#dollar seventy five

[two-calicos-in-a-trenchcoat]

Man the vending machine in the break room only takes cash T-T

I wanted a cherry coke

And I dont think I have enough change

[telestoapologist]

toland is an experience. you play hide and seek with an orb on the MOON, and he claims that he’s going to drop some mad amazing knowledge on you once you find him, and when you DO find him he’s like “now i’m not 100% on this but i THINK the fallen are gonna plunder the hellmouth”, or “playing gambit is the polar opposite of eating pussy” and then fucks off. 

[arctic-hands]

I have joined the society of bluetooth earphones

[nosferatufaggot]

When will AMC notice my pleas for a DVD release of IWTV and ask me for my home address? There is only one boxset I have paid over fifty bucks for and I'm willing to make it two. Do I want to???? No. Would I pay fifty dollars for season one of IWTV on DVD and all the fun things DVDs come with like behind the scenes and interviews and fun pictures to go alongside the menu screens??????? Absolutely.

[alyoshka-karamazov]

I just found out Litjoy is not planning on restocking their special illustrated edition of Wuthering Heights…..THIS IS EVIL MY DISAPPOINTMENT IS IMMEASURABLE AND MY DAY IS RUINED

[martyrbat]

just fully got done with jury duty ^_^

[chryzuree]

man…………………. but 75$ :|

[gorekiss]

katsucon is like we’re going green and then has a $20 shipping cost on everything like how tf is shipping badges going green like make that make sense

[smelly-fozzy]

How do they expect you to get job experience if they won’t give you the job? Like- they can’t train you after they hire you? You already have to go through training and rules, so can’t that be how you get experience??

[fireemblemseries]

definitely didnt just blow 200 dollars on my ghost cosplay

[sheslostupstate]

why is a picture frame fifty dollars taylor

[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. ‌

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

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

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

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

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

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

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

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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.

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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/.

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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/.

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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.

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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.

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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/.

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[yuwuta]

JUST KEEP LOVING ME THE WAY I LOVE YOU LOVING ME — SATORU GOJO

pairings. satoru gojo/reader

content, warnings. non-curse au, doctor au (reader), ceo au (satoru), no real content warnings, fluff, satoru is nothing but a romantic at heart

word count. 3k

notes. this exists in the post-completion au of a larger universe/incomplete fic of mine, that i will hopefully finish someday lololol but this is way easier to write than that so here you go 🥳

“There are four chairs worth a collective seventy-five hundred dollars in this office, so, pray, tell, why is your ass on my desk?” 

Satoru grins at your words, too distracted by taking in the sight of you to take into consideration the underlying threat. It’s been far too long, almost three whole days since he’s last seen you and, god, you look good. He knows if he said that you’d roll your eyes and insist that there’s nothing good-looking about your worn-in business attire and lab coat that was in desperate need of laundering, but it wouldn’t change his opinion: you always look good, and Satoru really fucking missed you. 

Which is why he doesn’t say the words, but makes sure to throw a deceivingly charming wink your way so that you get the message anyway. As expected, you still roll your eyes, but he doesn’t mind; you look good doing that, too.

“Seriously, Satoru, what are you doing here?” you question, closing the door behind you when you fully step into the room. You make pace towards your desk, attempting to get to the other side, but this is exactly why Satoru chose to lean against it instead of sitting on any one of your very expensive and comfortable chairs—because this way, he’s in the perfect position to intercept your path and pull you to fit neatly between his legs before you can even think about reaching your office chair and ignoring him. 

He pulls you by the loop of your lab coat, but his hands quickly find their way to your shoulders, unpeeling the white layer just enough so that your blouse is exposed to him, and he can slowly rub his palms against your arms and shoulders with just enough pressure to hopefully release some tension. You won’t let go of all of it, but that’s alright, because Satoru’s got other methods for taking care of you.

“Hi,” he calls, smiling gently down at you, “I missed you.” 

This close, Satoru can see the exhaustion clearly in your eyes. There’s more, too: frustration, guilt, worry—and it takes everything in him not to coo and pull you into his chest and do his best to shield you from the world forever. 

