#june 14 2017
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mermaidinthecity · 28 days ago
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maddiemarlow: Morning hang with my babe 🌞 📸: @ jonahfont
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renthony · 6 months ago
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Nimona: a Story of Trans Rights, Queer Solidarity, and the Battle Against Censorship
by Ren Basel renbasel.com
The 2023 film Nimona, released on Netflix after a tumultuous development, is a triumph of queer art. While the basic plot follows a mischievous shapeshifter befriending a knight framed for murder, at its heart Nimona is a tale of queer survival in the face of bigotry and censorship. Though the word “transgender” is never spoken, the film is a deeply political narrative of trans empowerment.
The film is based on a comic of the same name, created by Eisner-winning artist N.D. Stevenson. (1) Originally a webcomic, Nimona stars the disgraced ex-knight Ballister Blackheart and his titular sidekick, teaming up to topple an oppressive regime known as the Institution. The webcomic was compiled into a graphic novel published by Harper Collins on May 12, 2015. (2)
On June 11, 2015, the Hollywood Reporter broke the news Fox Animation had acquired rights to the story. (3) A film adaptation would be directed by Patrick Osborne, written by Marc Haimes, and produced by Adam Stone. Two years later, on February 9, 2017, Osborne confirmed the film was being produced with the Fox-owned studio Blue Sky Animation, and on June 30 of that same year, he claimed the film would be released Valentine’s Day 2020. (4)
Then the Walt Disney Company made a huge mess.
On December 14, 2017, Disney announced the acquisition of Twenty-First Century Fox, Inc. (5) Industry publications began speculating the same day about Blue Sky’s fate, though nothing would be confirmed until after the deal’s completion on March 19, 2019. (6) At first it seemed the studio would continue producing films under Disney’s governance, similar to Disney-owned Pixar Animation. (7)
The fate of the studio—and Nimona’s film adaptation—remained in purgatory for two years. During that time, Patrick Osborne left over reported creative differences, and directorial duties were taken over by Nick Bruno and Troy Quane. (8) Bruno and Quane continued production on the film despite Blue Sky’s uncertain future.
The killing blow came on February 9, 2021. Disney shut down Blue Sky and canceled Nimona, the result of economic hardship caused by COVID-19. (9) Nimona was seventy-five percent completed at the time, set to star Chloë Grace Moretz and Riz Ahmed. (10)
While COVID-19 caused undeniable financial upheaval for the working class, wealthy Americans fared better. (11) Disney itself scraped together enough to pay CEO Bob Iger twenty-one million dollars in 2020 alone. (12) Additionally, demand for animation spiked during the pandemic’s early waves, and Nimona could have been the perfect solution to the studio’s supposed financial woes. (13) Why waste the opportunity to profit from Blue Sky’s hard work?
It didn’t take long for the answer to surface. Speaking anonymously to the press, Blue Sky workers revealed the awful truth: Disney may have killed Nimona for being too queer. The titular character was gender-nonconforming, the leading men were supposed to kiss, and Disney didn’t like it. (14) While Disney may claim COVID-19 as the cause, it is noteworthy that Disney representatives saw footage of two men declaring their love, and not long after, the studio responsible was dead. (15) Further damning evidence came in February of 2024, when the Hollywood Reporter published an article quoting co-director Nick Bruno, who named names: Disney’s chief creative officer at the time, Alan Horn, was adamantly opposed to the film’s “gay stuff.” (16)
Disney didn’t think queer art was worthy of their brand, and it isn’t the first time. “Not fitting the Disney brand” was the justification for canceling Dana Terrace’s 2020 animated series The Owl House, which featured multiple queer characters. (17) Though Terrace was reluctant to assume queerphobia caused the cancellation, Disney’s anti-queer bias has been cited as a hurdle by multiple showrunners, including Terrace herself. (18) The company’s resistance to queer art is a documented phenomenon.
While Nimona’s film cancellation could never take N.D. Stevenson’s comic from the world, it was a sting to lose such a powerful queer narrative on the silver screen. American film has a long history of censoring queerness. The Motion Picture Production Code (commonly called the Hays Code) censored queer stories for decades, including them under the umbrella of “sex perversion.” (19) Though the Code was eventually repealed, systemic bigotry turns even modern queer representation milestones into battles. In 2018, when Rebecca Sugar, creator of the Cartoon Network series Steven Universe, succeeded in portraying the first-ever same-sex marriage proposal in American children’s animation, the network canceled the show in retaliation. (20)
When queer art has to fight so hard just to exist, each loss is a bitter heartbreak. N.D. Stevenson himself expressed sorrow that the world would never see what Nimona’s crew worked so hard to achieve. (21)
Nimona, however, is hard to kill.
While fans mourned, progress continued behind the scenes. Instead of disappearing into the void as a tax write-off, the film was quietly scooped up by Megan Ellison of Annapurna Pictures. (22) Ellison received a call days before Disney’s death blow to Blue Sky, and after looking over storyboard reels, she decided to champion the film. With Ellison’s support, former Blue Sky heads Robert Baird and Andrew Millstein did their damnedest to find Nimona a home. (23)
Good news arrived on April 11, 2022, when N.D. Stevenson made a formal announcement on Twitter (now X): Nimona was gloriously alive, and would release on Netflix in 2023. (24) Netflix confirmed the news in its own press release, where it also provided details about the film’s updated cast and crew, including Eugene Lee Yang as Ambrosius Goldenloin alongside Riz Ahmed’s Ballister Boldheart (changed from the name Blackheart in the comic) and Chloë Grace Moretz as Nimona. (25) The film was no longer in purgatory, and grief over its death became anticipation for its release.
Nimona made her film debut in France, premiering at the Annecy International Animation Film Festival on June 14, 2023 to positive reviews. (26) Netflix released the film to streaming on June 30, finally completing the story’s arduous journey from page to screen. (27)
When the film begins, the audience is introduced to the world through a series of illustrated scrolls, evoking the storybook intros of Disney princess films such as 1959’s Sleeping Beauty. The storybook framing device has been used to parody Disney in the past, perhaps most famously in the 2001 Dreamworks film Shrek. Just as Shrek contains parodies of the Disney brand created by a Disney alumnus, so, too, does Nimona riff on the studio that snubbed it. (28)
Nimona’s storybook intro tells the story of Gloreth, a noble warrior woman clad in gold and white, who defended her people from a terrible monster. After slaying the beast, Gloreth established an order of knights called the Institute (changed from the Institution in the comic) to wall off the city and protect her people.
Right away, the film introduces a Christian dichotomy of good versus evil. Gloreth is presented as a Christlike figure, with the Institute’s knights standing in as her saints. (29) Her name is invoked like the Christian god, with characters uttering phrases such as “oh my Gloreth” and “Gloreth guide you.” The film’s design borrows heavily from Medieval Christian art and architecture, bolstering the metaphor.
Nimona takes place a thousand years after Gloreth’s victory. Following the opening narration, the audience is dropped into a setting combining Medieval aesthetics with futuristic science fiction, creating a sensory delight of neon splashed across knights in shining armor. It’s in this swords-and-cyborgs city that a new knight is set to join the illustrious ranks of Gloreth’s Institute, now under the control of a woman known only as the Director (voiced by Frances Conroy). That new knight is our protagonist, Ballister Boldheart.
The film changes several things from the original. The comic stars Lord Ballister Blackheart, notorious former knight, long after his fall from grace. He has battled the Institution for years, making a name for himself as a supervillain. The film introduces a younger Ballister Boldheart who is still loyal to the Institute, who believes in his dream of becoming a knight and overcomes great odds to prove himself worthy. In the comic, Blackheart’s greatest rival is Sir Ambrosius Goldenloin, with whom he has a messy past. The film shows more of that past, when Goldenloin and Boldheart were young lovers eager to become knights by each other’s side.
There is another notable change: in the comic, Goldenloin is white, and Blackheart is light-skinned. In the film, both characters are men of color—specifically, Boldheart is of Pakistani descent, and Goldenloin is of Korean descent, matching the ethnicity of their respective voice actors. This change adds new themes of institutional racism, colorism, and the “model minority” stereotype. (30)
The lighter-skinned Goldenloin is, as his name suggests, the Institute’s golden boy. He descends from the noble lineage of Gloreth herself, and his face is emblazoned on posters and news screens across the city. He is referred to as “the most anticipated knight of a generation.” In contrast, the darker-skinned Boldheart experiences prejudice and hazing due to his lower-class background. His social status is openly discussed in the news. He is called a “street kid” and “controversial,” despite being the top student in his class. The newscasters make sure everyone knows he was only given the chance to prove himself in the Institute because the queen, a Black woman with established social influence, gave him her personal patronage. Despite this patronage, when the news interviews citizens on the street, public opinion is firmly against Boldheart.
