#it isn’t anti-queer censorship

[undead-supernova]

Love to see someone use my comfort characters to live out their rape fantasies and then cry the “anti-queer censorship” wolf.

News flash? Rape isn’t hot.

[jynjackets]

Being an ace spectrum lesbian in fandom among overt hypersexualization of men and especially women, stripping them of any character or meaning whatsoever with the way personality or actions are never meaningfully discussed.

[renthony]

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

by Ren Basel renbasel.com

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

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

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

Then the Walt Disney Company made a huge mess.

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

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

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

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

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

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

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

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

Nimona, however, is hard to kill.

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

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

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

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

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

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

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

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

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

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

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

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

Enter Nimona.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

But she isn’t safe from the Director.

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

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

Nimona, however, is hard to kill.

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

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

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

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

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

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

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

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

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

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

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Notes:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

21. Stevenson, ND. (@Gingerhazing). 2021. "Sad day. Thanks for the well wishes, and sending so much love to everyone at Blue Sky. Forever grateful for all the care and joy you poured into Nimona." Twitter/X, February 9, 2021, 3:32 PM. https://x.com/Gingerhazing/status/1359238823935283200

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

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

24. Stevenson, ND. (@Gingerhazing). 2022. "Nimona’s always been a spunky little story that just wouldn’t stop. She’s a fighter...but she’s also got some really awesome people fighting for her. I am excited out of my mind to announce that THE NIMONA MOVIE IS ALIVE...coming at you in 2023 from Annapurna and Netflix." Twitter/X, April 11, 2022, 10:00 AM. https://x.com/Gingerhazing/status/1513517319841935363.

25. “‘Nimona’ Starring Chloë Grace Moretz, Riz Ahmed & Eugene Lee Yang Coming to Netflix in 2023.” About Netflix. April 11, 2022. https://about.netflix.com/en/news/nimona-starring-chloe-grace-moretz-riz-ahmed-and-eugene-lee-yang-coming-to-netflix.

26. “’Nimona’ Rates 100% on Rotten Tomatoes after Annecy Premiere.” Animation Magazine. June 15, 2023. https://www.animationmagazine.net/2023/06/nimona-rates-100-on-rotten-tomatoes-after-annecy-premiere/

27. Dilillo, John. 2023. “’Nimona’: Everything You Need to Know About the New Animated Adventure.” Tudum by Netflix. June 30, 2023. https://www.netflix.com/tudum/articles/nimona-release-date-news-photos

28. Reese, Lori. 2001. “Is ‘“Shrek”’ the Anti- Disney Fairy Tale?” Entertainment Weekly. May 29, 2001. https://ew.com/article/2001/05/29/shrek-anti-disney-fairy-tale/.

29. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 255. https://web.archive.org/web/20240309222607/https://artofnimona.com/.

30. White, Abbey. 2023. “How ‘Nimona’ Explores the Model Minority Stereotype through Its Queer API Love Story.” The Hollywood Reporter. July 1, 2023. https://www.hollywoodreporter.com/movies/movie-features/nimona-eugene-lee-yang-directors-race-love-story-netflix-1235526714/.

31. White, Abbey. 2023. “How ‘Nimona’ Explores the Model Minority Stereotype through Its Queer API Love Story.” The Hollywood Reporter. July 1, 2023. https://www.hollywoodreporter.com/movies/movie-features/nimona-eugene-lee-yang-directors-race-love-story-netflix-1235526714/.

32. Equal Justice Initiative. 2021. “Report Documents Racial Bias in Coverage of Crime by Media.” Equal Justice Initiative. December 16, 2021. https://eji.org/news/report-documents-racial-bias-in-coverage-of-crime-by-media/.

33. Stevenson, N. D. 2023. “Nimona (the Comic): A Deep Dive.” I’m Fine I’m Fine Just Understand. July 13, 2023. https://www.imfineimfine.com/p/nimona-the-comic-a-deep-dive.

34. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 259-260. https://web.archive.org/web/20240309222607/https://artofnimona.com/.

35. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 7. https://web.archive.org/web/20240309222607/https://artofnimona.com/.

36. Brown, Tracy. 2019. “In Netflix’s ‘She-Ra,’ Even Villains Respect Nonbinary Pronouns.” Los Angeles Times. November 6, 2019. https://www.latimes.com/entertainment-arts/tv/story/2019-11-05/netflix-she-ra-princesses-power-nonbinary-double-trouble.

37. Department of Homeland Security. 2019. “If You See Something, Say Something®.” Department of Homeland Security. May 10, 2019. https://www.dhs.gov/see-something-say-something.

38. University of Stanford. n.d. “Stephon Clark.” Say Their Names - Spotlight at Stanford. https://exhibits.stanford.edu/saytheirnames/feature/stephon-clark.

39. Kidd, Jeremy D., Tettamanti, Nicky A., Kaczmarkiewicz, Roma, Corbeil, Thomas E., Dworkin, Jordan D., Jackman, Kasey B., Hughes, Tonda L., Bockting, Walter O., & Meyer, Ilan H. 2023. “Prevalence of Substance Use and Mental Health Problems among Transgender and Cisgender US Adults.” Williams Institute. https://williamsinstitute.law.ucla.edu/publications/transpop-substance-use/.