There’s a beat before you speak, a small sigh, that’s quickly painted over with a tired smile and a remorseful, “I missed you, too. I’m sorry for being so short, the interim chief has been getting on my last nerves, and—”

“You don’t have to apologize,” Satoru cuts in, leaning forward to press a reassuring kiss to your forehead. He likes that he can feel you relax under his touch. “I know you’re busy. I just missed you.” 

It’s not easy to share you with anything or anyone, but Satoru knows that even on the hardest days, you love your job, and that so many people need your brilliant mind. What he does mind is when people make your job harder than it needs to be, and he’s been getting an earful about this new interim chief from just about everybody—you, Kento, Yuuji, Ieiri, even some of your favorite scrub nurses have indulged him in the gossip about the newest common enemy—and he doesn’t appreciate that someone is putting extra stress on his baby. So, even if it is a makeshift massage in your office and distracting you from your paperwork, Satoru will do what he can to help you relieve tension. 

You reach your arms to wrap them around his shoulders, taking a half step closer to him, peering up at him. Satoru loves when your arms are around his neck like this; he can’t quite pinpoint why—maybe it’s the way you have to crane your neck to look up at him, the way you’re perfectly nestled under his view, the feeling of being wrapped in you. He does his best to close the loop of your intimacy, resting his hands on the small of your back and pulling you impossibly closer and pressing a kiss to your forehead. He likes that he can feel you relax into his touch.

“You’re sweet,” you smile, rubbing your thumb against the shorter hairs at the back of his head. Satoru feels himself melt into you, too. It’s been too long since you’ve been this close, three whole days too long. “Thank you.”

“Nothing to thank me for, baby,” he smiles, stealing a gentle kiss. Satoru loves this the most, loves the feeling of your lips on his—and it’s definitely been too long since he’s kissed you, so he makes sure to do it again, and once more after that for good measure. 

But it’s not enough. He’ll have to take you home, sit you on the couch so he can kiss you all night and make up for the lack of kisses and touches and youness he’s been deprived of these past few days. But first, he’ll have to pull you away from your work, and that’s not easy work. 

“Come home,” he muses, leaning his forehead against yours, “We can order in, and share your favorite bottle of wine, and watch a movie.” 

You lean up to kiss him briefly. “Every time we share a bottle of wine, we end up making out and not watching anything.” 

“Do we?” Satoru feigns innocence, “I never noticed. Doesn’t sound like a bad idea, though.”

“Satoru,” you whisper, quiet but firm, with a smile that lets him know you want to, but you can’t. It’s a tone that Satoru knows all too well, and isn’t particularly fond of. “I have charts to finish.” 

“Finish them tomorrow,” he steals another kiss, “Or pawn them off on Kento,” another kiss, “Or Yuuji. Residents always need more experience—isn’t that what you and Ieiri always say?” 

You let him kiss you again, and again, and again. Each time a little longer, a little warmer, a little less innocent than the last, growing from a little, to a lot, to all-consuming. Satoru hums when he feels your nails raking through his hair; an unfortunate move, as the sound pulls you back to reality and away from him in a decrescendo of kisses. 

“You’re really good at that,” you laugh, voice soft. 

“At kissing?” Satoru dips his head down to taste your laughter against his lips, “Thanks, I’ve had a lot of practice with a very pretty girl.” 

“No,” and you’re laughing again, louder this time, and Satoru counts every little giggle as a victory, “You’re good at... seducing me without saying you’re seducing me.”

“Oh, that?” he grins, tucking his pointer and index finger under your chin to meet you in a knowing kiss, “Yeah, that’s a talent of mine, too.”

You let him steal one more, and Satoru doesn’t take it for granted. “Come home,” he whispers against your lips before slotting them in yet another kiss, “I miss you.” 

And he can feel it when you finally break, sighing into the kiss, and melting into his touch completely. One more, he just needs one more kiss to seal the deal, and then—“Fine,” you concede, “But I get to choose where to get dinner from.” 