To preserve the comic’s commentary on white privilege, some of Goldenloin’s traits were written into a new, white character created for the film, Sir Thoddeus Sureblade (voiced by Beck Bennett). Sureblade’s vitriol against both Boldheart and Goldenloin allowed Goldenloin to become a more sympathetic character, trapped in the system just as much as Boldheart. (31) This is emphasized at other points in the film when the audience sees Sureblade interact with Goldenloin without Boldheart present, berating the only person of color left in the absence of the darker-skinned man.
The day Boldheart is to be knighted, everything goes wrong. As Queen Valerin (voiced by Lorraine Toussaint) performs the much-anticipated knighting ceremony, a device embedded in Boldheart’s sword explodes, killing her instantly. Though Boldheart is not to blame, he is dubbed an assassin instead of a knight. In an instant, he becomes the most wanted man in the kingdom, and Queen Valerin’s hopes for progress and social equality seem dead with her. Boldheart is gravely injured in the explosion and forced to flee, unable to clear his name.
Enter Nimona.
The audience meets the titular character in the act of vandalizing a poster of Gloreth, only to get distracted by an urgent broadcast on a nearby screen. As she approaches, a bystander yells that she’s a “freak,” in a manner reminiscent of slurs screamed by passing bigots. Nimona has no time for bigots, spraying this one in the face with paint before tuning in to the news.
“Everyone is scared,” declare the newscasters, because queen-killer Ballister Boldheart is on the run. The media paints him as a monster, a filthy commoner who never deserved the chances he was given, and announce that, “never since Gloreth’s monster has anything been so hated.” This characterization pleases Nimona, and she declares him “perfect” before scampering off to find his hiding place.
It takes the span of a title screen for her to track him down, sequestered in a makeshift junkyard shelter. Just before Nimona bursts into the lair, the audience sees Boldheart’s injuries have resulted in the amputation of his arm, and he is building a homemade prosthetic. This is another way he’s been othered from his peers in an instant, forced to adapt to life-changing circumstances with no support. Where he was so recently an aspiring knight with a partner and a dream, he is now homeless, disabled, and isolated.
A wall in the hideout shows a collection of news clippings, suspects, and sticky notes where Boldheart is trying to solve the murder and clear his name. His own photo looks down from the wall, captioned with a damning headline: “He was never one of us—knights reveal shocking details of killer’s past.” It evokes real-world racial bias in crime reporting, where suspects of color are treated as more violent, unstable, and prone to crime than white suspects. A 2021 report by the Equal Justice Initiative and the Global Strategy Group compiled data on this phenomenon, focusing on the stark disparity between coverage of white and Black suspects. (32)
Nimona is not put off by Boldheart’s sinister media reputation. It’s why she tracked him down in the first place. She’s arrived to present her official application as Boldheart’s villain sidekick and help him take down the Institute. Boldheart brushes her off, insisting he isn’t a villain. He has faith in his innocence and in the system, and leaves Nimona behind to clear his name.
When he is immediately arrested, stripped of his prosthetic, and jailed, Nimona doesn’t abandon him. She springs a prison break, and conveys a piece of bitter wisdom to the fallen knight: “[O]nce everyone sees you as a villain, that’s what you are. They only see you one way, no matter how hard you try.”
Nimona and Boldheart are both outcasts, but they are at different stages of processing the pain. Boldheart is deep in the grief of someone who tried to adhere to the demands of a biased system but finally failed. He is the newly cast-out, who gave his entire life to the system but still couldn’t escape dehumanization. His pain is a fresh, raw wound, where Nimona has old scars. She embodies the deep anger of those who have existed on the margins for years. Where Boldheart wants to prove his innocence so he can be re-accepted into the fold, Nimona’s goal is to tear the entire system apart. She finds instant solidarity with Boldheart based solely on their mutual status as outsiders, but Boldheart resists that solidarity because he still craves the system’s familiar structure.
In the comic, Blackheart’s stance is not one of fresh grief, since, just like Nimona, he has been an outsider for some time. Instead, Blackheart’s position is one of slow reform. He believes the system can be changed and improved, while Nimona urges him to demolish it entirely. In both versions, Ballister thinks the system can be fixed by removing specific corrupt influences, where Nimona believes the government is rotten to its foundations and should be dismantled. Despite their ideological differences, Nimona and Ballister ally to survive the Institute’s hostility.
The allyship is an uneasy truce. During the prison break, Nimona reveals that she’s a shapeshifter, able to change into whatever form she pleases. Boldheart reflexively reaches for his sword, horrified that she isn’t human. She is the exact sort of monster he has been taught to fear by the Institute, and it’s only because he needs her help that he overcomes his reflex and sticks with her.
Nimona’s shapeshifting functions as a transgender allegory. The comic’s author, N.D. Stevenson, is transgender, and Nimona’s story developed alongside his own queer journey. (33) The trans themes from the comic are emphasized in the film, with various pride flags included in backgrounds and showcased in the art book. (34) Directors Bruno and Quane described the film as “a story about acceptance. A movie about being seen for who you truly are and a love letter to all those who’ve ever shared that universal feeling of being misunderstood or like an outsider trying to fit in.” (35)
When Boldheart asks Nimona what she is, she responds with only “Nimona.” When he calls her a girl, she retorts that she’s “a lot of things.” When she transforms into another species, she specifies in that moment that she’s “not a girl, I’m a shark.” Later, when she takes the form of a young boy and Boldheart comments on it, saying “now you’re a boy,” her response is, “I am today.” She defies easy categorization, and she likes it that way.
About her shapeshifting, Nimona says “it feels worse if I don’t do it” and “I shapeshift, then I’m free.” When asked what happens if she doesn’t shapeshift, she responds, “I wouldn’t die-die, I just sure wouldn’t be living.” Every time she discusses her transformations, it carries echoes of transgender experience—and, as it happens, Nimona is not N.D. Stevenson’s only shapeshifting transgender character. During his tenure as showrunner for She-Ra and the Princesses of Power (Netflix/Dreamworks, 2018-2020), Stevenson introduced the character Double Trouble. Double Trouble previously existed at the margins of She-Ra lore, but Stevenson’s version was a nonbinary shapeshifter using they/them pronouns. (36) While Nimona uses she/her pronouns throughout both comic and film, just like Double Trouble her gender presentation is as fluid as her physical form.
Boldheart, like many cisgender people reacting to transgender people, is uncomfortable with Nimona. He declares her way of doing things “too much,” and insists they try to be “inconspicuous” and “discreet.” He worries whether others saw her, and, when she is casually in a nonhuman form, he asks if she can “be normal for a second.” He claims to support her, but says it would be “easier if she was a girl” because “other people aren’t as accepting.” His discomfort evokes fumbled allyship by cisgender people, and Nimona emphasizes the allegory by calling Boldheart out for his “small-minded questions.” While the alliance is uneasy, Boldheart continues working with Nimona to clear his name. They are the only allies each other has, and their individual survival is dependent on them working together.
When the duo gain video proof of Boldheart’s innocence, they learn the bomb that killed Queen Valerin was planted by the Director. Threatened by a Black woman using her influence to elevate a poor, queer man of color, the white Director chose to preserve the status quo through violence.
Nimona is eager to get the video on every screen in the city, but Boldheart wants to deal with the issue internally, out of the public eye. He insists “the Institute isn’t the problem, the Director is.” This belief is what also leads the comic’s Blackheart to reject Nimona’s idea that he should crown himself king. He is focused on reforming the existing power structure, neither removing it entirely nor taking it over himself.
Inside the Institute, the Director has been doing her best to set Goldenloin against his former partner. Despite his internal misgivings and fear of betraying someone he loves, Goldenloin does his best to adhere to his prescribed role. As the Director reminds the knights, they are literally born to defend the kingdom, and it’s their sacred duty to do so—especially Goldenloin, who carries Gloreth’s holy blood. This blood connection is repeated throughout the film, and used by the Director to exploit Goldenloin. He’s the Institute’s token minority, put on a gilded pedestal and treated as a symbol instead of a human being.
