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renthony · 5 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.

#original essays #original post #nimona #nimona movie #nimona 2023 #nimona film

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theshitpostcalligrapher · 6 months ago

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SUPER BELATED Spring Cleaning 2024 Sale

okok the whole starting a separate part time job kinda threw me for a while but I've GOT MY SHIT TOGETHER!!! IT'S STILL SPRING!!!!

Basically, I have way too many print designs, and I've selected 9 of the older/less popular ones to phase out. I've put the following listings on sale for 25% off, and when they're out, they're OUT (unless people years down the line ask for a reprint batch or two). I updated the inventory quantity in each listing to accurately reflect how many of each print is left

this sale is gonna last a month, whatever's left over after the sale ends I'll just end up recycling. And from there on I'll be looking into creating funky NEW print designs for yall!

This sale doesn't affect the remaining 20-odd designs I have in the shop at the moment, you can still buy those whenever

1) why do they call it oven when you of in the cold food

2) Smashed Mouthe: Put Thy Show On

3) I may not know my flowers....

4) Born in a Graveyard Raised by a witch...

5) The only thing better than collecting BOG MUMMIES is BECOMING one! it's NATURAL, it's ORGANIC, and it's COMPLETELY FREE OF CHARGE!!!

6) Pinpath: A poem I wrote about my cross stitch needle, available in uncial and italic hands

7) Gaymer House (this one does well actually but I could have designed it nicer. Might just be selling out these old ones and come up with a new design for June)

8) Dummy Thicc Telltale Heart

9) Yeah, I'm into Battles Dragons Swords and Magic

The sale should be live! clicking those links should take you to the discounted listings, have fun yall!

I'll be boosting this a few times in the next day or two and then i'll limit boosts to once every few days or so in order to not fuck up anyone's dash

#calligraphy #shitpost #long post #sale #boost

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thepromptfoundry · 5 months ago

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For July 2024 we're keeping the party going here at the Prompt foundry, celebrating diversity, solidarity, and triumphs won in the fight for rights as we roll right from Queer Pride in June to Disability Pride in July with Pride 2 Disability Boogaloo!

If you use this list, please tag me here @thepromptfoundry, I’d love to see your writing and art!

Feel free to combine different days' prompts with each other, or combine them with other seasonal events! Use your OCs, your favorite characters from media, your own experiences, whatever tickles your fancy.

Respond to as many prompts as you want or as interest you, don’t worry about missing or skipping any. Remember, this is supposed to be fun!

If you have any questions or musings, check our FAQ, and if you don't find your answer, shoot me an ask.

Plain text list below the cut:

1 We’ve always been here 2 Growing up disabled 3 Mobility aides 4 Curb-cut effect 5 Memory loss 6 Dignity 7 Limb difference 8 Sensory sensitivity 9 Autonomy 10 Invisible disability 11 Family 12 Nonverbal 13 Communication 14 Deaf or Hard of Hearing 15 Support 16 Technology 17 Pain 18 Rest 19 Facial difference 20 Space for us 21 Neurological disability 22 Neurodiversity 23 Becoming disabled 24 Allergy 25 Chronic condition 26 Genetics 27 Skin difference 28 Maintenance 29 Respecting limits 30 Solidarity 31 A future for us

Have fun!

#the prompt foundry #Disability Boogaloo #Disability Boogaloo 2024 #disability #disability pride #disability awareness #disability positivity #writing challenge #writing prompt #art prompt #art challenge #drawing prompt #drawing challenge

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thaoworra · 6 months ago

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The Science Fiction and Fantasy Poetry Association recently released the poems that made it to the finalist stage for consideration for the 2024 Rhysling Awards for Short and Long Speculative Poems of the year. Congratulations to all of the nominees! This will be the 46th year these awards have been conferred!

Short Poems (50 finalists)

Attn: Prime Real Estate Opportunity!, Emily Ruth Verona, Under Her Eye: A Women in Horror Poetry Collection Volume II

The Beauty of Monsters, Angela Liu, Small Wonders 1

The Blight of Kezia, Patricia Gomes, HWA Poetry Showcase X

The Day We All Died, A Little, Lisa Timpf, Radon 5

Deadweight, Jack Cooper, Propel 7

Dear Mars, Susan L. Lin, The Sprawl Mag 1.2

Dispatches from the Dragon's Den, Mary Soon Lee, Star*Line 46.2

Dr. Jekyll, West Ambrose, Thin Veil Press December

First Eclipse: Chang-O and the Jade Hare, Emily Jiang, Uncanny 53

Five of Cups Considers Forgiveness, Ali Trotta, The Deadlands 31

Gods of the Garden, Steven Withrow, Spectral Realms 19

The Goth Girls' Gun Gang, Marisca Pichette, The Dread Machine 3.2

Guiding Star, Tim Jones, Remains to be Told: Dark Tales of Aotearoa, ed. Lee Murray (Clan Destine Press)

Hallucinations Gifted to Me by Heatstroke, Morgan L. Ventura, Banshee 15

hemiplegic migraine as willing human sacrifice, Ennis Rook Bashe, Eternal Haunted Summer Winter Solstice

Hi! I am your Cortical Update!, Mahaila Smith, Star*Line 46.3

How to Make the Animal Perfect?, Linda D. Addison, Weird Tales 100

I Dreamt They Cast a Trans Girl to Give Birth to the Demon, Jennessa Hester, HAD October