“Of course, sweets, whatever you want,” Satoru grins, pulling back to kiss your forehead again, “Now—shall we? If we order in the car, we can probably pick it up on our way home.”

He’s in the home stretch now, but he’s not completely free: if you catch a glimpse of your work, or someone comes in to find you, or your godforsaken pager beeps then all of his plans could come crumbling down before him. The key to transitioning from the “you’ve agreed to come home with him early stage”—if you can count 9:45pm, coming off of a 17-hour work day as early—to the “we are actually leaving this hospital and nobody can stop us phase” is swiftness. This time period is critical, and Satoru is ready for the sprint. 

He shimmies your lab coat all the way off of your body for you, checking for the weight of your pager in your right pocket, before hanging it on the back of your chair. He shoos you to grab your coat, and makes sure you don’t get within three feet of this side of your desk—taking your purse out of your locked drawer and closing an open file folder in the time it takes you to slip out of your heels and into your sneakers, and by the time you’re turning back around, Satoru is already there next to you, with your purse in one hand, and his other hovering on the light switch. 

He makes sure you’re out the door first, and flickers off the light with a satisfied grin. His baby was coming home early with him, and there is nothing else he’d rather do than spend time pampering you. 

You must truly be more tired than you know, because you make no protest when he slings an arm over your shoulder on your way out of the elevator. Usually, you chastise him for any PDA within hospital walls, but tonight you let it be, even leaning some of your body weight against his as you walk. Satoru’s not complaining at all, maybe he’ll try his luck and sneak a kiss on your cheek. 

He decides to go for it, leaning over for a kiss, when you suddenly pull away, turning and patting against your side. Confused, and disappointed, Satoru pouts, “We’ve really got to work on this fear of affection you’ve got going on, sweets. It’s the leading cause of makesatorupout-itis.” 

“We’ve been over this—you can’t just add “itis” to the end of your words to make them diagnostic,” you giggle, “I was looking for my keys.”

Satoru’s frown deepens. “You have the fancy reserved doctor parking space, they can’t tow you. So, we can take my car home.” 

“No, we cannot, because I do not trust you to wake up and drive me back tomorrow morning.” 

“Then I’ll get you a cab in the morning, or—even better, I’ll call Ichiji to pick you up.” 

“Ichiji is still in Paris,” you remind him. Satoru purses his lips. He did ask Ichiji to stay with Megumi. Damn it.

“I have other cars, you can drive one of them in the morning.” 

“And park it where?” 

“In your fancy reserved doctor parking—oh, okay I see the flaw there,” Satoru pulls back. You find amusement in his disappointment, but he doesn’t think there’s anything funny here. 

He shakes his head. He should have taken a cab from his office, but this is okay, a minor setback, nothing he can’t think around. “New plan: we take your car, and I’ll come by to get mine tomorrow. Easy peasy.” 

“Yours will be towed by then.” 

“That’s fine,” Satoru shrugs, “I can afford a tow fee.” 

“Satoru,” you call, reaching your free hand up to place your palm against his cheek, “We both drive home. It’ll be thirty minutes, tops. Forty if there’s traffic, but if you stop pouting and we leave now, we should be fine.” 

Satoru sighs. He knows that’s the most reasonable plan of action, but the simple truth is that he doesn’t want to be away from you right now, even to go the short distance home. He’s already spent the last few days without you, and even though this is calling it in early for you, he only gets maybe four hours awake with you before you’re off again. Thinking about that makes him miss you again already. Pathetic, maybe, but he doesn’t care.

“Oh, Dr. (_____), hey!” Yuuji’s voice is an easily distinguishable interruption to your petty argument, and Satoru’s sulking, “Perfect timing—I’m glad I caught you before you left. Is it okay if I ask you to sign something before you go?” 

You easily warm up to the younger boy and agree, fondly making conversation with Yuuji as he scrolls through some documents on his tablet. And just as you’ve finished scribbling your signature along the screen, Satoru has a bright idea. 