40. “2023 Anti-Trans Bills: Trans Legislation Tracker.” n.d. Trans Legislation Tracker. https://translegislation.com/bills/2023.

41. James, S.E., Herman, J.L., Durso, L.E., & Heng-Lehtinen, R. 2024. “Early Insights: A Report of the 2022 U.S. Transgender Survey.” National Center for Transgender Equality, Washington, DC.

42. Myers, Catherine. 2023. “Protests in the Age of Social Media.” The Nonviolence Project. February 11, 2023. https://thenonviolenceproject.wisc.edu/2023/02/11/protests-in-the-age-of-social-media/.

43. Auxier, Brooke, and Colleen McClain. 2020. “Americans Think Social Media Can Help Build Movements, but Can Also Be a Distraction.” Pew Research Center. Pew Research Center. September 9, 2020. https://www.pewresearch.org/short-reads/2020/09/09/americans-think-social-media-can-help-build-movements-but-can-also-be-a-distraction/.

44. Stevenson, N. D. 2023. “Nimona (the Comic): A Deep Dive.” I’m Fine I’m Fine Just Understand. July 13, 2023. https://www.imfineimfine.com/p/nimona-the-comic-a-deep-dive.

45. Chapman, Wilson. 2022. “HBO Max to Remove 36 Titles, Including 20 Originals, from Streaming.” Variety. August 18, 2022. https://variety.com/2022/tv/news/hbo-max-originals-removed-1235344286/.

46. Iftikhar, Asyia. 2023. “Netflix CEO Slammed by LGBTQ+ Fans over Cancellation Comments: ‘They Are NOT Allies.’” PinkNews. January 24, 2023. https://www.thepinknews.com/2023/01/24/netflix-ceo-ted-sarandos-cancelled-shows-lgbtq-fans-reactions/.

47. Lang, Jamie. 2023. “Netflix Has Released a 358-Page Multimedia Art of Book for ‘Nimona’ - Exclusive.” Cartoon Brew. October 12, 2023. https://www.cartoonbrew.com/books/nimona-art-of-book-aidan-sugano-netflix-233636.html.

48. “Wayback Machine.” n.d. The Internet Archive. Accessed June 10, 2024. https://wayback-api.archive.org/web/20240000000000.

49. Lang, Jamie. 2023. “Netflix Has Released a 358-Page Multimedia Art of Book for ‘Nimona’ - Exclusive.” Cartoon Brew. October 12, 2023. https://www.cartoonbrew.com/books/nimona-art-of-book-aidan-sugano-netflix-233636.html.

[strangestcase]

i think the proship community is dangerous because it encourages the presence and participation of minors in sexually charged contexts (which often leads to them being taken advantage of. who would have guessed the adults defending loli would be a danger to kids)

No exactly, exactly, like… the thing w proship spaces is that they do have good points about media literacy in a vacuum, I think everyone should be against censorship and happily writing about whatever they want. The thing is that pedos will ALWAYS insert their abusive preferences into any political ideology (look up post-Nazi Germany) if they can get away with it— they’ve done it to the left, to the right, to progressives, to conservatives, they always work backwards.

I can’t stress this enough: anything, any ideology, any set of beliefs, can be a twisted into justification to interact inappropriately with kids/teens; anything can be a good reason to coerce a child into sex in an abuser’s eyes. And, as it stands, the statement “there’s nothing wrong with having taboo sexual interests”, true as it is , is FERTILE SOIL for pedo and pedo enablers to take root in. What should drive morality re:children and sex isn’t disgust, isn’t politics, isn’t aesthetics— it’s the fact that children can’t consent to sex because they simply aren’t mature enough to fully understand what it is.

The thing is . Children are intelligent and deserving of autonomy and freedom; taking advantage of their inexperience for sexual purposes is the opposite of giving children autonomy and freedom, but it’s very easy to spin it into a narrative of sexual freedom and children’s rights to have sex with adults (as if that ever happened magically On Its Own, lmao).

I say it very often that “ship discourse” is an incredibly bad way to discuss these sorts of things. Media literacy, censorship, and internet moderation are all very nuanced topics that you can’t divide into little sports-like teams. This sentiment I’ve seen reflected in a lot of other Tumblr users. I’m not anti or pro I’m an adult with a job etc etc . But that said I am immediately distrustful of proship spaces even if I agree with some of their points, much more than I am of anti spaces when I think they also make good points, and the reason is that proship spaces, as Anon says, have taken sexual liberation the wrong way and tend to either not care or be all for children interacting with adults in questionable contexts re:sex. Those spaces make it very easy to groom kids under the guise of kink/queer/sex positivity (which IMO is frankly insulting as a sex positive kinky queer). The end result is a community that is against pedophilia in theory but fails to protect children in practice.

The other reason I favor “antis” over “proships” is because proshippers are (in my experience) annoying as fuck and weirdly high and mighty about liking incest, as if it was subversive. A quick glance at the family tree of Greek mythology characters says otherwise.