Goldenloin is a pretty face for propaganda posters, and those posters can be seen throughout the film. They proclaim Gloreth’s majesty, the power of the knights, and remind civilians that the Institute is necessary to “protect our way of life.” A subway PSA urges citizens, “if you see something, slay something,” in a direct parody of the real-world “if you see something, say something” campaign by the United States Department of Homeland Security. (37)
The film is not subtle in its political messaging. When Boldheart attempts to prove his innocence to Goldenloin and the assembled knights, he reaches towards his pocket for a phone. The Director cries that Boldheart has a weapon, and Sureblade opens fire. Though the shot hits the phone and not Boldheart, it carries echoes of real-world police brutality against people of color. Specifically, the use of a phone evokes cases such as the 2018 murder of Stephon Clark, a young Black man who was shot and killed by California police claiming Clark’s cell phone was a firearm. (38) The film does not toy with vague, depoliticized themes of coexistence and tolerance; it is a direct and pointed allegory for contemporary oppression in the United States of America.
Forced to choose between love for Boldheart and loyalty to the Institute, Goldenloin chooses the Institute. He calls for Boldheart’s arrest, and this is the moment Boldheart finally agrees to fight back and raise hell alongside Nimona. When Goldenloin calls Nimona a monster during the ensuing battle, Boldheart doesn’t hesitate to refute it. He expresses his trust in her, and it’s clear he means it. He’s been betrayed by someone he cared about and thought he could depend on, and this puts him in true solidarity with Nimona for the first time.
During the fight, Nimona stops a car from crashing into a small child. She shapeshifts into a young girl to appear less threatening, but it doesn’t work. The child picks up a sword, pointing it at Nimona until an adult pulls them away to hide. When Nimona sees this hatred imprinted in the heart of a child, it horrifies her.
After fleeing to their hideout, Nimona makes a confession to Boldheart: she has suicidal ideations. So many people have directed so much hatred toward her that sometimes she wants to give in and let them kill her. In the real world, a month after the film’s release, a study from the Williams Institute at the UCLA School of Law compiled data about suicidality in American transgender adults. (39) Researchers found that eighty-one percent have thought about suicide, compared to just thirty-five percent of cisgender adults. Forty-two percent have attempted suicide, compared to eleven percent of cisgender adults. Fifty-six percent have engaged in self-harm, compared to twelve percent of cisgender adults.
When Boldheart offers to flee with her and find somewhere safe together, Nimona declares they shouldn’t have to run. She makes the decision every trans person living in a hostile place must make: do I leave and save myself, or do I stay to fight for my community? The year the film was released, the Trans Legislation Tracker reported a record-breaking amount of anti-trans legislation in the United States, with six hundred and two bills introduced throughout twenty-four states. (40) In February 2024, the National Center for Transgender Equality published data on their 2022 U.S. Transgender Survey, revealing that forty-seven percent of respondents thought about moving to another area due to discrimination, with ten percent actually doing so. (41)
Despite the danger, Nimona and Boldheart work diligently against the Institute. When they gain fresh footage proving the Director’s guilt, they don’t hesitate to upload it online, where it garners rapid attention across social and news media. Newscasters begin asking who the real villain is, anti-Institute sentiment builds, and citizens protest in the streets, demanding answers. The power that social media adds to social justice activism is true in the real world as it is in the film, seen in campaigns such as the viral #MeToo hashtag and the Black Lives Matter movement. (42) In 2020, polls conducted by the Pew Research Center showed eight in ten Americans viewed social media platforms as either very or somewhat effective in raising awareness about political and social topics. In the same survey, seventy-seven percent of respondents believed social media is at least somewhat effective in organizing social movements. (43)
In reaction to the media firestorm, the Director issues a statement. She outs Nimona as a shapeshifter, and claims the evidence against the Institute is a hoax. Believing the Director, Goldenloin contacts Boldheart for a rendezvous, sans Nimona. From Goldenloin’s perspective, Boldheart is a good man who has been deceived by the real villain, Nimona. He tells Boldheart about a scroll the Director found, with evidence that Nimona is Gloreth’s original monster, still alive and terrorizing the city. Goldenloin wants to bring Boldheart back into the knighthood and resume their relationship, and though that’s what Boldheart wanted before, his solidarity with Nimona causes him to reject the offer.
Though he leaves Goldenloin behind, Boldheart’s suspicion of Nimona returns. Despite their solidarity, he doesn’t really know her, so he returns home to interrogate her. In the ensuing argument, he reverts to calling her a monster, but only through implication—he won’t say the word. Like a slur, he knows he shouldn’t say it anymore, but that doesn’t keep him from believing it.
Boldheart’s actions prove to Nimona that nowhere is safe. There is no haven. Her community will always turn on her. She flees, and in her ensuing breakdown, the audience learns her backstory. She was alone for an unspecified length of time, never able to fit in until meeting Gloreth as a little girl. Nimona presents herself to Gloreth as another little girl, and Gloreth becomes Nimona’s very first friend. Even when Nimona shapeshifts, Gloreth treats her with kindness and love.
Then the adults of Gloreth’s village see Nimona shapeshift, and the word “monster” is hurled. Torches and pitchforks come out. At the adults’ panic, Gloreth takes up a sword against Nimona, and the cycle of bigotry is transferred to the next generation. The friendship shatters, and Nimona must flee before she can be killed.
After losing Boldheart, seemingly Nimona’s only ally since Gloreth’s betrayal, Nimona’s grief becomes insurmountable. She knows in her heart that nothing will ever change. She’s been hurt too much, by too many, cutting too deeply. To Nimona, the world will only ever bring her pain, so she gives in. She transforms into the giant, ferocious monster everyone has always told her she is, and she begins moving through the city as the Institute opens fire.
When Ballister sees Nimona’s giant, shadowy form, he realizes the horrific pain he caused her. He intuits that Nimona isn’t causing destruction for fun, she’s on a suicide march. She’s given up, and her decision is the result of endless, systemic bigotry and betrayal of trust. Her rampage wouldn’t be happening if she’d been treated with love, support, and care.
Nimona’s previous admission of suicidal ideation repeats in voiceover as she prepares to impale herself on a sword pointed by a massive statue of Gloreth. Her suicide is only prevented because Ballister steps in, calling to her, apologizing, saying he sees her and she isn’t alone. She collapses into his arms, once again in human form, sobbing. Boldheart has finally accepted her truth, and she is safe with him.
But she isn’t safe from the Director.
In a genocidal bid she knows will take out countless civilian lives, the Director orders canons fired on Nimona. Goldenloin tries to stop her, finally standing up against the system, but it’s too late. The Director fires the canons, Nimona throws herself at the blast to protect the civilians, and Nimona falls.
When the dust settles, the Director is deposed and the city rebuilds. Boldheart and Goldenloin reconnect and resume their relationship. The walls around the city come down, reforms take hold in the Institute, and a memorial goes up to honor Nimona, the hero who sacrificed her life to reveal the Director’s corruption.
Nimona, however, is hard to kill.
Nimona originally had a tragic ending, born of N.D. Stevenson’s own depression, but that hopelessness didn’t last forever. (44) Though Nimona is defeated, she doesn’t stay dead. Through the outpouring of love and support N.D. Stevenson received while creating the original webcomic, he gained the community and support he needed to create a more hopeful ending for Nimona’s story—and himself.
The comic’s ending is bittersweet. Nimona can’t truly die, and eventually restores herself. She allows Blackheart to glimpse her, so he knows she survived, but she doesn’t stay. She still doesn’t feel safe, and is assumed to move on somewhere new. Blackheart never sees Nimona again.
The film’s ending is more hopeful. There is a shimmer of pink magic as Nimona announces her survival, and the film ends with Boldheart’s elated exclamation. Even death couldn’t keep her down. She survived Gloreth, and she survived the Director. Though this chapter of the story is over, there is hope on the horizon, and she has allies on her side.
In both incarnations, Nimona is a story of queer survival in a cruel world. The original ending was one of despair, that said there was little hope of true solidarity and allyship. The revised ending said there was hope, but still so far to go. The film’s ending says there is hope, there is solidarity, and there are people who will stand with transgender people until the bitter end—but, more importantly, there are people in the world who want trans people to live, to thrive, and to find joy.
