to have a character that showed not just what is Tevinter at the top, but what is the average person who lives in Tevinter"

Detective Neve is also about finding clues and ways through problems that aren't as action-focused as some of the other companions

The writer Wesley of Game Informer thinks that DA:TV is sure to be "multiple dozens of hours long"

In combat, companions have their own autonomy and behaviors. They pick their own targets

As their plots progress, they learn how to use their abilities more competently in battle. "It feels like we're all in it together"

In battle, strategy, progression and a sense of teamwork comes into play as the party's leader, Rook. "It is a game about creating this organic sense of teamwork."

Vulnerabilities can be used synergistically

Bellara can slow time

Harding has devastating attacks with 'knock down' effects

Corinne quote: "Now, there are more explicit synergies as well. We very much have intentional combos where your companions can play off each other, you can queue up abilities between them, and each of those abilities will go off and have their effect. But it results in this massive detonation where you get enhanced effects, debuff the entire battlefield, all because of planning and teamwork. What makes it really cool is you can introduce Rook into that equation as well. One of my favorite things to do is upgrade some of Harding's abilities so she will automatically use some of these abilities that normally I'd have to instruct her to do. And she'll actually set my character up to execute that combo that, again, has that detonation effect." 

Outside combat, companions have their own concerns, fears and distractions

Companions have their own personal spaces. They each have their own room in the Lighthouse. These sanctuaries become reflections of who they are. "The more time you spend with them, as the game develops as you work through their arc, their room and their personalities will evolve and flourish and become more complete as they trust you more and you understand them better."

The companions also develop romantically, sometimes with each other. Corinne: "There are moments in the game where two of our companions fell in love with each other and I had to make some pretty challenging choices as it related to the quest we're on. And it broke my heart, it absolutely did"

Get to know and learn about the companions in the Lighthouse. "It endears them to you in a way that I honestly haven't experienced before."

There are joy-filled moments and heart-breaking moments in the game wrt the companions

[source]

[ethereal-night-fairy]

AGELESS BLOGS AND MINORS WILL BE BLOCKED.

This dark vampire poly!141 x hostage!reader idea is based off a comment I got on one of my works on Ao3 I would love to tag them if they were on Tumblr but I don't think they are.

Comment : Oh I'd love a vampire au! An idea for it if you are open to consideration: the 141 have been around for centuries, John pretty much turned all of them starting with Simon, then with Johnny, and then with Gaz being the youngest (although Gaz is still over a century old). Reader, of course, is human, moving to a new town to start over completely and ends up running into one of them. And they just know that reader is the missing piece that they had been looking for--the one that is the last to be bound to them. Because for an immortal creature it only makes sense that they would, in even just the name of species preservation, have multiple mates dictated by fate, instinct, or what have you :)

This sounds like a great premise for a vampire au. Also what if Knight price was turned in the medieval ages by a vampire lord he was tasked to kill and ended up being turned as he killed the last of the vampire kin for the English king. He fled obviously when he realised what happened letting his knights think he was killed in battle.

-

Time passes and he doesn't age, he watched his loved ones from a distance growing old and having children before ultimately passing away. It pains him that he lives like an animal hunting for blood in the forest unable to live a normal life.

But he still wishes to do good, to be good . So as his powers build and the sun doesn't scorch his skin anymore. He joins the army century after century to regain some sense of humanity. (That's a horrible way to regain humanity if I'm honest, though in his defence he fell for the propaganda and thought he was doing a good thing.) But the bloodlust becomes so much worse the more he kills. The more blood stains his hands the more he longs for the chaos and violence.

He gathers companions along the way. Men like him that were on the brink of death but had so much to live for. He couldn't let them die he just couldn't! By the 21st century he had his little taskforce. His boys, his lovers, his family but someting was missing. What could it be? They lived comfortably with the wealth they had accumulated. They had their buffet layed out for them on the battlefield. What more could they want?

But something was out of place. Even with his lovers, life was becoming bleak when all they saw was violence and bloodshed. That was until they found a delicate little hostage in their capture or kill mission. Scared little thing you were tucked away in the corner of a bedroom, chained to the wall. You'd do nicely as their pet. They bet your blood tastes just as sweet as your tears.

Their reply: Oh I love it! Johnny being a warrior that at the Battle of Culloden, fighting for Scottish independence from the British, happens to die while fighting an infuriating man. Said infuriating man, dying by the Scottsmans hand, just so happens to be lieutenant Simon. Price having already planned to watch over Simon (he said he wouldn't get attached) yet he can't help but to turn Johnny too. Neither are happy at first, they have their differences, but they can't deny the bond and love that forms. Then the three of them meet Kyle 'Gaz' Garrick in world war ii. So bright and full of life, passionate about fighting for his country and ending Nazi regime. The man runs right into a fight, saving dozens upon dozens of men, and the three know they can't let him remain dead when the inevitable comes. And Gaz, well, he keeps that light within him because at least now he can make sure that the war to end all wars wasn't done in vain.

I just wanted to show off their ideas too since it's what inspired my little snippet. I not sure if I'll turn this into a actual thing though.

Dividers by @cafekitsune

Copyright © by ethereal-night-fairy. 2024. All Rights Reserved. Writing not permitted for reposting, transcription, translation or use with AI technologies.