“Hey, Yuuji, you can drive right?” Satoru questions rhetorically, already reaching for his wallet and car keys, “Great! Here’s two grand, it’s all yours if you drive this car home tonight.” Satoru smiles widely, shoving his keys and some cash into the pocket of Yuuji’s white coat. 

“What—really? Awesome! But, why—” 

Satoru dismisses his disbelief with a wave of his hand. He steps a bit closer to Yuuji, just enough to lean into his ear and tuck a couple more bills into his pocket, “And between you and me, that’s an extra three grand if you finish up a couple of charts for my lady so she can sleep in tomorrow. Not a bad deal, right?” 

“Sure, no problem!” Yuuji salutes, “I’d do anything for Dr. Almost-Gojo. Plus, if I’m busy working for her, then I don’t have to babysit cells in a dish for Dr. Gakuganji.” 

“Atta boy,” Satoru ruffles his hair, “Catch you later, Yuuji, I’ve got a hot date to get to. And tell Nanamin I say hello!” 

You elbow Satoru shallowly, a silent warning to keep his voice down, and a verbal chastising of, “It’s Dr. Itadori and Dr. Nanamin to you.”

“More like Dr. Nanameanie,” Satoru laments, resuming the position of his arm around your shoulder, “I’ve left him six calls this week! He’s so cruel—he knows I have to leave next week and he’s depriving me of one on one time. I think I’m gonna have to sneak into his office at lunch tomorrow and confront him.”

Despite his crass words and dramatics, you laugh, and so, Satoru smiles. He finally gets that cheek kiss right as you two reach your car, bending down to plant one for you at the same time he steals your keys from your hand and banishes you to the passenger seat. He’s not much of a driver himself, despite his excess amount of cars, but you’re his baby and you deserve to be driven around no matter the case, but especially when you’ve spent all day taking care of other people. 

Plus, on days like this, if he’s real careful and smooth, you fall asleep in the car and he gets to carry you inside. He makes that his goal for the next thirty minutes, and he succeeds in twenty, confirmed by your soft snores just as he pulls into the curbside pick-up spot of your favorite restaurant. He retrieves the take-out as quietly as possible, before making the rest of the journey home, taking the time to glance over at you during red lights. 

Satoru loves the way you look when you’re asleep, loves to see you well-rested, but something even more dear to him than that is a fact that Nanami let slip in the aftermath of a dinner party he’d hosted about a year after you two had started dating: “She never sleeps outside of her bed, for as long as I’ve known her,” he muses, nodding to your sleeping figure on Satoru’s couch, “Not even in the on-call rooms during our 72 hour shifts. She must... she must really trust you, Satoru.” 

(He also recalls the awfully strong grip on his shoulder and subsequent shovel talk Kento gave him a moment later. Not that Satoru ever had anything but pure intentions with you, but the threat of breaking Kento’s best friend’s heart was more than enough to keep his commitments in check).

Satoru peers at you fondly in his arms, held bridal style with the takeout in the grip of a pinky finger, glancing up only to nod and thank his doorman for pushing the penthouse button for him. Satoru prides himself on many things, but the one thing he always holds in his highest regards is you: call him cocky, but he thinks he’s quite good at caring for you, that there’s nobody else fit to look after you the way that he can; and knowing that you feel safe in his arms is the highest honor he could achieve in this life.

He sets you carefully on the couch once he steps inside the apartment, and places the food on the coffee table. He debates whether or not he should wake you up now; he hates to, but he knows you need to eat, and, selfishly, he wants to cash in on those few hours he has with you to hear your voice. 

He’ll dish out the food first, and then wake you up to eat, he decides. He leans down to kiss the crown of your head, eyes flicking to your face, and pausing at your neck, where your engagement ring rests crookedly against your skin. You must have had an emergency surgery today, he thinks; your schedule for today was originally just to round on post-op patients and attend some meetings, but you knot the ring into your chain when you have to scrub into the operating room. 

Carefully, Satoru reaches to undo it from the chain, and slips it back onto your ring finger. It looks pretty against your skin when it’s around your neck, but personally, he thinks it looks best this way, the sparkle of the aquamarine against the halo of diamonds fits perfectly across the width of your finger, just the way he had it made to be.