In a world that’s so hostile to transgender people, it’s no wonder a radically trans-positive film had to fight so hard to exist. Unfortunately, the battle must continue. As of June 2024, Netflix hasn’t announced any intent to produce physical copies of the film, meaning it exists solely on streaming and is only accessible via a monthly paid subscription. Should Netflix ever take down its original animation, as HBO Max did in 2022 despite massive backlash, the film could easily become lost media. (45) Though it saved Nimona from Disney, Netflix has its own nasty history of under-marketing and canceling queer programs. (46)
The film’s art book is already gone. The multimedia tome was posted online on October 12, 2023, hosted at ArtofNimona.com. (47) Per the Internet Archive’s Wayback Machine, the site became a Netflix redirect at some point between 10:26 PM on March 9, 2024 and 9:35 PM on March 20, 2024. (48) On the archived site, some multimedia elements are non-functional, potentially making them lost media. The art book is not available through any legal source, and though production designer Aidan Sugano desperately wants a physical copy made, there seem to be no such plans. (49)
Perhaps Netflix will eventually release physical copies of both film and art book. Perhaps not. Time will tell. In the meantime, Nimona stands as a triumph of queer media in a queerphobic world. That it exists at all is a miracle, and that its accessibility is so precarious a year after release is a travesty. Contemporary political commentary is woven into every aspect of the film, and it exists thanks to the passion, talent, and bravery of an incredible crew who endured despite blatant corporate queerphobia.
Long live Nimona, and long live the transgender community she represents.
_ This piece was commissioned using the prompt "the Nimona movie."
Updated 6/16/24 to revise an inaccurate statement regarding the original comic.
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Notes:
1. “Past Recipients 2010s.” n.d. Comic-Con International. Accessed June 10, 2024. https://www.comic-con.org/awards/eisner-awards/past-recipients/past-recipenties-2010s/.
2. Stevenson, ND. 2015. Nimona. New York, NY: Harperteen.
3. Kit, Borys. 2015. “Fox Animation Nabs ‘Nimona’ Adaptation with ‘Feast’ Director (Exclusive).” The Hollywood Reporter. June 11, 2015. https://www.hollywoodreporter.com/movies/movie-news/fox-animation-nabs-nimona-adaptation-801920/.
4. Riley, Jenelle. 2017. “Oscar Winner Patrick Osborne Returns with First-Ever vr Nominee ‘Pearl.’” Variety. February 9, 2017. https://variety.com/2017/film/in-contention/patrick-osborne-returns-to-race-with-first-vr-nominee-pearl-1201983466/; Osborne, Patrick (@PatrickTOsborne). 2017. "Hey world, the NIMONA feature film has a release date! @Gingerhazing February 14th 2020 !!" Twitter/X, June 30, 2017, 3:16 PM. https://x.com/PatrickTOsborne/status/880867591094272000. ‌
5. “The Walt Disney Company to Acquire Twenty-First Century Fox, Inc., after Spinoff of Certain Businesses, for $52.4 Billion in Stock.” 2017. The Walt Disney Company. December 14, 2017. https://thewaltdisneycompany.com/walt-disney-company-acquire-twenty-first-century-fox-inc-spinoff-certain-businesses-52-4-billion-stock-2/.
6. Amidi, Amid. 2017. “Disney Buys Fox for $52.4 Billion: Here Are the Key Points of the Deal.” Cartoon Brew. December 14, 2017. https://www.cartoonbrew.com/business/disney-buys-fox-key-points-deal-155390.html; Giardina, Carolyn. 2017. “Disney Deal Could Redraw Fox’s Animation Business.” The Hollywood Reporter. December 14, 2017. https://www.hollywoodreporter.com/news/general-news/disney-deal-could-redraw-foxs-animation-business-1068040/; Szalai, Georg, and Paul Bond. 2019. “Disney Closes $71.3 Billion Fox Deal, Creating Global Content Powerhouse.” The Hollywood Reporter. March 19, 2019. https://www.hollywoodreporter.com/news/general-news/disney-closes-fox-deal-creating-global-content-powerhouse-1174498/.
7. Hipes, Patrick. 2019. “After Trying Day, Disney Sets Film Leadership Lineup.” Deadline. March 22, 2019. https://deadline.com/2019/03/disney-film-executives-post-merger-team-set-1202580586/.
8. Jones, Rendy. 2023. “‘Nimona’: Netflix’s Remarkable Trans-Rights Animated Movie Is Here.” Rolling Stone. July 3, 2023. https://www.rollingstone.com/tv-movies/tv-movie-features/nimona-netflix-trans-rights-animated-movie-lgbtq-riz-ahmed-chloe-grace-moretz-1234782583/.
9. D’Alessandro, Anthony. 2021. “Disney Closing Blue Sky Studios, Fox’s Once-Dominant Animation House behind ‘Ice Age’ Franchise.” Deadline. February 9, 2021. https://deadline.com/2021/02/blue-sky-studios-closing-disney-ice-age-franchise-animation-1234690310/.
10. “Disney’s Blue Sky Shut down Leaves Nimona Film 75% Completed.” 2021. CBR. February 10, 2021. https://www.cbr.com/nimona-film-abandoned-disney-blue-sky-shut-down/; Sneider, Jeff. 2021. “Exclusive: Disney’s LGBTQ-Themed ‘Nimona’ Would’ve Featured the Voices of Chloë Grace Moretz, Riz Ahmed.” Collider. March 4, 2021. https://collider.com/nimona-movie-cast-cancelled-disney-blue-sky/.
11. Horowitz, Juliana Menasce, Anna Brown, and Rachel Minkin. 2021. “The COVID-19 Pandemic’s Long-Term Financial Impact.” Pew Research Center’s Social & Demographic Trends Project. March 5, 2021. https://www.pewresearch.org/social-trends/2021/03/05/a-year-into-the-pandemic-long-term-financial-impact-weighs-heavily-on-many-americans/.
12. Lang, Brent. 2022. “Disney CEO Bob Iger’s Rich Compensation Package Revealed, Company Says Bob Chapek Fired ‘without Cause.’” Variety. November 21, 2022. https://variety.com/2022/film/finance/bob-iger-compensation-package-salary-bob-chapek-fired-1235439151/.
13. Romano, Nick. 2020. “The Pandemic Animation Boom: How Cartoons Became King in the Time of COVID.” EW.com. November 2, 2020. https://ew.com/movies/animation-boom-coronavirus-pandemic/.
14. Strapagiel, Lauren. 2021. “The Future of Disney’s First Animated Feature Film with Queer Leads, ‘Nimona,’ Is in Doubt.” BuzzFeed News. February 24, 2021. https://www.buzzfeednews.com/article/laurenstrapagiel/disney-nimona-movie-lgbtq-characters.
15. Clark, Travis. 2022. “Disney Raised Concerns about a Same-Sex Kiss in the Unreleased Animated Movie ‘Nimona,’ Former Blue Sky Staffers Say.” Business Insider. https://www.businessinsider.com/disney-disapproved-same-sex-kiss-nimona-movie-former-staffers-say-2022-3.
16. Keegan, Rebecca. 2024. “Why Megan Ellison Saved ‘Nimona’: ‘I Needed This Movie.’” The Hollywood Reporter. February 22, 2024. https://www.hollywoodreporter.com/movies/movie-news/megan-ellison-saved-nimona-1235832043/.
17. St. James, Emily. 2023. “Mourning the Loss of the Owl House, TV’s Best Queer Kids Show.” Vanity Fair. April 6, 2023. https://www.vanityfair.com/hollywood/2023/04/loss-of-the-owl-house-tvs-best-queer-kids-show.
18. AntagonistDana. 2021. “AMA (except by ‘Anything’ I Mean These Questions Only).” Reddit. October 5, 2021. https://www.reddit.com/r/TheOwlHouse/comments/q1x1uh/ama_except_by_anything_i_mean_these_questions_only/; de Wit, Alex Dudok. 2020. “Disney Executive Tried to Block Queer Characters in ‘the Owl House,’ Says Creator.” 2020. Cartoon Brew. August 14, 2020. https://www.cartoonbrew.com/disney/disney-executives-tried-to-block-queer-characters-in-the-owl-house-says-creator-195413.html.
19. Doherty, Thomas. 1999. Pre-Code Hollywood : Sex, Immorality, and Insurrection in American Cinema, 1930-1934. New York: Columbia University Press. 363.
20. Henderson, Taylor. 2018. “‘Steven Universe’s’ Latest Episode Just Made LGBTQ History.” Pride. July 5, 2018. https://www.pride.com/stevenuniverse/2018/7/05/steven-universes-latest-episode-just-made-lgbtq-history; McDonnell, Chris. 2020. Steven Universe: End of an Era. New York: Abrams. 102.