[melancholic-mutt]

ENTER THE WOLVES DEN ?

YES / NO

.

.

.

YOU HAVE CHOSEN . . .

YES !

WELCOME . . .

hello !! my name is samuel. i use he/it, and im the main host of @thecreepycrawlersss . i am a queer genderqueer trans man.

i am a punk anarcho commie, extremely pro endo + good faith identities, pro palestine, pro consent, anti censorship, and many other things. if you’re a piece of shit i will bite you.

we are physically and mentally disabled, and i will post about that. we have me/cfs, pots, arthritis, autism, adhd, and multiple mental illnesses like did, bpd, c-ptsd, and i am also possibly somewhere on the schizospec. saneists do not fucking interact. covid isn’t over. wear a mask if you can.

i like / am interested in art, animation, music (currently learning the electric guitar), writing, psychology, engineering, space, fashion, identity, politics / leftism, and activism. im also interested in and am actively learning about / practicing magick and paganism.

i am a nonhuman alter and am also otherkin / a therian. if this makes you uncomfortable... idgaf !!! bark bark bitch

anyways, that’s all i got for the introduction. time to move on to the next sections !!!

BYF

i post about syscourse, politics, activism, especially types that are more controversial like cripplepunk or youth liberation, transandrophobia, magick / spirituality, and will also post about triggering topics relating to palestine, mental health, fakeclaiming, bigotry, and similar topics. don’t like don’t follow !!

i cuss. a lot. beware my cursed mouth

WE ARE BODILY 15 !! we are “mature” because we experienced adultification and had to mature fast to survive. don’t start conversations w/ me that you wouldnt start with any other 15 year old unless i specifically start it first.

DNI

zionists, fakeclaimers, anti good faith identities, bigots (this includes sysmeds, transmeds, saneists, ageists, etc), trump supporters, republicans / conservatives, generative ai supporters, mdni blogs

zionist includes anyone who wants a two state solution. fuck off you pro genocide pieces of shit

bigot includes queerphobes, racists, islamophobes, anti-semites, misogynists, sexists, intersexists, saneists, ageists, adultists, sysmeds, transmeds, TERFS / radfems, ableists, classists, supremacists, etc. bigots dni means ALL bigots.

TAGS

#samuel🧿

the tag I use on any text post i make on either this blog or our main blog.

#syscourse🐺

#political🐺

#activism🐺

#cripplepunk🐺

#youth lib🐺

#transandrophobia🐺

#magick🐺

#paganism🐺

#mental health🐺

[autistichalsin]

Okay, I’ve been a bit scared because I’ve been observing from the sidelines, but I do want you to know this isn’t a hateful or troll ask, I’m genuinely asking for clarification.

In my experience, “pro-shipping” has always meant ‘problematic shipping’, and all of the people I’ve talked to about this have said the same thing.

Am I the one who’s misconstrued? I really don’t get it.

Being called “pro-harassment” or “pro-censorship” is hurtful and confusing as all hell.

I don’t harass people for what they create. I don’t care to do that. I block and move on, and warn people if I know they could be upset by the content.

But I also don’t understand how certain things are justified.

I am personally not bothered by much, but I have watched friends and acquaintances go through visceral traumatic reactions because people have decided to air out their coping by sharing it with the public. (I.E, people who write romantic incestual fics, etc)

I don’t give a shit what people write. I really don’t. But it feels harmful to use the excuse of coping when you, in turn, could be hurting dozens of others.

Like I said, I genuinely am not trying to be hateful here. I’m confused, and still distraught that all of this is happening. I don’t think anyone deserves to be harassed. I just also don’t get the logic here.

Pro-shipping never once meant problematic shipping. It meant opposite of "anti" because antis would come and invade the tags and asks, calling them all kinds of names if they found their ships distasteful.

Sorry that being indirectly accused of supporting harassment hurt your feelings. Imagine how I felt, being DIRECTLY accused of supporting rape in real life because of my taste in fiction. You are throwing in your lot with people who can't distinguish fantasy and reality.

I don't like incest fics either, anon. They are triggering for me. So you know what I do? I don't read fics tagged as incest. For that reason, I have never been triggered by an incest fic. I suppose I would be if I read an incest fic that wasn't tagged as much, but you will never find a single pro-shipper who defends posting such content without a tag. You are responsible for your own experience online; it is your job to curate the content.

If it was just seeing that the fic exists that triggered the response, then I'm sorry to say they're still in the wrong. As a survivor, learning that triggers exist and how to navigate those triggers is on you. We are responsible for how we deal with our trauma. Your friends didn't deserve their traumas, and they deserve kindness and support, but requesting that people never be allowed to write distasteful fiction so that they don't have to be upset by the idea that someone somewhere shipped incest is not reasonable. Their feelings are valid; it's totally reasonable to be triggered, to strictly curate your online experience. It's reasonable to block everyone who ships the upsetting incest ships, to put an "incest shippers DNI" on your page, all of it. It's not reasonable to call them supporters of IRL incest or to accuse them of causing your trauma. It isn't hard at all on AO3 or Tumblr; they even give you the option to blacklist/filter out certain tags so you can avoid it without blocking users. There's easily half a dozen safeguards that already exist that are a lot less radical, a lot less likely to be weaponized against queer users, and a lot easier to enforce than trying to remove them.