Invasive, Marcie Lynn Tentchoff, Polar Starlight 9

kan-da-ka, Nadaa Hussein, Apparition Lit 23

Language as a Form of Breath, Angel Leal, Apparition Lit October

The Lantern of September, Scott Couturier, Spectral Realms 19

Let Us Dream, Myna Chang, Small Wonders 3

The Magician's Foundling, Angel Leal, Heartlines Spec 2

The Man with the Stone Flute, Joshua St. Claire, Abyss & Apex 87

Mass-Market Affair, Casey Aimer, Star*Line 46.4

Mom's Surprise, Francis W. Alexander, Tales from the Moonlit Path June

A Murder of Crows, Alicia Hilton, Ice Queen 11

No One Now Remembers, Geoffrey Landis, Fantasy and Science Fiction Nov./Dec.

orion conquers the sky, Maria Zoccula, On Spec 33.2

Pines in the Wind, Karen Greenbaum-Maya, The Beautiful Leaves (Bamboo Dart Press)

The Poet Responds to an Invitation from the AI on the Moon, T.D. Walker, Radon Journal 5

A Prayer for the Surviving, Marisca Pichette, Haven Speculative 9

Pre-Nuptial, F. J. Bergmann, The Vampiricon (Mind's Eye Publications)

The Problem of Pain, Anna Cates, Eye on the Telescope 49

The Return of the Sauceress, F. J. Bergmann, The Flying Saucer Poetry Review February

Sea Change, David C. Kopaska-Merkel and Ann K. Schwader, Scifaikuest May

Seed of Power, Linda D. Addison, The Book of Witches ed. Jonathan Strahan (Harper Collins)

Sleeping Beauties, Carina Bissett, HWA Poetry Showcase X

Solar Punks, J. D. Harlock, The Dread Machine 3.1

Song of the Last Hour, Samuel A. Betiku, The Deadlands 22

Sphinx, Mary Soon Lee, Asimov's September/October

Storm Watchers (a drabbun), Terrie Leigh Relf, Space & Time

Sunflower Astronaut, Charlie Espinosa, Strange Horizons July

Three Hearts as One, G. O. Clark, Asimov's May/June

Troy, Carolyn Clink, Polar Starlight 12

Twenty-Fifth Wedding Anniversary, John Grey, Medusa's Kitchen September

Under World, Jacqueline West, Carmina Magazine September

Walking in the Starry World, John Philip Johnson, Orion's Belt May

Whispers in Ink, Angela Yuriko Smith, Whispers from Beyond (Crystal Lake Publishing)

Long Poems (25 finalists)

Archivist of a Lost World, Gerri Leen, Eccentric Orbits 4

As the witch burns, Marisca Pichette, Fantasy 87

Brigid the Poet, Adele Gardner, Eternal Haunted Summer Summer Solstice

Coding a Demi-griot (An Olivian Measure), Armoni “Monihymn” Boone, Fiyah 26

Cradling Fish, Laura Ma, Strange Horizons May

Dream Visions, Melissa Ridley Elmes, Eccentric Orbits 4

Eight Dwarfs on Planet X, Avra Margariti, Radon Journal 3

The Giants of Kandahar, Anna Cates, Abyss & Apex 88

How to Haunt a Northern Lake, Lora Gray, Uncanny 55

Impostor Syndrome, Robert Borski, Dreams and Nightmares 124

The Incessant Rain, Rhiannon Owens, Evermore 3

Interrogation About A Monster During Sleep Paralysis, Angela Liu, Strange Horizons November

Little Brown Changeling, Lauren Scharhag, Aphelion 283

A Mere Million Miles from Earth, John C. Mannone, Altered Reality April

Pilot, Akua Lezli Hope, Black Joy Unbound eds. Stephanie Andrea Allen & Lauren Cherelle (BLF Press)

Protocol, Jamie Simpher, Small Wonders 5

Sleep Dragon, Herb Kauderer, The Book of Sleep (Written Image Press)

Slow Dreaming, Herb Kauderer, The Book of Sleep (Written Image Press)

St. Sebastian Goes To Confession, West Ambrose, Mouthfeel 1

Value Measure, Joseph Halden and Rhonda Parrish, Dreams and Nightmares 125

A Weather of My Own Making, Nnadi Samuel, Silver Blade 56

Welcoming the New Girl, Beth Cato, Penumbric October

What You Find at the Center, Elizabeth R McClellan, Haven Spec Magazine 12

The Witch Makes Her To-Do List, Theodora Goss, Uncanny 50

The Year It Changed, David C. Kopaska-Merkel, Star*Line 46.4

Voting for the Rhysling Award begins July 1; a link to the ballot will be sent with the Rhysling Anthology, as well as with the July issue of Star*Line. More information on the Rhysling Award can be found here.

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azrielslittleslut · 5 months ago

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"The Lost Queen" - Masterlist

Started: June 19, 2024

Updated: October 28, 2024 *this masterlist/series is a work in progress*

Music Playlist

summary: A magical incident causes Azriel to unexpectedly tumble through a portal into modern-day Earth. Confused and injured, he is discovered by a compassionate human woman with a hidden past. She takes care of him and helps him discover the complexities of the modern world, completely unaware of who she truly is. Meanwhile, Azriel struggles with his conflicting desires: his duty to the Night Court and his growing love for the woman who saved him.

Their journey unfolds amidst ancient prophecies and the looming threat in Prythian. As they uncover the truth about forces conspiring against them, they must confront their deepest fears and make choices that will change their lives and the world forever.

Warnings: 18+ due to language, violence, death, smut, heavy angst, mentions of torture, hatred towards females, more to be added as the series is written

💫indicates a suggestive chapter (sexual tension, touching, etc.)

❤️‍🔥indicates pure smut

Prologue

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6 💫

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

Chapter 14 (coming soon)

Chapter 15

Chapter 16

Chapter 17

Epilogue

these chapters are always subject to change.. nothing is final until the series is complete.