21. Stevenson, ND. (@Gingerhazing). 2021. "Sad day. Thanks for the well wishes, and sending so much love to everyone at Blue Sky. Forever grateful for all the care and joy you poured into Nimona." Twitter/X, February 9, 2021, 3:32 PM. https://x.com/Gingerhazing/status/1359238823935283200
22. Jones, Rendy. 2023. “‘Nimona’: Netflix’s Remarkable Trans-Rights Animated Movie Is Here.” Rolling Stone. July 3, 2023. https://www.rollingstone.com/tv-movies/tv-movie-features/nimona-netflix-trans-rights-animated-movie-lgbtq-riz-ahmed-chloe-grace-moretz-1234782583/.
23. Keegan, Rebecca. 2024. “Why Megan Ellison Saved ‘Nimona’: ‘I Needed This Movie.’” The Hollywood Reporter. February 22, 2024. https://www.hollywoodreporter.com/movies/movie-news/megan-ellison-saved-nimona-1235832043/.
24. Stevenson, ND. (@Gingerhazing). 2022. "Nimona’s always been a spunky little story that just wouldn’t stop. She’s a fighter...but she’s also got some really awesome people fighting for her. I am excited out of my mind to announce that THE NIMONA MOVIE IS ALIVE...coming at you in 2023 from Annapurna and Netflix." Twitter/X, April 11, 2022, 10:00 AM. https://x.com/Gingerhazing/status/1513517319841935363.
25. “‘Nimona’ Starring Chloë Grace Moretz, Riz Ahmed & Eugene Lee Yang Coming to Netflix in 2023.” About Netflix. April 11, 2022. https://about.netflix.com/en/news/nimona-starring-chloe-grace-moretz-riz-ahmed-and-eugene-lee-yang-coming-to-netflix.
26. “’Nimona’ Rates 100% on Rotten Tomatoes after Annecy Premiere.” Animation Magazine. June 15, 2023. https://www.animationmagazine.net/2023/06/nimona-rates-100-on-rotten-tomatoes-after-annecy-premiere/
27. Dilillo, John. 2023. “’Nimona’: Everything You Need to Know About the New Animated Adventure.” Tudum by Netflix. June 30, 2023. https://www.netflix.com/tudum/articles/nimona-release-date-news-photos
28. Reese, Lori. 2001. “Is ‘“Shrek”’ the Anti- Disney Fairy Tale?” Entertainment Weekly. May 29, 2001. https://ew.com/article/2001/05/29/shrek-anti-disney-fairy-tale/.
29. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 255. https://web.archive.org/web/20240309222607/https://artofnimona.com/.
30. White, Abbey. 2023. “How ‘Nimona’ Explores the Model Minority Stereotype through Its Queer API Love Story.” The Hollywood Reporter. July 1, 2023. https://www.hollywoodreporter.com/movies/movie-features/nimona-eugene-lee-yang-directors-race-love-story-netflix-1235526714/.
31. White, Abbey. 2023. “How ‘Nimona’ Explores the Model Minority Stereotype through Its Queer API Love Story.” The Hollywood Reporter. July 1, 2023. https://www.hollywoodreporter.com/movies/movie-features/nimona-eugene-lee-yang-directors-race-love-story-netflix-1235526714/.
32. Equal Justice Initiative. 2021. “Report Documents Racial Bias in Coverage of Crime by Media.” Equal Justice Initiative. December 16, 2021. https://eji.org/news/report-documents-racial-bias-in-coverage-of-crime-by-media/.
33. Stevenson, N. D. 2023. “Nimona (the Comic): A Deep Dive.” I’m Fine I’m Fine Just Understand. July 13, 2023. https://www.imfineimfine.com/p/nimona-the-comic-a-deep-dive.
34. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 259-260. https://web.archive.org/web/20240309222607/https://artofnimona.com/.
35. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 7. https://web.archive.org/web/20240309222607/https://artofnimona.com/.
36. Brown, Tracy. 2019. “In Netflix’s ‘She-Ra,’ Even Villains Respect Nonbinary Pronouns.” Los Angeles Times. November 6, 2019. https://www.latimes.com/entertainment-arts/tv/story/2019-11-05/netflix-she-ra-princesses-power-nonbinary-double-trouble.
37. Department of Homeland Security. 2019. “If You See Something, Say Something®.” Department of Homeland Security. May 10, 2019. https://www.dhs.gov/see-something-say-something.
38. University of Stanford. n.d. “Stephon Clark.” Say Their Names - Spotlight at Stanford. https://exhibits.stanford.edu/saytheirnames/feature/stephon-clark.
39. Kidd, Jeremy D., Tettamanti, Nicky A., Kaczmarkiewicz, Roma, Corbeil, Thomas E., Dworkin, Jordan D., Jackman, Kasey B., Hughes, Tonda L., Bockting, Walter O., & Meyer, Ilan H. 2023. “Prevalence of Substance Use and Mental Health Problems among Transgender and Cisgender US Adults.” Williams Institute. https://williamsinstitute.law.ucla.edu/publications/transpop-substance-use/.
40. “2023 Anti-Trans Bills: Trans Legislation Tracker.” n.d. Trans Legislation Tracker. https://translegislation.com/bills/2023.
41. James, S.E., Herman, J.L., Durso, L.E., & Heng-Lehtinen, R. 2024. “Early Insights: A Report of the 2022 U.S. Transgender Survey.” National Center for Transgender Equality, Washington, DC.
42. Myers, Catherine. 2023. “Protests in the Age of Social Media.” The Nonviolence Project. February 11, 2023. https://thenonviolenceproject.wisc.edu/2023/02/11/protests-in-the-age-of-social-media/.
43. Auxier, Brooke, and Colleen McClain. 2020. “Americans Think Social Media Can Help Build Movements, but Can Also Be a Distraction.” Pew Research Center. Pew Research Center. September 9, 2020. https://www.pewresearch.org/short-reads/2020/09/09/americans-think-social-media-can-help-build-movements-but-can-also-be-a-distraction/.
44. Stevenson, N. D. 2023. “Nimona (the Comic): A Deep Dive.” I’m Fine I’m Fine Just Understand. July 13, 2023. https://www.imfineimfine.com/p/nimona-the-comic-a-deep-dive.
45. Chapman, Wilson. 2022. “HBO Max to Remove 36 Titles, Including 20 Originals, from Streaming.” Variety. August 18, 2022. https://variety.com/2022/tv/news/hbo-max-originals-removed-1235344286/.
46. Iftikhar, Asyia. 2023. “Netflix CEO Slammed by LGBTQ+ Fans over Cancellation Comments: ‘They Are NOT Allies.’” PinkNews. January 24, 2023. https://www.thepinknews.com/2023/01/24/netflix-ceo-ted-sarandos-cancelled-shows-lgbtq-fans-reactions/.
47. Lang, Jamie. 2023. “Netflix Has Released a 358-Page Multimedia Art of Book for ‘Nimona’ - Exclusive.” Cartoon Brew. October 12, 2023. https://www.cartoonbrew.com/books/nimona-art-of-book-aidan-sugano-netflix-233636.html.
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.
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pandysmiggles · 1 month ago
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Mass shootings in order
Columbine - April 20th 1999 / Eric Harris & Dylan Klebold  age: 17 & 18
Santana H. School - March 5th 2001 / Andy Williams ( Charles Andrew) Aged 15
Sandy Hook Elementary School - December 14th 2012 / Adam Lanza aged 20
Weis Markets Supermarket, Eaton Township, Pennslyvania - June 8th 2017/ Randy Robert Stair aged 24
Parkland Highschool - February 14th 2018 / Nikolas Jacob Cruz aged 19
STEM School Highlands Ranch - May 7th 2019 / Alec McKinney (16) & Devon Erickson (18)
Nakhon Ratchasima ( Korat) Terminal 21 Mall , Thailand - 8 and 9th February 2020 / Jakrapanth Thomma aged 31
Oxford H. School - November 30th 2021 / Ethan Robert Crumbley  Aged 15
Buffalo New York. Tops Friendly Markets supermarket - May 14th 2022 / Payton S. Gendron Aged 18
Robb Elementary school - May 24th 2022 /
Salvador Ramos Aged 18
Nong Bua Lamphu ( Nursery school) - October 6th 2022 / Panya Khamrab Aged 34
Siam Paragon - October 3rd 2023 / Phasid (Indy) Trutassanawin Aged 14
Butler, Pennslyvania - July 13th 2024 / Thomas Matthew Crooks Aged 20
Apalachee High School, Georgia - September 4, 2024 / Colt Gray Aged 14
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henrykathman · 4 months ago
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The Miraculous Horror of Stop Motion
From the same artform that brought you Coraline and Rudolph the Red-Nosed Reindeer, comes three stories that evoke the existential fear of art.