[longing-for-rain]

hey there!

please don't take this the wrong way, because i'm genuinely just asking. i've seen your criticism of aang and kataang appear on my dash from time to time, and it just got me wondering: how can you enjoy the show?

i understand that you feel passionate about katara, and i suppose about the entire story, but. aang is like on screen 90% of the time, and he gets his happy ending too (as happy as it can be, of course, with having his entire culture and people on the brink of non-existence). how do you reconcile your love for the show with your dislike for its main character and how the narrative rewards him?

and once again, please understand that i'm not attacking. i'm just curious to see at what point does someone stop being a fan and start being simply critical of a certain media, if you know what i mean.

thank you for answering if you do, and cheers!:)

I just don’t pay attention to him very much. Even in the finale, Zuko’s ending and story stands out more to me. Him standing before the crowd in his sparkling crown, announcing that he wants to bring in a new era of love and peace, that’s powerful to me. Watching Zuko go from an abused boy who thinks his only worth comes from accomplishing an impossible task in his desperation to appease his abuser, to a literal king taking back his power and using it for good, is a powerful story.

As for Katara, to me, her true ending is the Agni Kai. I wrote a whole post about it. That is the culmination of her arc, where she is able to display her power and use it to overthrow the regime that she’d grown up being terrorized by. And then after Zuko was nearly killed, Katara was able to save his life just like he saved hers. The way their stories intertwined was beautiful, and it was a beautiful conclusion to Katara’s story, watching her not have to feel helpless for once and bringing the change she’d always dreamed of.

As you can probably tell, these are my favorite characters so I was satisfied by their endings. To be honest on my rewatch, I usually kind of just skim the Aang vs. Ozai fight because it’s just an anime battle. The characters hadn’t even met prior to the fight, so the emotional depth is lacking compared to the Final Agni Kai.

As for the balcony scene? I don’t watch it. And I think it says a lot that by simply not watching it, nothing is lost. It adds nothing to either character and only serves to give Aang a reward. Before that moment, nothing about the finale suggested Katara wanted that at all. Neither character played a significant role in the other’s finale arc. There was absolutely no narrative significance between them.

But there was for Zuko and Katara.

To me, Katara ended the story as a heroine and warrior, not a love interest. With Zuko, that was her ending. So that’s the real ending to me, because that’s what her character means to me.

[drenosa]

Salem: You wretches can't stand against me!

Ruby: We can! And we will!

Salem: Will you now? What silly ideas gave you that impressions.

Ruby: Plenty! Sound off, guys!

Yang: Always give 100%, because one's best is always good enough!

Weiss: Never lose hope, for it brings forth miracles in the unlikeliest of places!

Jaune: The world's largest military was nothing more than a personal guard for the ruling class. One willing to commit genocide to maintain a brutal status quo of oppression and exploitation. Only through an uprising of the working classes could this regime be toppled and with it reclaim their freedom and dignity.

Blake: Friends together are unbeatable, thanks to unbreakable bonds forged in the heat of battle!

Salem: Is... is that blond one okay?

Ruby: Who, Yang? I mean the whole arm thing was a bit of a downer but she's all good now.

Salem: Not that blonde, the blond one who looks like he's in a purpetual state of PTSD!

Ruby: Oh... yeah we don't think about that too much. These days, we just point and he stabs when we tell him to.

Salem: That's... interesting?

Ruby: It is. Jaune! Go stab!

Jaune: *Battlecries* AAAAAAAH!

Salem: *Terroryells* AAAAAAAH!

[charlesoberonn]

Story idea I've been spinning round in my head for a few weeks now, inspired by Adventure Time and the Powerpuff Girls:

Deleri Lectus, robotics and tech genius, defends the world and her home city of Megalopolis alongside her ancient automaton dad and her elementally-powered sisters. Thanks to their efforts the people of the world can live in peace and safety.

One day, during a routine superhero battle against a minor villain, Deleri is knocked out. Then she wakes up somewhere else.

It's the same city, but something is very wrong. The streets are dilapidated, the sky is full of smog and ominous purple lights, and robotic enforcers patrol the streets.

This city is a dystopia ruled by none other than Deleri's younger sisters. But in this universe they're not her sisters, because in this universe, Deleri doesn't exist.

She confronts the dictator versions of her sisters, finds the deactivated and damaged body of her robodad and takes off with him, running away from her sisters' agents who consider her knowledge and opposition to their regime a threat.

Now Deleri is on a quest to understand what happened to this timeline, and how she can help fix it. And if possible, how to get back home.

Some more details:

Deleri wears a type of powered suit similar to Iron Man. Her appearance is basically "Cthulhu as a teenage girl" with green skin, tentacles for hair, and bat wings.

Her sisters are called Tourmaline and Pyrope. Tourmaline has fire powers and Pyrope has water powers.

In her original timeline, Deleri and Pyrope helped their sister avoid the temptation of using a dark fire that gave her enhanced powers but corrupted her. In this timeline Tourmaline still has the dark fire.

Deleri gets around in a cool airship which she constantly modifies and upgrade.

She gathers a small found family of friends and allies to help her in her mission(s). The first of which is Snowfall, AKA Snowfy. A snow elemental who ran away from home in the Weather Kingdom. She quickly becomes Deleri's girlfriend.

Deleri's robot dad is so ancient that nobody knows how to make the fuel that powers him and he has to conserve it

In Deleri's timeline, her dad was in sleep mode for centuries when a strange woman placed baby Deleri in his arms and then ran off, never to be seen again. He tried to find Deleri's parents but eventually decided to adopt her himself.

In this timeline Robodad expended all of his fuel to protect Pryope and Tourmaline against a powerful enemy. That's why he's deactivated now. This event led to the sisters eventually becoming dictators.