Me writing fics, such as a character using kink to cope, can only harm a user who doesn't curate their feed (and who reads fics they know will trigger them, which I can only assume would then be a purposeful form of self-harm). Denying other survivors their coping mechanism, though, IS a direct form of harm. Stigmatizing recovery by saying that survivors are in any way akin to abusers for creating fiction is a direct form of harm.

It sounds to me like you've absorbed some very harmful and very narrow ideas of what recovery should and should not look like, and what is and isn't a good/valid survivor. You might want to reflect on why you're turning your attention to policing what survivors do to cope so much.

[misfit-mania-the-first]

Do antiship and anti kink people realize kink is basically a game for your brain?

When people participate in non-con, its a game. You play a certain way that stimulates your brain and makes it exciting, and then you get a killer orgasm out of it.

Same with other “gross” kinks. Ageplay(which, AGAIN, is not always underage/overage. It could literally be two adults with a ten year age gap) is a Game. Its a mental sexual game. As with bdsm and impact play. Its A Game.

Your brain LIKES certain things, and sometimes its really weird shit. Just like people like action movies, there are some people that like extreme gore. Are you going to automatically judge someone for liking extreme gore? Honestly it seems like most of you would! Even though, yknow, its FAKE. Its FICTIONAL. ITS A GAME.

Maybe you’ll never be comfortable with impact play or bdsm or fucking non-con, and that’s perfectly fine! You don’t HAVE to like it, in fact it can scare you and make you nervous.

Don’t go seeking it out just to be horrified from it. That doesn’t make sense.

And no, liking impact play isn’t some secret link to misogyny and how women are secretly submissive and need to be dominated.

And NO, again, being the one to administer the impact does not mean you secretly constantly 24/7 supress the urge to slap every woman you see. You’re not secretly a wifebeater or whatever the fuck.

That literally does NOT make sense. If you’re into vanilla sex, that doesn’t mean you go around resisting the urge to drop trousers at anything phallic or vaginic does it? NO. Then WHY do you think that’s how it works for kink???

Here’s the thing, you don’t care what I’m saying. You don’t care at all, because you have come into this space, this post, with the preconceived notion that kink, ALL kink, and maybe even sex itself, is inherently perverse. And so every thing I’m saying reads as someone trying to manipulate you into supporting gross things that are immoral.

But if you could imagine a world for five seconds where this wasn’t considered perverse, where sex and kink were normal and weren’t linked to some “secret desire” or whatever, how would you Feel about it?

I also want to add, that reading kink and sex as perverse tends to be a slippery slope to censorship and vilification of queer people, as we will unfortunately always be linked to kink. Our lives are seen as inherently more sexual than cishet people’s lives, and that’s not good.

[can-of-w0rmz]

idk about you but I love getting my opinions on one of the titans of English literature from a barely post-pubescent 20-something child on tumblr, a website famous for having users with great reading comprehension, critical thinking and no impulse whatsoever to fall into purity culture nonsense at the drop of a hat. I also love the English courts of law, and anti-sodomy laws, and I immediately and uncritically trust them when they accuse a gay man of being a pedophile. There is nothing wrong, childish or immature about this and I don't need to grow up

PURITY CULTURE??? PURITY CULTURE?????? Oh my bad folks I didn’t realise grooming 16 year old boys as a 30-something year old man was just rebelling against purity culture. And for your information, I’ve done plenty of research into anti-sodomy laws at the time of Wilde’s trials, and I’ve also read multiple sources of shorthand translations of the proceedings of the trials themselves, and anyone with two brain cells could tell that the way Wilde spoke wasn’t the way an innocent man would speak, and the evidence compiled against him was overwhelming, regardless of any bias the court may have had. True, the bias in question is fair to bring up and discuss, but it doesn’t negate his extremely likely guilt. It’s extremely unlikely that the man was innocent, from the evidence itself to Wilde’s tone during his “defence”.

Some sources:

The Trial of Oscar Wilde: From the Shorthand Reports (1906)

“In 1895, the playwright and wit Oscar Wilde (1854-1900) was prosecuted for 'acts of gross indecency' with other men. Parts of his trial were covered in newspapers of the day, but because of British censorship laws, this fuller account was not published in English until 1906.”

–The British Library official website (bl.uk)

famous-trials.com, compiled by Professor Douglas O’Linder from UMKC School of Law, mostly aligning with the shorthand translations of the testimonies from the prior source referenced yet with a few details not included in the 1906 publication to my knowledge.

https://www.famous-trials.com/wilde/327-home

Of course, everything has drawbacks, everything has a grain of salt, not everything is fullproof, there’s room for argument everywhere and of course the two sources I linked there aren’t fully enough for a big picture, and context of the time, surrounding impact, further accounts etc should all be looked into — however, in weighing up the evidence and legitimacy of sources and conflating information on all sides, personally I’m ridiculously extremely confident that Wilde was guilty, and I think the fact that this isn’t really widespread historical information is ridiculous.