If you want to be added to the tag list, comment or message me!<3

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tungledotedu · 4 months ago

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prismatic bell is shamelessly doing genocide denial again (archive org version), with some points such as:

'the keffiyeh is a symbol of arab colonialism'

'Every civilian killed is a travesty to be laid on Sinwar’s bloody hands. But…it’s actually also REALLY GOOD for urban warfare'.

no amount of 'it's tragic, i know it sucks, it's heatbreaking' will make up for the fact that xe LITERALLY SAID THERE IS A 'GOOD' AND 'PROPORTIONATE' NUMBER OF DEAD CIVILIANS. including children and babies. and this is right after xe called them colonisers.

xe's still desperately trying to deny the death toll. 'the numbers as given have been proven false. Someone was literally able to show they’re generated with a math formula. (I have articles backing this up, but again, will have to add when I’m off mobile, sorry.)'

also known as 'i can't add more sources right now, but i DEFINITELY have them!' (uses memri tv as a source)

'actually it's completely legal for israel to target hospitals because they fabricate evidence of weapons in those hospitals.' who's going to tell xir about how the iof mistook an arabic calendar for a list of names. also, legality=/=morality.

'DELIBERATE TARGETING OF HOSPITALS: yes, Israel has bombed or raided several hospitals because they were being used as weapons depots or missile launch sites. This is completely legal—what would be illegal would be raids on hospitals not being used as military sites.'

'hamas is the one that's committing genocide! if israel was really trying to eradicate all of gaza it would be done already!'

62% of homes and 84% of healthcare facilities have been damaged or destroyed. as well as more than 80% of schools.

'what is happening in ukraine IS genocide! but not palestine!'

since this person seems so fixated on 'proportionate' death tolls...

ukraine has a population of 34 million, and the 2022 russian invasion has resulted in around 34,000 civilian casuallties as of june 2024. that's a lower ratio of civilian casualties to total population (1:1000). mariupol and the rest of donetsk oblast (population: 4 million) have sustained the highest number of casualties, with over 25,000 dead. this means the ratio is 1:160. according to this user, this is enough to warrant the label of genocide.

(edit: the number of dead ukrainian civilians may be higher at 100,000, making it 1:340).

but the gaza strip had a population of 2.4 million in 2022 (see the quote below), and the estimate of around 40,000 deaths has been outdated for some time now due to israel's destruction of gazan healthcare infrastructure and staff. even without a more accurate death toll, the ratio is higher (1:60). but for some reason (racism), it's not enough to be called a genocide.

the death toll in gaza is estimated to be much higher. according to the lancet,

Applying a conservative estimate of four indirect deaths per one direct death to the 37 396 deaths reported, it is not implausible to estimate that up to 186 000 or even more deaths could be attributable to the current conflict in Gaza. Using the 2022 Gaza Strip population estimate of 2 375 259, this would translate to 7·9% of the total population in the Gaza Strip.

and this is a conservative estimate.

also, according to this user's 'logic', with a lower ratio of casualties, russia is actually 'doing urban warfare' better than israel. so much for being pro-ukraine.

all of this disgusting vitriol is tacked on a post with artwork of jesus christ, because one of the sketches depicted him with a keffiyeh. i don't think prismatic bell has anything of worth to say about christianity.

(edIted on 20 july)

changed pronoun to xir. explanation here.

i've added a link to a source for 100,000 killed civilians in ukraine.

but still, given the choice between an academic article and an internet user, i'm going to trust the academic article to have actual research with sources and not 'fake numbers' for gaza.

i wrote a bit about how the alleged 1:1.5 civilian death ratio is incorrect under the read more, but then i realised, does it actually matter? should this be the metric by which we measure proportionality in the first place? should we forget how more palestinians have been killed by israel since its founding than the other way around?

if we only focus on this, we overlook the bigger picture, the alarming number of people who have been killed or left sickened and disabled. we have to keep the total population in mind, and the fact that israel also mass murders palestinians 'indirectly'. through starvation, cutting off electricity and water, blockading medical supplies as well as other resources, denying life-saving healthcare, and other means. what prismatic-bell said about russia targeting aid workers applies to israel too.

what about how israeli militants rape and sexually torture palestinian hostages? how they don't distinguish between combatants and civilians, and their 'definition' of terrorist includes elderly men and kids they've captured and stripped to their underwear? or how they've maimed people as part of rabin's 'break the bones' policy since the first intifada? or when the iof lied about letting an ambulance rescue hind rajab, only to kill the paramedics and shoot 335 bullets at the car where she was hiding? or how they haven't stopped bombing and sniping people despite orders from the icj and credible evidence of them committing genocide?

and 'fake numbers'? sounds like projection to me. here's what prismatic-bell said:

'And finally, let’s look at the civilian-to-combatant death toll. [...] With that said, the best data we have at this moment suggests one civilian killed for every 1.5 Hamas militants.'

no source given, but i'm guessing it came from wikipedia (where the sentence is unsourced as well).

here's an actual analysis by yagil levy on ha'aretz. it's outdated, but it argues that even early on in the genocide, the israeli army failed to show restraint in targeting civilians. none of that 'it's actually also REALLY GOOD for urban warfare' or 'entirely proportionate', or however you want to cruelly dismiss human life.

It follows that with a high proportion of noncombatants among the total number of those killed, we can conclude that the principle of discrimination was not adhered to, and an unusually high rate will reflect either a departure from the principle of proportionality or a highly flexible interpretation of it. [...] Thus, rather than this being a case of "collateral damage," it was the reverse: Because most of those harmed are civilians, what was produced is "collateral benefit," in the form of a low number of Gazan combatants killed.