Original Music by Molly Noise
Bibliography below
Atrocity Guide. “The Animators Who’ve Spent 40 Years on a Single Film.” YouTube, 9 Oct. 2021, www.youtube.com/watch?v=73hip3pz0Xs&pp=ygUMdGhlIG92ZXJjb2F0. Accessed 19 June 2024.
Brubaker, Charles. “The Japanese Studios of Rankin/Bass.” Cartoon Research, Jerry Beck, 14 Apr. 2014, cartoonresearch.com/index.php/the-japanese-studios-of-rankinbass/.
Bute, Paris. “Introduction to “a Rankin/Bass Retrospective from a New Perspective.”” Citizen Jane, Stephens College, 19 Nov. 2021, www.citizenjane.org/home/cwwicd2ucb2fvs64kgfaocfykjhaum. Accessed 19 June 2024.
Crome, Althea. “Coraline.” Althea Crome | Micro Knitter, 2012, www.altheacrome.com/coraline. Accessed 19 June 2024.
Harold Halibut. Directed by Onat Hekimoğlu, Slow Bros., 16 Apr. 2024.
Hekimoglu, Onat, and Gabriel Schmitz. “Unite Berlin 2018 - Harold Halibut and Making a Stop Motion Game.” Unity, YouTube, 6 Aug. 2018, youtu.be/9usssSQc0wQ. Accessed 6 May 2023.
Jon "Sikamikanico" Clarke. “The Making of Harold Halibut.” XboxEra, YouTube, 21 Mar. 2024, youtu.be/WMyxM9t3o7A. Accessed 19 June 2024.
LAIKA Studios. “Sweater and Gloves: Knitting Coraline by Hand.” YouTube, 11 July 2017, youtu.be/zUvkfcGR-7U. Accessed 19 June 2024.
Mad God Productions. “Phil Tippett’s “Mad God.”” Kickstarter, 17 May 2012, www.kickstarter.com/projects/madgod/phil-tippetts-mad-god/posts.
Olson, Mathew. “Report: Michel Ancel Accused of Abusive, Disruptive Practices on beyond Good & Evil 2.” VG247, 25 Sept. 2020, www.vg247.com/report-michel-ancel-accused-of-abusive-disruptive-practices-on-beyond-good-evil-2. Accessed 19 June 2024.
Ono, Kosei. “Tadahito Mochinaga: The Japanese Animator Who Lived in Two Worlds.” Animation World Network, AWN, Inc, 1 Dec. 1999, www.awn.com/animationworld/tadahito-mochinaga-japanese-animator-who-lived-two-worlds.
Orland, Kyle. “Claptrap Voice Actor Accuses Gearbox CEO of Assault, Underpayment.” Ars Technica, 7 May 2019, arstechnica.com/gaming/2019/05/claptrap-voice-actor-accuses-gearbox-ceo-of-assault-underpayment/. Accessed 19 June 2024.
Pilling, Jayne. A Reader In Animation Studies. Indiana University Press, 1998. Project MUSE muse.jhu.edu/book/40033.
Prehistoric Beast. Directed by Phil Tippett, Tippett Studios, 1984. https://www.youtube.com/watch?v=hlaXIRTjNfo
Randles, Jonathan. “VFX Studio with Star Wars, Jurassic Park Credits Goes Bankrupt.” Bloomberg Law, 1 May 2024, news.bloomberglaw.com/bankruptcy-law/vfx-studio-with-star-wars-jurassic-park-credits-goes-bankrupt. Accessed 19 June 2024.
Shanley, Patrick. “Gearbox Software CEO Accused of Contempt in Latest Filing.” The Hollywood Reporter, 27 Aug. 2019, www.hollywoodreporter.com/business/digital/gearbox-software-ceo-accused-contempt-latest-filing-1235064/. Accessed 19 June 2024.
The Making of “Jurassic Park.” Directed by John Schultz, Amblin Entertainment, 1995. https://youtu.be/8r01mk6F_Pk
The Making of Mad God. Directed by Maya Tippett, Shudder, 2021. https://youtu.be/sfUOHh0xmwc
The Tale of the Fox. Directed by Irene Starewicz and Ladislas Starevich, UFA GmbH, 10 Apr. 1941. https://youtu.be/Us_Pn6Q1dBQ
Wikipedia contributors. "List of films with longest production time." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 12 Jun. 2024. Web. 19 Jun. 2024.
Wikipedia contributors. "List of media notable for being in development hell." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 19 Jun. 2024. Web. 19 Jun. 2024.
Wikipedia contributors. "List of Rankin/Bass Productions films." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 9 Jun. 2024. Web. 19 Jun. 2024.
Wikipedia contributors. "Tadahito Mochinaga." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 28 Nov. 2023. Web. 19 Jun. 2024.
Wilson, Josh. “Phil Tippett: 24 Frames per Second < the Fabulist Words & Art.” The Fabulist Words & Art, 5 Nov. 2021, fabulistmagazine.com/24-frames-per-second-the-phil-tippett-interview/.
Worse than the Demon. Directed by Maya Tippett, Shudder, 2013. https://youtu.be/ghKqvDNRe4c
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My Mind Turns You Into Folklore
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After a night spent splashed out over a cheap bottle of wine and double chocolate cheesecake, Spencer makes a promise. In seven years time, if he and his best friend, Y/N are still single and unattached to anyone, they’ll get married. There’s just one problem: Spencer is already in love with her.
A marriage pact story between two people already head over heels for each other, but take seven years to realize.
Part I: The Prophecy — June 25, 2011
Part II: I Look In People’s Windows — February 14, 2012
Part III: The Albatross — May 15, 2013
Part IV: Guilty As Sin — August 3, 2014
Part V: The Manuscript — April 29, 2015
Part VI: Fresh Out The Slammer — July 9, 2016
Part VII: So High School — June 25, 2017
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plains-flora · 5 months ago
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june 14, 2017
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thisdayindnphistory · 5 months ago
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This Day in Dan & Phil History - June 14
2013 - phil the lion!
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2015 - dan was so chronically online
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2016 - they visited instagram hq <3
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2017 - DIL GETS PREGNANT
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theroyalsandi · 5 months ago
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♔ Princess Of Wales June 2024 Challenge
Day 14 - Favourite photo(s)/gif(s) of Catherine in 2017 or and 2018
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vintagelasvegas · 20 days ago
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Club Bingo and Sahara Hotel & Casino
Club Bingo became the Sahara. Photos c. 1948 and 1952.
Club Bingo, predecessor of Sahara ('47-'52)
‘46: M.D. Close builds a restaurant on this site; sold a year later to Prewin Inc (Milton Prell, Al Winter).
‘47: Club Bingo opens 7/24/47. Prell, Winter & partners, owners. Wurdeman & Becket, architects. Signs by YESCO.
‘48: Bonanza Room opens in May, signs added.
‘49: New sign by YESCO and Aloysius McDonald.
‘52: Club Bingo closed in May. Club Bingo’s main building incorporated into the Sahara as the coffee shop. Casino items sold to the public in June.
Sahara Hotel & Casino ('52-)
‘52: Sahara opened 10/7/52. 200 rooms. Prell, Winter & partners, owners. Max Meltzman, architect. Built by Del Webb Corp.
‘55: 200-room, low-rise expansion on the south side of the resort.
‘60: 14-story, 200-room Tunis Tower addition opened in May. (600 rm total.) M. Stern Jr, architect. Built by Del Webb Corp. Tunis tower said to be Nevada’s tallest building. 127-ft sign by YESCO added in Fall.
‘61: Sahara, The Mint, and Lucky Strike Club sold to Del Webb Corp, under new subsidiary, Sahara-Nevada Corp. First public company to own casinos.
‘62: New main lobby, casino expansion, House of Lords steakhouse addition.
‘63: 24-floor Alexandria Tower addition. M. Stern Jr, architect. Don the Beachcomber addition.
‘68: Convention Center addition.
‘78: 26-floor Tangiers Tower addition. M. Stern Jr, architect.
‘80: Second sign, by YESCO
‘82: Sahara sold to Paul Lowden.