You’re right, you shouldn’t take things you see on Tumblr as full proof undisputed fact. You’re right, Tumblr is a hellhole a lot of the time for misinformation and bad literary comprehension and analysis. But that doesn’t mean anything you see anywhere is objectively wrong, and you should do a small molecule of proper research and critical thinking from seeing those posts before spouting bullshit.

And for your information, I’m both queer and Irish myself and shockingly the fact that one of the major idealised queer figures for my country is a rich 19th-century-Narcissus pedophile creep, and nobody says jack shit about it, makes me pretty fucking pissed! Surprisingly!

“Purity culture” catch yourself on lad what in the fresh fuck are you on about. I’m in the age range for the wee boys Wilde fucked, surprisingly if I heard one of my friends was meeting with and having sex with some rich fuck old enough to be their da I’d be pretty fucking concerned I’d be calling cps bro 💀🙏

[triviareads]

do you have similar recommendations to the duke gets even? historical romances with feminist themes? thank you 🙏

Hi! Sorry for the delay especially considering you asked this last week, but yeah, here are some of the historicals I particularly enjoyed:

A Caribbean Heiress in Paris by Adriana Herrera: Luz Alana is a Dominican rum heiress who's not only an innovator in the field, but she also wants to expand distribution of her family's rum, except obviously she faces hurdles because, men. There's also a lot of discussion of exactly where wealthy Europeans' money was coming on, and the ties between the aristocracy and colonialism, slavery, and exploitation.

An Island Princess Starts a Scandal by Adriana Herrera: This sapphic romance did a really lovely job of showing that yes, queer people of color existed throughout history and particularly in Paris at this time. The book also makes a case for how intertwined capitalism and colonialism is, and by the end, Cora comes to the realization that maybe being one of the few women in a powerful position in a capitalist system isn't exactly the feminist win many still think it is.

A Tropical Rebel Gets the Duke by Adriana Herrera (out 2/5/25): I have to give Adriana Herrera props for the level of medical research she must have done because this book REALLY gets into the nitty-gritty of how women suffered (and still suffer!) when they did not have access to proper medical care, and the extent to which the patriarchy (husbands, fathers, law enforcement, etc.) prevents women from having this access. The heroine Aurora is a Black woman of Dominican-Mexican descent; she's one of the few qualified female doctors of the time, and she's LITERALLY putting her life and body on the line to help these women by setting up an underground women's clinic.

A Rose Blooms in Brooklyn by Ginny Moore: Another historical dealing with reproductive rights except in the United States around the turn of the century. The hero runs a women's shelter and was widowed after his late wife died during childbirth because they did not have access to contraception. And his shelter is based out of the poorer areas of Brooklyn, you really see how working class women and immigrant women suffer from the lack of reproductive healthcare access.

The Counterfeit Scoundrel by Lorraine Heath: I really like the level of specificity Lorraine Heath offers in a lot of her romances when it comes to less-discussed aspects of women's rights. In England, divorce was extremely difficult for women specifically to obtain, and the hero has a lot of guilt over his own mother, so he helps women by pretending to have affairs with them, and that way, their husbands can divorce them for adultery, a process that would be MUCH easier than wives trying to find cause to divorce their husbands.

The Lady's Guide to Celestial Mechanics by Olivia Waite: A quieter, more introspective sapphic romance that hits on some issues that are pretty prevalent to this day; It intertwines themes of women’s intellectual labor being rejected or undervalued, but then traditional women’s work is ALSO undervalued. Lucy’s contributions to the astronomy field are repeatedly devalued by male scientists or used without credit, and Catherine’s embroidery isn’t “high art” and therefore not worth notice or artistic approval. You really can't win with the patriarchy, basically.

Temptations of a Wallflower by Eva Leigh: If you're looking for something lighter that takes on themes of censorship, specifically censoring sexual content geared towards women. The heroine secretly writes erotica under a pen name and inadvertently educates women through her writing, and the hero is charged by his powerful father to bring her down without knowing her true identity.

I do think Liana De la Rosa's Luna Sisters series gets into the intersectionality of the feminist movement but overall has stronger anti-racist, anti-imperialist themes. The sisters are all undervalued by their father, who is a high-ranking official in President Juarez's government-in-exile, and Isabel especially wants to make something of herself and offers to spy for the exiled First Lady of Mexico in order to fight the French occupation of Mexico. Ana Maria on the other hand takes the classic but historically undervalued route of being something of a political hostess, but using her power to advocate for her husband's progressive policies and anti-slavery bill.

The Lady Charlotte's Society of Angels series by Grace Callaway: What I appreciate about this series is that the Society is willing to provide investigative services to women who are often turned away by male investigators and men in power. Also, there are significant subplots with multiple heroines who hide their jobs from their love interests because they're afraid they will make them stop. Ultimately, none of them do, which is actually quite progressive compared to the one Grace Callaway heroine from a previous gen who basically gave up her investigator ambitions after marriage.