Satoru bends down even further to kiss the back of your hand, before laying it to rest on your stomach. He might need to bribe Yuuji to take care of some more work for you, you two really should get a move on that wedding planning, and you’re going to need at least a week off to fly and visit his grandma’s pastry shop in Osaka for cake tasting.

He smiles at the thought. He doesn’t feel so bad about waking you up now—wedding talk seems like the perfect way to end the evening if you ask him; there would be no sweeter sound than hearing how you imagine the start of the rest of your lives to be. 

[cakemx]

head in hands I have spent too much money on plushies

[desolationlovers]

new year new i fucking forgot my insurance resets and i have to pay for my doctors again AAAAAAAAA

[tongue-like-a-razor]

Can u please do smut or fluff of this with rooster or hangman:

Y/n: hey can you zip me up?

R or H: Sure!

...

Y/n: I said zip me up not down

Ooh thank you for this sweet request, I had so much fun with this one!!

The Zipper Incident

Bradley 'Rooster' Bradshaw x Fem!Reader

Summary: You're running late and need some help zipping up your dress. After recovering from the initial shock of seeing you all dolled up, Rooster is more than happy to assist.

CW: Fluff, angst, swearing, a pinch of smut. You stand up your date, which is shitty of you, but it's probably worth it.

I’d like to think that this little drabble could be a prelude to this fic but it’s absolutely not a necessity to read it first. I just had this particular dynamic in mind while writing this.

You rush out of the locker room in a panic, whipping your head around to see if anyone is still around. Your date is imminent – t-minus twenty minutes and counting – and you’ve spent the last forty-five on your hair and makeup only to suffer a devastating wardrobe malfunction at zero hour.

You’re sure that everyone is long gone but you nonetheless shuffle over to the guys’ locker room on the off chance that perhaps somebody might still be in the building.

Just as you’re coming up on the door, Bradley walks out and you nearly collide with him in your haste.

“Woah!” he yells, holding his arms out in case you wouldn’t be able to stop in time.

“Oh my god, Rooster! Thank god!” you shriek.

Now that he’s had a moment to process the situation, Bradley is blinking at you oddly, his eyes slipping briefly to glance at your dress before reverting to your face.

While you’re flattered that your outfit has rendered him speechless – the guy’s never seen you in anything but a uniform – you hardly have time for this kind of delay. “Rooster, can you do me a favor, please? Can you zip me up?” You turn your back to him promptly and twist your arm behind you to point to the zipper that’s gotten stuck halfway up.

“Uh.” Bradley stalls and you look over your shoulder to see his gaze trailing down your bare back as he tentatively lifts his hands.

“Bradshaw, today!” you urge, bouncing slightly on the spot while you hold up the front of your strapless dress.

You feel his fingers graze your back as he pulls gently on the zipper. “It’s jammed,” he says a little hoarsely.

You let out an exasperated sigh. “No shit,” you reply. “Look, I’ve got a date in” – you close your eyes and whimper desperately – “fifteen minutes. Could you maybe put those big, strong muscles to good use?” You throw him a deriding look before glancing pointedly at the arm that's taking up approximately half of your field of view. His bicep is even more pronounced than usual in the tight, black t-shirt he’s wearing.

Rooster exhales slowly, tugging more deliberately on the zipper. “I don’t want to break it,” he says.

This statement gives you pause and you spin around sharply, nearly taking Bradley’s hands with you. “You can’t break it!” you exclaim. “I have nothing else to wear!”

Bradley watches you steadily. “Well,” he says with a small smirk. “Don’t rush me, then.”

You eye him warily before turning back around. “Okay,” you say. “But you don’t have all day,” you mutter when he starts to fiddle with the zipper once more.

His hands stop moving and he clears his throat. “We had a deal.”

You sigh, starting to tap your foot, when your feel his hands close around your shoulders.

“You’re wiggling,” he says.

“I’m anxious,” you retort sourly.

Bradley steps closer until his chest is brushing lightly against your back, and leads you out into the center of the corridor. “I need more light,” he says.