‘88: Parking garage, “T” extension of Tangiers Tower.
‘95: Sold to Gordon Gaming.
‘96: Beginning of a renovation and rebuild project that lasted through 2000. Last of the ‘50s-era low rise rooms demolished in 3/96, replaced with new porte-cochere and parking garage; New sign with two camels with matching signage on the Paradise Rd entrance all by Jack M. Larsen Jr. & Mikhon Lighting and sign (‘97); Speedworld addition (‘97); Speed-The Ride roller coaster addition (2000).
2007: Sold to SBE Ent & Stockbridge.
2011: Sahara closed.
2014: Reopened as SLS Hotel. Tunis, Alexandria, and Tangiers towers renamed Sam, Society, and Citizen. Society tower becomes W Hotel 2017-2018.
2018: Sold to Meruelo Group.
2019: renamed Sahara.
Photos of Club Bingo / Photos of Sahara
Club Bingo & Sahara photos both likely by Las Vegas News Bureau. ‘41 and ‘51 Cadillac in the Sahara photo. First Sahara photo from the Manis Collection, UNLV Special Collections. Photo below is a scan from a commercial 35mm slide, Vintage Las Vegas collection.
Sources include: Becket Architectural Drawings and Photographs, Getty Research Institute; Close Property on Highway 91 Sold for Club. Review-Journal, 5/2/47 p3; Strip Values. Review-Journal, 8/9/55 p3; Modern Room Design. Review-Journal, 5/26/60; Skybound at Sahara. Review-Journal, 9/15/60; Associated Press. Sahara’s Merger Plan Gains Okay. Review-Journal, 7/19/61; Jude Wanniski. Yanks Boss Vetoes Vegas Named Tie-In. Review-Journal, 7/21/61.
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lilyrizzy · 1 year ago
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max & daniel's relationship, told through 13 years of max's google searches. thank you to @catofthecanals289 and @lajnias for reading through this for me!!! also on ao3
2010-2015
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IP: 162.89.0.47 Location: Austin, TX, United States of America. 21st October 2017
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IP: 116.229.74.4 Location: Shanghai, China. 16th April 2018
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IP 134.19.217.249 Location: Baku, Azerbaijan. 29th April 2018:
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IP 86.167.142.227 Location: Milton Keynes, United Kingdom. 30th April 2018:
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IP: 195.78.0.67 Location: Monaco. 3rd August 2018
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IP 37.77.109.233 Location Sochi, Russia. 30th September 2019
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IP 132.248.80.172 Location Mexico City, Mexico. 28th October 2019
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IP 162.89.0.47  Location Austin, TX, United States of America. 1st November 2019
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2nd November 2019
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IP: 84.192.119.8 Location: Hasselt, Belgium. 21st December 2019:
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24th December 2019
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31st December 2019
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IP: 195.78.0.67 Location: Monaco. 18th March 2020
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5th April 2020
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18th April 2020
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IP: 46.179.240.255 Location: Spa, Belgium. 28th August 2020.
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IP: 82.113.214.148 Location: Monza, Italy. 9th September 2020
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IP: 87.183.156.211 Location: Nürburg, Germany. 11th-12th October 2020.
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IP: 195.78.0.67 Location: Monaco. 18th March 2020
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IP: 84.195.208.79 Location: Maaseik, Belgium. 21st December 2020
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2021
IP: 94.79.192.0 Location: Bahrain. 27th March 2021
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IP: 37.143.177.64 Location: Styria, Austria. 28th June 2021
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IP: 109.237.223.112 Location: Zandvoort, Netherlands. 5th September 2021
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IP: 82.113.214.148 Location: Monza, Italy. 12th September 2021
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IP: 162.89.0.47 Location: Austin, Tx, United States of America. 21st October 2021
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IP: 34.95.186.29 Location: São Paulo, Brazil. 14th November 2021
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IP: 217.164.96.105 Location: Abu Dhabi United Arab Emirates. 12th-13th December 2021
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IP: 203.19.158.31 Location: Perth, Australia. 16th December 2021
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29th December 2021
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1st January 2022
11:02 - how to plan a wedding
2022
IP: 217.13.124.105 Location: Barcelona, Spain. 11th March 2022
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IP: 50.73.157.178 Location: Miami, FL, USA. 6th May 2022
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IP: 217.13.124.105 Location: Barcelona, Spain. 22nd May 2022
19:01 - fastest flights from perth to monaco first class
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IP: 195.78.0.67 Location: Monaco. 28th May 2022
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IP: 195.78.0.67 Location: Monaco. 2nd June 2022
00:37 - is it normal that my boyfriend doesnt want to have sex anymore?
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IP: 46.17.160.235 Location: Silverstone, United Kingdom. 29th June 2022
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IP: 91.118.57.178 Location: Spielberg, Austria. 10th July 2022
22:41 - is my boyfriend depressed?
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IP: 195.78.0.67 Location: Monaco. 13th July 2022
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IP: 193.224.221.253 Location: Budapest, Hungary. 31st July 2022
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IP: 94.198.47.80 Location, Ibiza, Spain. 8th August 2022
14:12 - is it nepotism to get your boyfriend a job if nobody knows you’re dating?
14:16 - is nepotism really that bad?
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IP: 109.237.220.159 Location: Zandvoort, Netherlands 5th September 2022
00:42 - my boyfriend just got fired and now he wants me to pretend i’m getting him pregnant
IP: 219.75.27.16 Location Singapore. 2nd October 2022
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IP: 14.132.233.40 Location: Suzuka, Japan 8th October 2022
23:11 - I can’t stop thinking about getting my boyfriend pregnant help
IP: 162.89.0.47 Location: Austin, Tx, United States of America. 20th October 2022
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IP: 34.95.186.29 Location: São Paulo, Brazil 13th November 2022
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21:31 - how to prove to someone that you’re going to stay no matter what
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& 2023
“Max,” Daniel calls to him from the bedroom, just as he is rinsing the shampoo from his hair. Not wanting shampoo in his eyes or his mouth, Max keeps them all firmly shut.
“Baby?” Daniel says again, louder.
The warm water is a gentle relief running over his sweat sticky skin, nowhere near the scalding temperatures Daniel sets their shower to at home. It’s why Max had insisted that they clean off separately, the Austin heat far too much for Max to endure boiling water too, despite Daniel’s pouting and dramatic insistence that Max couldn’t just ‘fuck and flee.”
“Yes,” he calls when all the suds are safely sliding past his shoulders, but he didn’t need to shout. When he opens his eyes he sees Daniel leaning against the doorway with a smirk, still wearing his unbuttoned satin shirt, cowboy hat and nothing else. His wedding ring sits heavy on his finger, and Max thumbs over the matching one on his own hand.
Max’s come is a shiny presence he can still see smeared between Daniel’s thighs.
The sight of him makes Max’s dick twitch. Daniel notices and his grin only widens.
“Baby,” he says again, too sweet. “Baby, why is your most recent Google search is it weird that my husband saying yeehaw makes me come?”
And just like that, Max suddenly longs for a hot shower, an excuse for why his cheeks start to burn red.
“Why are you snooping through my phone?” He demands, forcing himself not to turn away casually and instead keep rubbing the hotel’s own body wash under his armpits.
“I wasn’t snooping,” Daniel says easily, “I was looking to get us some ribs delivered, my phone died at the track, remember?”
Max makes a noncommittal noise because vaguely he does remember Daniel saying he needed to put it on charge. That was before Max started pawing at him the moment the hotel door shut behind them though, and then it had been forgotten by both of them.
There’s just the noise of the extractor fan whirring for a moment, but Daniel doesn’t move. When Max sneaks a glance at him, he’s still leaning against the door frame looking amused.
“Sooo.” He drawls out the word in the stupid Texas accent that Max wishes he didn’t find so strangely sexy. “Are we going to talk about this, little lady, or-“
“Nope,” Max says firmly, turning off the shower.
Daniel nods. It makes the lights of the bathroom catch on his chain and Max- Max really wants to fuck him again.
“What about the one below it?” He asks, “Daniel Ricciardo Austin 2023 photos?”
“Nope,” Max says again, stepping out of the shower and reaching for his towel. He’s smiling now too, because he knows that beneath Daniel’s teasing that one will have made him happy to see.
“Okay,” Daniel says, then he unlocks Max’s phone. “What about how to ask my husband to-“
“Daniel,” Max interrupts, taking the phone from his hand and putting it into the empty sink. “Do you want to read more of my internet history, or do you want to get back on the bed and play good cowboy, bad cowboy again?”