There are a lot more historical romances that have more subtle feminist themes (ex: I was just thinking about Bed Me, Earl by Felicity Niven where the heroine realizes that none of the men in her life— her brother, her husband— bothered to tell her how shitty her husband's finances were before marrying him despite there being affection on BOTH their parts before marriage, but she's made to bear the brunt of those consequences anyway, and legally has no recourse or rights post-marriage. The nice thing is, the husband fully agrees to put his finances in her hands so she can fix them, and there is a rather hysterical "you're pulling out until our money situation is stable" sitch as a result) but I wanted to focus on ones that felt standout to me. I also have thoughts on historicals that use intersectionality as window dressing, basically, which you can read here.

[sableraven]

some issues I have with the proshipping community as someone sorta align with it.

This ain’t for antishippers so go away.

To preface this, I do align myself with the dead dove do not eat community and write what you want. I know technically it would make me a proshipper, but I do have a lot of issues with how proshippers handle race related stuff in fandoms and how some ignorance make spaces unwelcoming for people of color.

While I don’t think proshippers are anywhere near comparable to antishippers and their behaviors, I do think proshippers have the potential of creating their own echo chambers and being extreme in an “Us vs Them” they critique antishippers of doing.

One example is anyone have a discomfort to certain ships, tropes, or trigger warnings, which is FINE. Not everyone is comfortable with dead dove and I understand that. I understand that my works aren’t for everyone and I do my best to tag triggers and warn people before reading my works. I also have my own squicks when it comes to fiction, but I don’t harass anyone over it. For the extreme proshippers, some act if you have any discomfort and simply voice is (not everyone attacking anyone and looking down on others who enjoy it) you are labeled an anti. Or if you state not liking it, all of sudden, you should keep your opinions to yourself despite wanting people to have the freedom of how they can enjoy media.

This also goes into seeing anyone who have those discomforts as “sensitive” and not practicing basic decency of tagging your works as dead dove. A lot of proshippers equate any criticism of fiction as anti rhetoric even though criticism of fiction will always exist. If you put out art, you will be criticized. Sure, some criticism are hated disguised in it, but in terms of general discussion of published media and problematic issues in it, that has ALWAYS existed. Media studies, feminism media studies, etc. have existed longer than the stupid antiship vs proship discourse in fandoms. Someone pointing out problematic things in a media isn’t immediately anti rhetoric because published media hold a different responsibility to their audience than fanfic writers. Fanfiction is no where near as far reaching as published media that has the potential of reaching millions of people. That’s why when antis bring up “fictional can affect reality,” I don’t believe fanfiction can do that because its a very niche thing that most people interacting with it knows better. Published media has a different responsibility, thats why ratings exists, and the FTC is a thing in the US.  

And criticism isn’t bad! I get a lot of proshippers are hyper vigilant due to harassment in the past, but some of you go extreme on this opinion that any criticism is bad and that it doesn’t belong in fandoms. You’re not oppressed or being censored if your fanworks are being criticized. It’s still posted on AO3 and it will only be taken down if you wish it too. It’s like celebrities crying about cancel culture when it’s just online backlash that has no effect on the real world whatsoever. Some of y’all sound like anti woke cancel culture right winger when you complain about supposed “internet warriors” taking your right to create away. They’re not! Let’s not act like antishippers have any power to ever bring censorship laws, only politicians who don’t even know fanfiction exists.

Now this moves on the topic of racism in fandoms. This is where the problematic term of “fandom policing” comes up when half of the time its people of color, queer people, or women discussing how bigotry is rampant in fanbases. Look at the Star Wars fandom, any time a white character is race bent, video games, that exists. Which makes it frustrating that some proshippers treat these discussion as fandom policing or anti rhetoric. It’s not. I have had instances of proshippers trying to excuse racism that happens in fanbases as if I am misinterpreting it or its not racist because the fans have other reasons why they’re ranting about this media. I was also told by one proshipper because they, who is white, that they never encountered racism in the Star Wars fandom even though that shit had started with the first teaser trailer of the Force Awakens. Or they try to make it seems that the angry Star Wars fans who are mad about a black stormtropper existing is NOT racism, but because of established lore not being held up by Disney. (Which, none of the movies have explicitly said stormtroopers are white and ugh).

It’s also ridiculous how white proshipers are allowed the space to vent about being accused of racism by fandom members. I can agree that some accusations are ridiculous, especially ones made by antishippers, but half of it is because white proshippers insert themselves in discussion of racism started by fans of colors and whitesplain to them that it’s not racism and do the same excusal shit that I was met with. I get trying to defend your favorite media, but let people vent. Fans of colors aren’t given the luxury. For some reason, if you complain about racism perpetrated by fans or how the media they like have issues with bigotry, all of sudden its “you bringing politics in fandom spaces” and white proshippers are only using fandoms to “escape reality.” So are fans of color? I would love to use fiction to escape reality, but its hard when racism is rampant in your fandom circles or seeing characters of color being treated poorly in canon. Like cmon. Stop with the double standards. 