You close your eyes. “It’s a fucking zipper, Bradshaw. You operate a fifteen tonne, seventy-million-dollar government vehicle fifty thousand feet off the ground but this is somehow a struggle?”

Bradley’s hands stop moving. “That fifteen tonne vehicle came with an instruction manual and five years of training.”

“Oh, hang on,” you say. “Let me just pull out my zipper manual. I don’t go anywhere without that thing.”

Bradley snorts. “You’re distracting me,” he says, yanking slightly on the zipper and, in the process, pulling you closer.

You hang your head defeatedly, trying to stay still while he works to fix your dress.

After several moments of silence, Bradley speaks again. “You have a date, huh?”

You stare at the space where the floor meets the wall, taken aback by his question. You and Bradley have but a smidge of history; you met a few months ago when you were brought in for a mission together, and have since been assigned to the same squadron. You’ve flirted here and there, exchanged a few meaningful glances, but nothing more than the occasional tease has ever come to pass. You’re both professionals and, as such, are amply aware that any sort of romantic entanglement would quickly dissolve into a logistical nightmare fraught with more paperwork than either of you would care to complete. And yet, the insinuation in his tone, paired with the intermittent brush of his hands along your back sends a quiet thrill through your body, resulting in a soft blush that heats your cheeks and creeps down your neck. You nervously pat down your hair, making sure it obscures your reddening face before you respond with a casual, “Mm-hm.”

“Anyone I know?” he asks, his thumb sweeping over your shoulder blade as he takes a break from wrestling with the zipper.

Suddenly you’re extremely aware of how short your dress is and how very loosely it hangs around your sides as you clutch it to your chest. “I doubt it,” you say quickly, wondering how you hadn’t noticed the obvious draft coming from the vent overhead until right now while firmly pressing the material of your dress against your rapidly hardening nipples.

“Well, you look nice,” he says, his voice a little rough as he resumes his efforts with the zipper.

You bite down hard on your lip, trying to suppress the shiver triggered by his words. “Would be nicer if I were fully dressed,” you respond flatly.

“Debatable,” Rooster counters.

You swallow uneasily as Bradley continues jerking at your dress. He’s flirting with you now? Ten minutes till go time? After weeks of avoiding every instance of physical contact, including that time you sprained your ankle and he called Phoenix over to help you get to medical instead of taking you himself?

Suddenly, you feel the waist of your dress release as the zipper gives. You gasp, pressing the fabric against your body as it starts to glide.

“Bradshaw!” you yelp. “I said ‘zip me up!’”

“Sorry!” Bradley fumbles with the dress. “It slipped.”

“Sure,” you say with a note of cynicism in your tone.

Bradley chuckles, sliding the zipper back up. “I promise, it was unintentional.” He pauses for a moment, his fingers still holding the clasp even after having completed the task you’ve given him. He runs his palms along your shoulders before they come to rest on your upper arms. “You’ve got a nice back,” he says quietly.

You freeze, trying to come up with an adequate response to the most unexpected of compliments, but you can’t bring yourself to face him because you’re blushing anew. You take a second to gather your thoughts, close your eyes to savour the moment. You’ve completely forgotten about the time and how much of it you might have left because all your concentration is devoted entirely to the gentle sweep of Bradley’s fingers as they slide down your arms.

“First date?” he asks.

You’re furious. You’re livid. Where was all this attention four weeks ago when all that glorious flirting amounted to absolutely nothing. “Second,” you respond curtly.

“Getting serious,” he says wryly, his hands trailing all the way down to your fingertips before they finally fall to his sides.

You chuckle and, although it’s becoming increasingly difficult to restrain yourself from turning to face him, you mutter a quick, “Thanks, Rooster,” while smoothing out the wrinkles on the front of your dress.

Bradley walks around to take a look at you from the front and now you have no choice but to meet his gaze. You give him a tight smile and do a little curtsy and he laughs, shaking his head.

“That’s a hell of a dress,” he says.

You give him a serious look. “It’s not the dress, Bradshaw. It’s the model.”