Daniel grins, takes the cowboy hat from his head and puts it onto Max’s. When his arms wind around Max, the silky fabric of his shirt presses cool against Max’s shower-warm skin, his nipples.
“Well, when you put it like that,” Daniel says, leaning in to put his mouth on the skin just beneath Max’s ear. “Yeehaw, baby.”
Max laughs and pinches Daniel’s ass, at the same time as his dick twitches again. Backing him out of the bathroom, towards the bed, his phone is forgotten in the bathroom.
Google never had all the answers when it came to them, anyway.
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mermaidinthecity · 2 years ago
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laurenalaina: I'm a little "ruffle" around the edges, but it doesn't make me "shady." 😎 obsessed with my new @diffeyewear - for every pair sold, a pair of reading glasses goes to someone in need! ❤ Use code "LAURENA" for 25% off at diffeyewear.com
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alyandajsource · 2 years ago
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iamaly: 🏸🎾📷 @auhasardspr #sisters @pellicano_hotels
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michaelnordeman · 5 months ago
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Hairy shieldbug (also known as sloe bug)/hårig bärfis and Common scorpionfly/vanlig skorpionslända. Värmland, Sweden (June 14, 2017).
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digimonarchive · 4 months ago
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Digimon in all animated media - Anime, Movies and OVA
1st pic = Digimon Adventure anime (Japan: March 7, 1999 - March 26, 2000; USA: August 14, 1999 - June 24, 2000)
2nd pic = Digimon Adenture 02 anime (Japan: April 2, 2000 - March 25, 2001; USA: August 19, 2000 - May 19, 2001)
3rd pic = Digimon Tamers anime (Japan: April 1, 2001 - March 31, 2002; USA: September 1, 2001 - June 8, 2002)
4th pic = Digimon Frontier anime (Japan: April 7, 2002 - March 30, 2003; USA: September 9, 2002 - July 14, 2003)
5th pic = Digimon Savers / Data Squad anime (Japan: April 2, 2006 – March 25, 2007; USA: October 1, 2007 - November 2, 2008)
6th pic = Digimon Xros Wars / Fusion anime (Japan: July 6, 2010 - March 25, 2012; USA: September 7, 2013 - August 16, 2015)
7th pic = Digimon Xros Wars: The Evil Death Generals and the Seven Kingdoms anime (a.k.a Digimon Xros Wars part 2) (Japan: April 3, 2011 - September 25, 2011; USA: March 8, 2015 - August 16, 2015) **
8th pic = Digimon Xros Wars: The Young Hunters Who Leapt Through Time anime (a.k.a Digimon Xros Wars Hunters or Digimon Xros Wars part 3) (Japan: October 2, 2011 - March 25, 2012) ***
9th pic = Digimon Adventure Tri OVA (Japan: November 21, 2015 - May 5, 2018; USA: September 15, 2016 - September 20, 2018)
10th pic = Digimon Universe Appli Monsters anime (a.k.a Appmon) (Japan: October 1, 2016 - September 30, 2017)
11th pic = Digimon Adventure: (a.k.a Digimon Adventure 2020 or Digimon Adventure reboot) (Japan: April 5, 2020 - September 26, 2021; USA: November 19, 2022 - April 13, 2023)
12th pic = Digimon Ghost Game (Japan: October 3, 2021 - March 26, 2023)
13th pic = Digimon Adventure (Movie) short film (Japan: March 6, 1999; USA: October 6, 2000 as the first segment part of Digimon The Movie)
14th pic = Digimon Adventure: Our War Game! movie (Japan: March 4, 2000; USA: October 6 2000 as the second segment part of Digimon The Movie)
15th pic = Digimon Adventure 02: Vol. 1: Digimon Hurricane Landing!/Vol. 2: Transcendent Evolution! The Golden Digimentals movie (a.k.a Digimon Adventure 02 Vol 1 and 2) (Japan: July 8, 2000; USA: October 6, 2000 as the third segment part of Digimon The Movie) ****
16th pic = Digimon Adventure 02: Diablomon Strikes Back / Digimon: Revenge of Diaboromon movie (Japan: March 3, 2001; USA: August 5, 2005)
17th pic = Digimon Tamers: The Adventurers' Battle / Digimon: Battle of Adventurers movie (Japan: July 14, 2001; USA: October 16, 2005)
18th pic = Digimon Tamers: The Runaway Digimon Express / Digimon: Runaway Locomon movie (Japan: March 2, 2002; USA: October 2, 2005)
19th pic = Digimon Frontier: Revival of the Ancient Digimon!! / Digimon: Island of Lost Digimon movie (Japan: July 20, 2002; USA: October 23, 2005)
20th pic = Digital Monster X-evolution movie (Japan: January 3, 2005; USA: August 1, 2020)
21st pic = Digimon Savers The Movie: Ultimate Power! Activate Burst Mode!! movie (Japan: December 9, 2006)
22nd pic = Digimon Adventure 3D: Digimon Grandprix! short film OVA (Japan: July 20, 2000)
23rd pic = Digimon Savers 3D: The Digital World in Imminent Danger! short film OVA (Japan: July 8, 2006)
24th pic = Digimon Adventure 20th Anniversary Memorial Story Project OVA short films (Japan: November 22 2019 - December 25, 2020)
25th pic = Digimon Adventure: Last Evolution Kizuna movie (Japan: February 21, 2020; USA: September 29, 2020)
26th pic = Digimon Adventure 02: The Beginning movie (Japan: October 5, 2023; USA: November 8, 2023)
** This is the 2nd part of Digimon Xros Wars saga with Taiki, Kiriha and Nene on their adventure while Akari and Zenjirou are left out.
*** This is the 3rd part of Digimon Xros Wars saga with Tagiru, Yuu and Taiki as the protagonists. This 3rd part has the overly long title so we fans prefer to call it 'Digimon Xros Wars: Hunters' or 'Digimon Young Hunters'.
**** Yes, this movie has an overly long title. I had a hard time deciding whether to highlight it in bold or not.
Happy Digimon Day!
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eretzyisrael · 28 days ago
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By Francesca Block
On Wednesday, I reported that a trade magazine that promotes books refused to run an ad for Israel Alone because “customers might complain.”
Matt Baldacci, publisher of Shelf Awareness, said an ad for Bernard-Henri Lévy’s book about Israel post–October 7 could give booksellers “trouble they haven’t asked for and don’t wish to have.” The ad was originally scheduled to run on November 1 in the outlet’s weekly newsletter, which goes out to 645,000 general readers.
Since then, I’ve learned a June 14 newsletter from Shelf Awareness, which went out to more than 37,000 publishing professionals, contained an ad for P Is for Palestine, a children’s book that has stirred controversy for promoting an “antisemitic” ideology. P Is for Palestine was written by Iranian Swedish activist Golbarg Bashi and was first published in November 2017 by PM Press, a self-proclaimed “independent, radical publisher.” 
P Is for Palestine runs through the alphabet, presenting colorful illustrations and words that represent each letter. In the book, the letter I stands for intifada, which it defines as “Arabic for rising up for what is right, whether you are a kid or a grownup!” 
Intifada, in fact, translates to uprising or shaking off. The word is mainly used to describe two eras of violent Palestinian protest against Israel: The First Intifada, from 1987 to 1990, led to the deaths of dozens of Israelis and more than a thousand Palestinians, and the Second Intifada, from 2000 to 2005, culminated in the deaths of over a thousand Israelis and 4,000 Palestinians.
Jany Finkielsztein, a senior education analyst for the Committee for Accuracy in Middle East Reporting and Analysis, said that “P Is for Palestine serves as a tool of indoctrination rather than simple storytelling. For instance, ‘I is for intifada’ portrays violent uprisings in a favorable manner, conveying a harmful narrative to impressionable young children.
“Books that prioritize indoctrination aren’t literature.”
On Friday, Shelf Awareness released an apology for rejecting the ad for Israel Alone, addressing its statement “to everyone who is angry and disappointed about our recent decision.” 
The statement went on to “clarify” that the ad was canceled from its weekly newsletter “that we publish on behalf of more than 250 independent bookstores, reaching 600,000 readers, with the goal of helping booksellers promote reading and sell more books. Our bookstore partners cannot block titles that are advertised. As a result, we are careful to keep in mind that every advertised title we include appears to the bookstores’ customers as something the store itself is endorsing.”
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