It’s annoying how much care that both proshippers and antishippers have when it comes to fiction and fictional characters, but not towards people in real life. Or that racial experiences committed by either side are ignored. Both sides act like they’re oppressed over the most chronically online shit ever. Or that anyone with a differing opinion is immediately label the other side. While proshippers don’t do harassment campaigns or force themselves into anti spaces for the purpose of doxxing, it doesn’t make them automatically safe for everyone, especially for people of color.

And please stop with the ageism towards younger people. Not every anti are “puriteens,” I seen a lot of antishippers within the 20-30 age range.

[inthefallofasparrow]

How did the internet become so puritanical? On social media, outspoken anti-sex advocates increasingly cry “gross” at everything from R-rated rom-coms to fictional characters and queer people having sex to consenting adults with slight age gaps to dating short people. They see oversexualization in just about everything. They often accuse the things they dislike of being coded fronts for pedophilia, and the people who enjoy those things of being sexual predators. These social media users frequently form enclaves that turn as nightmarish and troubling as the things they’re ostensibly trying to police.

This dovetails with what we’re being told right now about Gen Z and sex: They’re having less casual sex, they hate dating, they’re more reserved about relationships in general. It’s easy to pigeonhole online anti-sex police as being teens and young adults, a.k.a. “puriteens.” Because so much of this comes down to carnal horror, you might assume that everyone who’s horrified is a teen who just hasn’t arrived at a mature view of sex and other adult activity. Such anti-sex zeal increasingly forces sex-positive communities back into the internet’s underground. It also aids and abets the larger cultural shift toward regressive attitudes and censorship of sexual minorities and sex-positive content.

Yet overwhelmingly, the common thread among this new generation of “antis” — a broad label for people who are opposed to sexual content in media — isn’t that they are minors who are scared of sex. It’s that none of them distinguish between fictional harm and real-world harm. That is, regardless of their ages, they believe fiction not only can have a real-world impact, but that it always has a real-world impact ...

[gagfadget]

So this post is kind of a sequel to this post. I wanted to go more in depth as to why I said that but also talk about why I feel like ther term anti and proshipper are both fundamentally broken. Again, I’m speaking from the experience of being an ex-proshipper. I’m neither of the two. I think both sides are bad and reductive. I’ve been on both sides and I’ve seen the toxicity of both sides. Do NOT call me anti and do NOT call me a proshipper.

Anyways even when I still considered myself to be part of that group, the trend with them calling conservatives and right-wingers “antis” started to come about. At first it wasn’t like that. On a surface level an anti was someone who was just an opposite of a proshipper, someone who harassed people in fandoms over ships or characters that they deemed problematic and harmful. Over time I started to notice proshippers calling people antis over minor disagreements and eventually they started calling actual bigots antis. By that point I started to become frustrated because this word that had a set definition already and actually did have a lot of right wing anti-sjw types in it, started to expand and expand until it became almost like an umbrella term for anything that was of the left.

Is an anti someone that harasses people over ships?

Is an anti a conservative/right winger/puritan?

Is an anti someone who doesn’t like proshippers?

Is an anti someone who doesn’t like a certain ship or character?

Is an anti someone who disagrees with a proshipper during a discussion?

And this isn’t stuff that I just pulled out of my ass, these are all different groups of people that ive seen proshippers call antis. If it’s all of the above then you’re grouping in actual dangerous political groups or people who want those groups to thrive with someone like me. Which is fucked up because conservatives/ right wingers/ puritans wants to eradicate me. That’s why I tell proshippers to not call me that (they do it anyways) because the term anti is too broad and encompasses too many things, just like the term proshipper.

Proship started off as “people who don’t harass others over ships and believe that fiction doesn’t affect reality in a 1:1 way.”

But now? I’ve seen proshippers say that proshipping is pro freedom of expression, pro-free speech, anti harassment, anti censorship, anti racism, pro lgbtq+ etc. Basically it is everything that is left leaning and everything that I also stand for. BUT. I’ve had them come to me over and over and tell me that it doesn’t matter that I’m left leaning, that I’m black, that I’m queer, that Im against harassment or hate speech or pro free speech or whatever. The mere fact that I think that shipping drama shouldn’t come up in discussions about real world topics and that complaining about “antis” when a post is talking about trans issues is tone deaf, was enough for them to label me an anti and much MUCH worse.

Things that are actually bad and actually dangerous are sharing the same label with things that aren’t. In the eyes of proshippers Iam on the same level as a person who wants me dead and has killed, tortured and attacked my people for decades and decades. When people genuinely believe that, it creates an all or nothing mentality. You’re either a proshipper or you’re a person who is a fascist or at the very least, supports fascism and im not using fascist randomly, it’s because I was called a fascist and a nazi for the same post that I mentioned above.

That “either your for us or against us” mentality is how you get absolutely insane coo coo takes like this

Where people insinuate that being a proshipper/supporting proshippers is somehow intrinsic to being queer and that setting up boundaries for them to not interact with you is seen as you forgetting your own people’s history…

Mind you, the proshipping community is mostly made up of white people and there is a racism problem in it that I’ve had to witness, ended up taking part in and was the victim of MULTIPLE times. And some of it is because they will slap the anti label onto anyone.