He grins at you in amusement. “Can’t argue with that.”

You nod slowly, slightly lost in his eyes, when you suddenly remember that you’re running late. “Shit! What’s the time?” You lunge forward to grab his forearm so that you could check his wristwatch. “Fuck! I have to run!”

You drop Bradley’s hand, glancing up at him sharply. He’s watching you with a bewildered expression, as though he wasn’t expecting you to actually leave. “Okay,” he says. “Have a good time.”

You nod and start to draw back, finally turning and escaping down the hall and into the women’s changeroom. Once the door is closed behind you, you sink down on a bench, bringing a hand to your unsettled stomach. The interaction with Bradley has resulted in a revival of that ridiculous crush you had on him when you first arrived on base. You’ve been fairly successful at quashing those feelings, right up until ten minutes ago when Bradley was able to effectively resuscitate them with a vengeance.

You let out a frustrated sigh and start putting away your belongings. You step into your heels and sit back down to do up the straps. Walking over to the mirror, you fix your hair and take a moment to admire your makeup. No wonder Bradley was flabbergasted. He’s never even seen you wear lipstick.

You pick up your purse after shoving your backpack into a locker and head for the door but, when you walk out, Bradley is still there, waiting for you.

You waver on the spot upon seeing him while he hesitates slightly before approaching you. His eyes rake over your figure before finally resting on your face. “I can’t let you go on that date,” he says, his rasp more pronounced somehow, perhaps because he’s trying to keep his voice down.

You gulp nervously, blinking up at him as your cheeks flush. “Why not?” you ask quietly.

Bradley bites into his bottom lip as the corner of his mouth curls upward mischievously. “Because even thinking about you on a date with someone else is making me angry.”

You let out a shallow breath as his eyes focus briefly on your lips. “Why?” you whisper.

You feel Bradley’s hand cup your waist, pressing you gently into the wall at your back while he takes another step forward. He lowers his head and you lift your gaze as he towers over you, as he places the palm of his other hand on the wall behind your head. His breathing is heavier than usual but he comes closer still, caging you in. “Because it should be me,” he says hoarsely.

You lower your gaze but soon feel his fingers under your chin, lifting your face to look at him. “You didn’t ask me,” you manage to say despite the distracting pounding in your temples. “Are you only interested because I’m unavailable?”

Bradley slowly shakes his head, bringing his forehead to rest on yours. The hand that’s been leaning against the wall slips down to your shoulder as he takes another step closer and his body brushes yours. “You know that’s not true,” he says.

You put a hand on his abdomen, pushing him away half-heartedly. “I know that you’ve had plenty of opportunities to make this happen and chose not to.”

Bradley brings his hand down on top of yours on his stomach. “Maybe I was intimidated,” he mutters with a grin.

You roll your eyes. “Am I less intimidating in a dress?”

He shakes his head, his smile widening. “More.” His fingers close around yours, still pressed against his rock-hard abs. “But you left me no choice. I had to just bite the bullet and go for it.”

You glance up at him reproachfully. “I’m late,” you say.

Bradley pulls his lips into a frown as his eyebrows crease. “Stay,” he pleads.

You scoff, shaking your head. “I’m sorry, Bradley,” you say. “You’re late too.” You start to peel your back from the wall, forcing him to back away from you.

He takes several steps backward, the disappointment evident on his face. “You don’t want to go,” he says quietly.

You raise your eyebrows. “How the fuck do you know what I want?” you ask, offended.

He watches you piercingly. “I can tell you want to stay.”

“If you can tell, then why didn’t you ask me out before?” you say angrily.

“Because I’m an idiot!” he responds heatedly.

“Well, at least we agree on that,” you say.

Bradley sucks in his cheeks, nodding contemptuously. “Now what?” he asks. “Ball’s in your court.”

You stare at him crossly. “Now nothing, Bradley,” you say. “You didn’t start anything because you knew that it would be a conflict of interest. That, if anybody found out, one of us would end up being reassigned.”

“Who has to find out?”

You close your eyes briefly before giving him a withering look. “Well, now we know where your head’s at.”