This calculation shows that out of the total of 6,747, at least 4,594 individuals of both sexes who can be categorized as noncombatants were killed – 68 percent of the total.

this is a different way of calculating the ratio. it takes civilian deaths and divides it by the total number of people killed, not by combatant deaths (as the 1:1.5 ratio does). with 2,153 combatants killed, the ratio is actually around 2:1, meaning it is biased towards civilians killed. this is an outdated estimate and is probably higher in reality.

or take the iof's more recent but probably inflated estimate of 16,000 dead hamas fighters, meaning 24,000 civilians out of the 40,000 killed. the ratio would be 1.5:1. or 170,000 civilians if we go by the lancet.. that's 10.5 civilians dead for 1 militant. (if anyone has better sources let me know.)

#blocklist #zionism #anti palestinian racism #islamophobia #anti arab racism #misinformation #average yank lib #us politics #wishing prismatic bell a very deactivate

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mcuamerica · 7 months ago

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The Shadowsinger Masterlist

Summary: A female Shadowsinger finds herself amidst the Inner Circle as the High Lord of the Night Court offers her a job - emissary to the Illyrians. As she navigates her trauma through training with Cassian, the Inner Circle dealing with the incoming threat from Hybern, the other known Shadowsinger catches her eye.

18+ only - Minors DNI

❤️‍🔥 indicates smut

Disclaimer: I do not own SJM’s characters, only the ones I create for the purpose of this story. This is a work of fiction. I do not give permission to repost my work on any other platform or medium. Please be respectful.

Prologue

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

Chapter 14❤️‍🔥

Chapter 15

Chapter 16❤️‍🔥

Chapter 17

Chapter 18❤️‍🔥

Chapter 19

Chapter 20

Chapter 21

Chapter 22

Chapter 23

Chapter 24❤️‍🔥

Epilogue

Feyre Arrives (After Ch. 13)

Additional drabbles may be added…

Updated June 8th, 2024

#acotar #azriel x reader #acotar spoilers #acotar fanfiction #acotar fic #the shadowsinger #katie writes #no spoilers for the Maasverse pls

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nathaslosthershit · 6 months ago

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Tensions Fall (Teen Dad!Oscar AU)

(part 2 to Tensions rise, also apart of this AU although these two fics can be read separately)

A/N: 7 weeks since the once happy couple have actually talked. 7 weeks since they shared a bed, but with their two toddlers starting camp for the first time, maybe they can try and mend their problems.

Warnings: Parental separation, a super mean mom like the ones I have to deal with at work, angst WITH A HAPPY ENDING

May 28, 2024

It had been 7 weeks since the fight in Suzuka that effectively ended Oscar and Honey’s relationship. It had been 7 weeks since Oscar had taken a leave of absence from racing in order to try and make amends with his family. He still trained everyday, he still worked with McLaren and did Sim Racing, he just never attended any of the Grand Prixs.

It had also been 7 weeks since Honey and Oscar had shared a bed.

Since that night she left their room, she had stayed in her kids’ hotel room till they got home. She then packed her things and moved into the guest bedroom. Things had been far from amicable between the two parents. In the beginning, Oscar had done all he could to try and make up with Honey but when she continued to give him the cold shoulder, he had given up and reciprocated her attitude. The children, about to turn 4 years old, didn’t know the full extent of what was happening at home. They knew that when they would go to their parents’ room in the morning, only Dad would be there, but this was easily explained away when Honey told them that Oscar snored too loudly and it kept her up at night.

They had of course also noticed how different their parents had acted towards each other, and how often their father was home now, but they just didn’t question it because at the end of the day, they were too young to begin to understand, and they still had two parents who loved them as much as they could.

Since the fight though, it was clear Oscar was making much more of an effort to take his kids out to do activities. At first it was nice, Honey got some time alone, something she rarely got anymore, but the more Oscar took over planning activities, the more she began to hate being alone. After three, almost four, years of being around her kids almost 24/7, the silence started to eat away at her. And in turn, her kids started to miss their mom more.

Finally though, Honey had put her foot down, after a long conversation, ending in a fight, Oscar had agreed to more full family activities, even if it meant having to pretend with Honey that they were still the happy and perfect family.

While their kids loved going to the park as a family, any parent around could see that the two parents watching their twins on the bench were fighting but trying so hard to conceal their whispered harsh words behind smiles.

With the twins' fourth birthday coming up on June 8th, Oscar and Honey had been stressing on how they were going to plan their birthday while they couldn’t get through a conversation without being at each other's throats. They also had the kids’ first day of camp coming up May 29, a day that may seem insignificant to most parents, but as the kids had never been to preschool, nor a daycare, camp was their first introduction into that whole system. It was a big step for everyone.

Honey had been trying to prepare the kids the best she could for their first day at camp. She knew they didn't fully grasp the concept and she was nervous about leaving them alone, scared they would feel abandoned as child-care with non-familial adults wasn’t something they had experienced with their mother being a stay at home mom, only ever enlisting help from grandparents, cousins, and even ‘honorary uncles’ such as Logan and Lando. She had to keep telling herself that in the end, they will at least have each other.

Oscar and Honey decided to make a day of it. Camp wasn’t until 9, so the pair took the very excited Hudson and Frances out to breakfast where the 3 year olds managed to cover themselves head to toe in maple syrup and chocolate from their pancakes, causing them to have to rush home to change, thus leading the family to a late arrival to the preschool building that the camp was held in.

“We are so sorry, oh my goodness!” Honey said to one of the two teachers who were clearly waiting for them outside the door to the classroom.