You know what happens when you’re labeled an anti by a proshipper? They show no sympathy towards you because they believe that antis are/ support oppressors. When you are labeled as an anti they don’t take the time to differentiate if you are Anti: Genuine Bigot Flavored™️ or Anti: Minor Disagreement Flavored™️. They just come at you as if you are actively trying to take away their rights.

This causes someone to go through harassment and this includes racist harassment.

And when a person who had to endure harassment from them says “hey I got fucking harassed, dog pilled and got slurs spammed in my inbox by y’all only for saying that I don’t like proshippers” they counteract it by saying “Woah! Sorry you went through that but those weren’t proshippers. We don’t stand for that, only antis harass people. So those were really antis!”

I’ve seen this happen and said over and over and over and it’s even been said to me after I was harassed.

Telling people that they have to let proshippers engage with them even if it is triggering to do or else you are an anti (everything they deem as oppressive) is almost cult-like.

TL;DR

“Anti” is a label that encompasses too many things which include acts of actual oppression with benign disagreements on ships and characters and because of this, it often groups in oppressors with the groups they seek out to oppress.

[kiwisandpearls]

no, just because im anti-censorship doesn’t mean i think i think works of prejudice against minorities with the clear purpose to demonize those minorities are ok.

no, just because im anti-censorship doesn’t mean i think csem/csam of actual literal children is ok and should be legal everywhere. I very much think the opposite.

no, just because im anti-censorship doesn’t mean i think people shouldn’t think critically about the works of fiction their consuming and shouldn’t ask themselves if what the author wrote/made is a sort of self report of their own morals. I just think we shouldn’t immediately go to the conclusion of “you liked this therefore you are a bad person”

i am anti-censorship because obviously asides from the first two above, “good” censorship of fiction isn’t really feasible as everyone has their own subjective idea on what fiction should be censored. I could ask three random people that if they had the power to censorship certain fiction what would it be and i would get three wildly different answers. Sure we could censor fiction that romanticize bad actions but like…what constitutes actual romanticism? What constitutes “bad actions”? Because let’s be real a lot of people wouldn’t ever admit it but they see acts such as being queer and questioning authority as “bad actions”.

tl;dr - just because im anti-censorship doesn’t mean i think we shouldn’t critically of the works we consume and that works made to actually hurt real people or instigate hurt of real people are totally fine and ok just because their fictional. It just means i think censorship is way too powerful of tool and very easy to be put in the wrong hands, and in many places already…it has been.

[softpastelqueer]

Regarding anti-queer book censorship at libraries, it literally does not matter if you directly tell these people that no one is handing kids pornographic books. There is no gotcha to have, because they openly know they’re lying

For instance, in my hometown, a guy literally got caught taking a queer inclusive sex ed book out of the older teen and young adult section and proudly claimed he found it in the section for kids under 5

Initially, before he was called out, he got even a lot of queer people to fold and back off on his argument, because his lie worked.

He was called out later on about the book not actually being labeled for the section he claims to have found it in, to which he replied “Well uh then it was misplaced in that section, which just proves how easy it is to expose children to this content”, avoiding explaining how he managed to conveniently find this supposedly misplaced book in the first place. And he isn’t even a regular visitor to said library this happened at.

These people are intentionally manipulative and deceitful 🤷🏻‍♂️

There is no gotcha, there is no “BUSTED!” Because that implies these people even have the ability to feel shame

[just-antithings]

Antis now use the situation with AO3 being delisted from Google search results to spread misinformation and claim it was “banned” now because of sexual RPF of minors when that isn’t the reason it was delisted

While the Bundesprüfstelle mentioned it was banned because AO3 contained csam, the laws specifically mention the depictions of real children (and that’s already illegal on AO3) and the above mentioned federal department is often criticized for de facto censorship, restriction of free speech and their decisions often add works to the index that are reactions to moral panics

We’re talking about a country that only legalized same sex marriage in October 2017, still employs homophobic politicians in various important decisions and which still deals with rampant homophobia in general.

Maybe, dear antis, either don’t speak about other countries’ laws if you don’t come from there, especially if you don’t want to defend (queer) censorship, or do your research.

Also, the OTW is aware of the situation too.

.

[saltedsnails]

What bothers me about Bmb/lb rep is that Rooster Teeth isn’t confined by normal media board-member stranglehold. It’s not Disney canceling Owl House because anti-queer organizations and parents don’t like it being on air. It’s not Cartoon Network slashing another season of Steven Universe for having the Ruby/Sapphire wedding. It’s not Legend of Korra only having explicit queer rep in the last like, 5 seconds of the final episode of the series because otherwise the show couldn’t continue.

Rooster Teeth has its own board that approves what goes through and what doesn’t. It doesn’t have to be this tip-toe song and dance that bypasses censorship. It doesn’t have to be tongue and cheek, but that’s exactly what RT does! This will-they-won’t-they doesn’t need to be here! It could’ve come to a conclusion in Season 6, and then explored their relationship dynamics when faced with new problems.

This charade is tiring, and RWBY deserves to have queer rep more than a side couple of a main character for one season show up.

- 🐌