“What’s that supposed to mean?”

“You just want to fuck,” you say matter-of-factly.

Bradley stares at you, speechless for a moment. “What are you talking about?”

“Sorry, Bradshaw,” you say. “That’s not my style.”

But when you turn to leave, Bradley springs after you, grabbing your arm and pulling you back around. “You’ve got it wrong,” he says. “I promise you.”

You eye his fingers, still wrapped firmly around your arm. “Come on, ‘Nobody has to know?’” You glance up at him disdainfully. “You obviously don’t see a future here.” You regret the words the moment they leave your mouth, recognizing how unreasonable it is to expect him to see much of anything with someone he hardly knows. But his words have caused quite a sting which, in turn, has made you slightly irrational. “You know this is a bad idea,” you say finally, reluctantly.

Bradley takes a step forward, simultaneously pulling you closer. He takes a moment to study your features before speaking. “I know that if you go on your date right now, I’m going to lose my fucking mind,” he says with a small chuckle.

You watch him carefully as he brings a hand up to brush some hair away from your eyes. “I’m really late,” you whisper, your hands moving of their own accord to rest on his hips.

Bradley brings his face down to meet yours, his nose brushing along your cheek. “I really want you to stay,” he says in a low voice, his grip loosening on your arm and his fingers gliding gently up to your shoulder.

You lift your face slightly to let him brush his lips with yours. After an excruciating pause during which his mouth hovers tantalisingly over yours, Bradley finally bridges the gap, confidently capturing your lips in his. His fingertips dig into your shoulders as he presses his body against yours, directing you backward into the wall. He leans into you eagerly, his kiss overriding each of your senses as you adapt to its unpredictable rhythm. Slow and deep, then soft and sweeping, evolving with your every movement. His hands twist rabidly into your hair, rough but restrained as he paces himself while you breathe unevenly against his mouth.

He's warm; swathed around you almost possessively; protectively. You aren’t going anywhere anytime soon. You pant when he finally releases your lips, struggling to steady your heartrate.

Bradley lowers himself slightly to diffuse kisses along your jawline, the pressure of his lips on your skin quickly escalating as the two of you sink into one another. You open your mouth to sigh against his ear when his hand slips underneath the hem of your dress. “Bradley,” you whine as his finger drifts along the line of your panties.

“Yeah baby?” he breathes, his finger tracing circles into the already saturated lace.

“This is a terrible idea,” you whimper as the most torturous desire pulsates through your body.

“Yeah, baby,” Bradley agrees, continuing the gentle strokes of his finger over your soaking panties.

You bite your lip trying to suppress a moan, fevered and nearly shaking, sweating and breathless, unsteady in your heels. You feel transported but unsettled, euphoric but wanting. You nip at Bradley’s earlobe in response to which Bradley presses his mouth into the crook of your neck and releases a muffled groan. You continue sucking on his ear and kissing his neck and the hand that’s been hovering between your legs suddenly grips into your thigh. You let out a soft cry and Bradley stifles it with a passionate kiss. His hand coasts upward, cupping your ass cheek as he presses himself against you, pinning you to the wall. “Bradshaw,” you murmur against his lips. “Can you do me a favor?”

Bradley’s teeth catch your bottom lip before he starts gently pecking your swollen lips. “Anything,” he responds in his grating rasp.

You let out a shallow breath. “Can you unzip me?”

Bradley’s mouth curls into a smile against your lips as his hand glides down your back. “I’ve got you, baby,” he says softly, pulling on the zipper. “I’m an expert.” You chuckle as your dress comes loose but, a moment later, Bradley mutters, “Fuck,” right into your open mouth.

You pull back to stare at him mutely as he gives the zipper a few more tugs. “Don’t tell me,” you say in disbelief.

“What is it with this thing?” Bradley says in exasperation, spinning you around to inspect the contraption. You giggle, resting your forehead on the wall resignedly but, the next moment, Bradley grabs you by the waist and pulls you in. “Fuck it,” he says, lifting the skirt of your dress. “I can work around it.”

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