“We decided to take these two to breakfast and they got more food on their clothes than they did in their mouths. Which reminds me, I added two extra changes of clothes to their bag in case they need it.” Oscar added, causing Honey to shoot him a glare that was luckily not seen by the younger of the teachers, as the younger teacher was too busy ogling at Oscar to notice. It was her that added the clothes to their bag, it was also her idea, he was being petty by taking credit.

After a few moments of silence as they waited for the woman’s reply, she managed to snap herself out of whatever daydream she was concocting only minutes after meeting the young father in front of her to reply with a quick, “No problem! We know how these kids can be.”

The older woman next to her clearly could sense her coworker was a little two focused on one of the parents and pointedly urged her to take their bags to their cubbies while she sorted the family out, which Honey was grateful for. She may have not been with Oscar anymore but that lady didn’t know it and had no right to eye fuck him in front of her and her children of all people.

“Why don’t you all say goodbye out here, we are just about to start morning meeting with the other kids.” The older woman said as she stepped to the side to give the family privacy, thought she was close enough to hear all they would say.

Oscar and Honey both felt tears begin to form as they squatted down in front of their kids.

“Alright, Mommy and Daddy have to go now, but you both are going to stay here and make some new friends. I know this is new and might be a little scary but if you guys get through today, we can all go get ice cream later. How does that sound?” Honey asked, nervous one of her kids was going to break down in tears at any moment.

“Okay! Bye Mommy, bye Daddy!” Frances yelled as she ran through the open door to the classroom, clearly ready to get started.

Oscar and Honey weren’t necessarily shocked at what their very clearly extroverted daughter had just done, but they still had expected a little bit of pushback from her. They could see the older woman by the door laughing softly to herself at that interaction.

Their son, Hudson, was less enthusiastic. He didn’t cry, which they had fully expected him to, but he gave them crushingly tight hugs, or as crushing as he could manage, and a quick kiss on the cheek before following after his sister.

Wiping away tears, they both stood up and laughed once they looked at each other's faces, realizing they were both far more of a mess than their kids.

“Wow, maybe we should have been giving ourselves pep talks for weeks instead of them” Oscar joked. Honey laughed, it was the first normal interaction they had had in what felt like forever.

The older woman, still by the door, quickly joined in, “Oh don’t worry, we find parents are usually the ones with the most trouble at dropoff, but that moment they find you both after a day of camp or school, you will feel just how much they missed and love you. Plus you two are young, you’ve got plenty of more time to make more of those babies. You have grown yourself a real sweet family by the looks of it. Relax for a few hours! Enjoy the time off, maybe even add to your family.” The woman said, laughing, as she closed the door.

“Did she really just suggest we go make more babies?” Honey asked in disbelief.

“I think she did, yeah.” Oscar answered, just as confused as she was.

The air felt light as they both walked to their car, relishing in how nice it was that they weren’t arguing, realizing how miserable they had been.

But that didn’t last long.

“Come on, Oscar, you can’t be that dense! She was so clearly eye fucking you!” Honey argued. The conversation in the car had been light for a few minutes until Honey made a comment about the younger teacher and unintentionally started an argument.

“She was not! And if she was, who cares? We aren’t together anymore, you can’t get jealous over something as trivial as someone who thinks I am attractive. Sometime in the future I will get a partner so you better learn to stop being jealous.” Oscar yelled. He didn’t mean it of course, he knew even if he and Honey never got back together, he would remain single. She was the only one for him.

But what he had said, wording it in a way that made Honey fully think about their situation really tore her apart. Yes, they were separated, but she never felt like they were fully broken up. And from what he said, it sounded like he planned on moving on much faster than she ever would.

With tears rolling down her cheeks, she decided to not dignify his comments with a response. Once exiting the car, she swiftly went to the guest room she had been staying in since the separation and slammed the door.

After a few minutes in the car, Oscar had mustered up the courage to apologize, knowing what he did was uncouth. Hearing her cries as he walked up to her door made him stop just short of knocking, deciding maybe it was better to give her a bit of time for now and come up with a way to make it up later.

After two hours of contemplation, Oscar had decided to get a lunch reservation at her favorite restaurant that always had a live band playing. It was impossible to get a day of reservations but with a bit of bribing, he had managed to pull it off. What was also nice about the band was that they could sit and eat silently without any awkward silence. If they were going to fight, they didn’t need to speak.

She wasn’t crying when he knocked on her door, having managed to seemingly get all her emotions out in the two hours by herself, then clean up to look presentable for pick up. But now she felt empty, like a shell of a person in a house with a man who once loved her to pieces but now seemed to despise her, and no kids because they were away at camp.

“Come in.” Was all she said.

“I um, I got us a reservation to your favorite place. I understand if you aren’t up for going- or if you’d like to go alone, but I did kind of bribe them so one of us at least has to go, I fear.” Oscar muttered out fast, clearly sensing the awkward energy between them, not knowing whether they were going to ignore the fight or not.

But Honey’s heart burst at the idea of him trying so hard to get into her favorite place. She always urged him to use his name to get into places, like Lando loved to do, but he was always too humble to do it, so it meant even more that he had this time.

“That… sounds wonderful. Thank you, Oscar.” Was all she said as she started to tear up again but quickly turned so he wouldn’t see. “Let me get my stuff and I can meet you in the car.”

The energy in the car wasn’t light like it was before, but it also wasn’t heavy. A comfortable silence stayed between the two until it got too much for Honey and she burst out into tears, seemingly unprompted.

“Darling, what's wrong? Are you okay? Are you hurt?” Oscar asked, openly concerned for her well being for the first time in what felt like years.

“I c-can’t take it, Oscar! We used to have so much love for each other, god, you used to look at me like I hung the stars in the sky, now you can’t seem to look at me for more than a second without realizing how much you hate me now. Then after saying you are going to move on to someone else- you do this really sweet thing and I am- I am so confused and hurt and don’t know what to think or do!” Honey rambled, everything truly coming to the surface. Everything she thought, everything she felt, everything she had tried too hard to push down and pretend wasn’t there.

“Honey, I have never hated you for even a second,” was all Oscar was able to reply as he registered everything she had just said.

“What?”

“I don’t think I am capable of it. Truly. I have tried so hard to be the best I could be for you after the fight. I stopped racing, I planned more activities with the kids, but I couldn’t do anything right. I let rumors continue about you making me stop racing, which I wanted to stop but was told to leave alone. I took the kids to do activities and left you out too much. When you continued giving me the cold shoulder, I gave up when I should have kept fighting. I then tried to love you less, to make it hurt less, but I couldn’t, even if I acted like a dickhead to you. I am so sorry, Honey, and I would never in a million years be with someone else, even if you had an entire other family and were happily married. You are it for me, always have been, always will be.”

With all finally being said, the two went to lunch happier than they had been in weeks, ready to work on their relationship. It was surely not going to be easy, but how they had been these past two months had broken them enough that they were certainly willing to try.

Near the end of the meal though, things once again got tense. These two couldn’t catch a break it seemed.

Zak Brown, CEO of McLaren, called Oscsar out of the blue and as the phone rang, Honey’s heart sank, awaiting Oscar’s reaction.

“Shit, I should get thi-”

“It's okay. I promise.” Honey said, already feeling doubt beginning to creep in.

She couldn’t hear much of the conversation as Oscar quickly walked out the door to talk to Zak. He was also turned away from her so any chances of learning information by reading his facial expressions went out the window.

Finally, he returned to Honey biting her nails waiting for what he would say to her. She already started to panic thinking he could have to go to work, race again, and this vicious cycle would never end, that nothing would ever be right between them.

“What did he want?” She asked.

“Asked when I would be ready to come back to race. I said I didn’t have a date in mind. He told me to come in next week for a meeting on it, but I said I wouldn’t make a decision without talking to my family. I am not going to lose you all over this.” He reassured her.

Honey smiled, doubt leaving as quickly as it had come. Until she herself got a phone call, this time from the camp her kids were at. Stressing that they had missed pick up, she realized after checking the clock that they still had an hour and a half. Confused once more, she answered the call.

Being told on your kids' first day away from you that there was an issue you needed to go deal with immediately, that you needed to fill out both incident and accident report forms wasn’t something that the young parents had envisioned for themselves.

Rushing to the classroom, Oscar and Honey saw both of their kids crying in the hallway with the older teacher when they arrived, accompanied by another mother and her upset son. Concern laced their features as they took in both their kids, looking for any hints of injury on the two, but they seemed fine, apart from the crying.

“God, don’t tell me these two kids are the parents, no wonder this happened.” The other mother muttered under her breath. Before Oscar could question her, the older teacher spoke up.

“It seems there was a problem between the kids today.” She began, clearly trying to mediate the situation before it got ugly between the parents. “Mattias here stole a toy Hudson was playing with and pushed him over when he tried to get it back. In turn, Fraces bit the Mattias. It didn’t even leave a mark so I know it wasn’t hard, and both kids got a talking to as well as exchanged apologies, but it seems that they might need to go home early for the day to recuperate. We will certainly work on sharing and using our words tomorrow.”

Both Honey and Oscar were shocked. While Hudson was quiet and they had been worried it would make him a target in the future, and they knew their daughter was fiercely protective of her twin, they didn’t think she would result to biting.

“Wow, alright. You two, let's discuss this in the car, yeah?” Oscar said, ready to leave the place as he felt the wrath of the other parent glaring at him. “Really? You are just going to walk away without so much as an apology to me and my son? Unbelievable.” The mother scoffed. “This is why young people shouldn’t be parents. Clearly you two need to grow up just as much. I pray your already terrible daughter grows out of this and doesn't end up like you, spreading her legs too young and becoming up a teen mom because of it.”

Both Honey and Oscar were stunned. They had faced backlash before, sure, but never to their face, and never from someone so clearly in the wrong.

“Excuse me?” Honey asked.

“Oh, you heard me.” The mother replied.

“No, I don’t think I did, because what it sounded like was you were asking for an apology for something your kid started, because I am sure as hell my kids do not have sharing problems. Then when my three year old daughter retaliates to seeing her sweet and vulnerable brother being so blatantly bullied, even though she apologized, you believe you and your snot nosed brat deserve anything else. Guess what, we don’t owe you shit. And while you are so worried about how our kids will end up, why don’t you worry about your own child, who clearly takes after his bully of a mother. Grow up, asshole.” Honey retaliated. She shouldn’t have sworn in front of the kids but damn was it wonderful to see the look on that lady’s face.

Oscar had never been more turned on by Honey in his life.

After the fight, the family of four got out of there as soon as they could, stopping for ice cream on the way home. They hardly scolded Frances more than a “If someone does something mean, you can’t bite them, use your words” to which she replied “Like Momma did with that lady?”

The kids were playing quietly in their room once Oscar got alone time with Honey.

“That was the sexiest thing I have ever seen.” He said, arms circling her waist.

“When I went full bitch mode on that lady?” She asked, laughing at the desire so evident in his eyes.

“When you stood up for your family, and cursed that dickhead out.” He replied as he started kissing her neck.

“I’m glad you enjoyed it, I liked it too but in a different way than you did.” She laughed.

Laying on the bed, cuddling as they basked in the love they still had for each other. Oscar managed to ask the question that had been plaguing him for weeks.

“Honey, will you please move back in here and be with me again? I miss you too much.” Oscar pleaded.

“Fine, but you need to work on another proposal. It is only fair since this all kind of started because of you.”

“Deal, this time I will knock your socks off with my proposal, but first I intend on showing you just how much I missed you.” He said as he began to kiss her deeper and more passionately.

Life was starting to get much better.

#oscar piastri x you #oscar piastri x reader #oscar piastri imagine #formula 1 imagine #formula 1 x reader #f1 x reader #f1 imagine #f1 fanfic #lando x reader

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andichoseyou · 5 months ago

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The Eras Tour in Edinburgh, Scotland (June 7-9, 2024)

#taylor swift #taylurking #my edit #tswiftedit #candy swift #ts edit #tsedit #tswiftgif #tswiftgifs #tsgif #ts gifs #the eras tour #eras tour edinburgh #my gifs #tscreators #tscreatorsnet

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mostlysignssomeportents · 5 months ago

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Surveillance pricing

THIS WEEKEND (June 7–9), I'm in AMHERST, NEW YORK to keynote the 25th Annual Media Ecology Association Convention and accept the Neil Postman Award for Career Achievement in Public Intellectual Activity.

Correction, 7 June 2024: The initial version of this article erroneously described Jeffrey Roper as the founder of ATPCO. He benefited from ATPCO, but did not co-found it. The initial version of this article called ATPCO "an illegal airline price-fixing service"; while ATPCO provides information that the airlines use to set prices, it does not set prices itself, and while the DOJ investigated the company, they did not pursue a judgment declaring the service to be illegal. I regret the error.

Noted anti-capitalist agitator Adam Smith had it right: "People of the same trade seldom meet together, even for merriment and diversion, but the conversation ends in a conspiracy against the public, or in some contrivance to raise prices."

Despite being a raving commie loon, Smith's observation was so undeniably true that regulators, policymakers, and economists couldn't help but acknowledge that it was true. The trustbusting era was defined by this idea: if we let the number of companies in a sector get too small, or if we let one or a few companies get too big, they'll eventually start to rig prices.

What's more, once an industry contracts corporate gigantism, it will become too big to jail, able to outspend and overpower the regulators charged with reining in its cheating. Anyone who believes Smith's self-evident maxim had to accept its conclusion: that companies had to be kept smaller than the state that regulated them. This wasn't about "punishing bigness" – it was the necessary precondition for a functioning market economy.

We kept companies small for the same reason that we limited the height of skyscrapers: not because we opposed height, or failed to appreciate the value of a really good penthouse view – rather, to keep the building from falling over and wrecking all the adjacent buildings and the lives of the people inside them.

Starting in the neoliberal era – Carter, then Reagan – we changed our tune. We liked big business. A business that got big was doing something right. It was perverse to shut down our best companies. Instead, we'd simply ban big companies from rigging prices. This was called the "consumer welfare" theory of antitrust. It was a total failure.

40 years later, nearly every industry is dominated by a handful of companies, and these companies price-gouge us with abandon. Worse, they use their gigantic ripoff winnings to fill war-chests that fund the corruption of democracy, capturing regulators so that they can rip us off even more, while ignoring labor, privacy and environmental law and ducking taxes.

It turns out that keeping gigantic, opaque, complex corporations honest is really hard. They have so many ways to shuffle money around that it's nearly impossible to figure out what they're doing. Digitalization makes things a million times worse, because computers allow businesses to alter their processes so they operate differently for every customer, and even for every interaction.

This is Dieselgate times a billion: VW rigged its cars to detect when they were undergoing emissions testing and switch to a less polluting, more compliant mode. But when they were on the open road, they spewed lethal quantities of toxic gas, killing people by the thousands. Computers don't make corporate leaders more evil, but they let evil corporate leaders execute far more complex and nefarious plans. Digitalization is a corporate moral hazard, making it just too easy and tempting to rig the game.

That's why Toyota, the largest car-maker in the world, just did Dieselgate again, more than a decade later. Digitalization is a temptation no giant company can resist:

https://www.bbc.com/news/articles/c1wwj1p2wdyo

For forty years, pro-monopoly cheerleaders insisted that we could allow companies to grow to unimaginable scale and still prevent cheating. They passed rules banning companies from explicitly forming agreements to rig prices. About ten seconds later, new middlemen popped up offering "information brokerages" that helped companies rig prices without talking to one another.

Take Agri Stats: the country's hyperconcentrated meatpacking industry pays Agri Stats to "consult on prices." They provide Agri Stats with a list of their prices, and then Agri Stats suggests changes based on its analysis. What does that analysis consist of? Comparing the company's prices to its competitors, who are also Agri Stats customers:

https://pluralistic.net/2023/10/04/dont-let-your-meat-loaf/#meaty-beaty-big-and-bouncy

In other words, Agri Stats finds the highest price for each product in the sector, then "advises" all the companies with lower prices to raise their prices to the "competitive" level, creating a one-way ratchet that sends the price of food higher and higher.

More and more sectors have an Agri Stats, and digitalization has made this price-gouging system faster, more efficient, and accessible to sectors with less concentration. Landlords, for example, have tapped into Realpage, a "data broker" that the same thing to your rent that Agri Stats does to meat prices. Realpage requires the landlords who sign up for its service to accept its "recommendations" on minimum rents, ensuring that prices only go up:

https://popular.info/p/feds-raid-corporate-landlord-escalating

Writing for The American Prospect, Luke Goldstein lays out the many ways in which these digital intermediaries have supercharged the business of price-rigging:

https://prospect.org/economy/2024-06-05-three-algorithms-in-a-room/

Goldstein identifies a kind of patient zero for this ripoff epidemic: Jeffrey Roper, a former Alaska Air exec who benefited from a service that helps airlines set prices. ATPCO was investigated by the DOJ in the 1990s, but the enforcers lost their nerve and settled with the company, which agreed to apply some ornamental fig-leafs to its collusion-machine. Even those cosmetic changes were seemingly a bridge too far Roper, who left the US.

But he came back to serve as Realpage's "principal scientist" – the architect of a nationwide scheme to make rental housing vastly more expensive. For Roper, the barrier to low rents was empathy: landlords felt stirrings of shame when they made shelter unaffordable to working people. Roper called these people "idiots" who sentimentality "costs the whole system."

Sticking a rent-gouging computer between landlords and the people whose lives they ruin is a classic "accountability sink," as described in Dan Davies' new book "The Unaccountability Machine: Why Big Systems Make Terrible Decisions – and How The World Lost its Mind":

https://profilebooks.com/work/the-unaccountability-machine/

It's a form of "empiricism washing": if computers are working in the abstract realm of pure numbers, they're just moving the objective facts of the quantitative realm into the squishy, imperfect qualitative world. Davies' interview on Trashfuture is excellent:

https://trashfuturepodcast.podbean.com/e/fire-sale-at-the-accountability-store-feat-dan-davies/

To rig prices, an industry has to solve three problems: the problem of coming to an agreement to fix prices (economists call this "the collective action problem"); the problem of coming up with a price; and the problem of actually changing prices from moment to moment. This is the ripoff triangle, and like a triangle, it has many stable configurations.

The more concentrated an industry is, the easier it is to decide to rig prices. But if the industry has the benefit of digitalization, it can swap the flexibility and speed of computers for the low collective action costs from concentration. For example, grocers that switch to e-ink shelf tags can make instantaneous price-changes, meaning that every price change is less consequential – if sales fall off after a price-hike, the company can lower them again at the press of a button. That means they can collude less explicitly but still raise prices:

https://pluralistic.net/2024/03/26/glitchbread/#electronic-shelf-tags

My name for this digital flexibility is "twiddling." Businesses with digital back-ends can alter their "business logic" from second to second, and present different prices, payouts, rankings and other key parts of the deal to every supplier or customer they interact with:

https://pluralistic.net/2023/02/19/twiddler/

Not only does twiddling make it easier to rip off suppliers, workers and customers, it also makes these crimes harder to detect. Twiddling made Dieselgate possible, and it also underpinned "Greyball," Uber's secret strategy of refusing to send cars to pick up transportation regulators who would then be able to see firsthand how many laws the company was violating:

https://www.nytimes.com/2017/03/03/technology/uber-greyball-program-evade-authorities.html

Twiddling is so easy that it has brought price-fixing to smaller companies and less concentrated sectors, though the biggest companies still commit crimes on a scale that put these bit-players to shame. In The Prospect, David Dayen investigates the "personalized pricing" ripoff that has turned every transaction into a potential crime-scene:

https://prospect.org/economy/2024-06-04-one-person-one-price/

"Personalized pricing" is the idea that everything you buy should be priced based on analysis of commercial surveillance data that predicts the maximum amount you are willing to pay.

Proponents of this idea – like Harvard's Pricing Lab with its "Billion Prices Project" – insist that this isn't a way to rip you off. Instead, it lets companies lower prices for people who have less ability to pay:

https://thebillionpricesproject.com/

This kind of weaponized credulity is totally on-brand for the pro-monopoly revolution. It's the same wishful thinking that led regulators to encourage monopolies while insisting that it would be possible to prevent "bad" monopolies from raising prices. And, as with monopolies, "personalized pricing" leads to an overall increase in prices. In econspeak, it is a "transfer of wealth from consumer to the seller."

"Personalized pricing" is one of those cuddly euphemisms that should make the hair on the back of your neck stand up. A more apt name for this practice is surveillance pricing, because the "personalization" depends on the vast underground empire of nonconsensual data-harvesting, a gnarly hairball of ad-tech companies, data-brokers, and digital devices with built-in surveillance, from smart speakers to cars:

https://pluralistic.net/2024/03/12/market-failure/#car-wars

Much of this surveillance would be impractical, because no one wants their car, printer, speaker, watch, phone, or insulin-pump to spy on them. The flexibility of digital computers means that users always have the technical ability to change how these gadgets work, so they no longer spy on their users. But an explosion of IP law has made this kind of modification illegal:

https://locusmag.com/2020/09/cory-doctorow-ip/

This is why apps are ground zero for surveillance pricing. The web is an open platform, and web-browsers are legal to modify. The majority of web users have installed ad-blockers that interfere with the surveillance that makes surveillance pricing possible:

https://doc.searls.com/2023/11/11/how-is-the-worlds-biggest-boycott-doing/

But apps are a closed platform, and reverse-engineering and modifying an app is a literal felony – several felonies, in fact. An app is just a web-page skinned with enough IP to make it a felony to modify it to protect your consumer, privacy or labor rights:

https://pluralistic.net/2024/05/07/treacherous-computing/#rewilding-the-internet

(Google is leading a charge to turn the web into the kind of enshittifier's paradise that apps represent, blocking the use of privacy plugins and proposing changes to browser architecture that would allow them to felonize modifying a browser without permission:)

https://pluralistic.net/2023/08/02/self-incrimination/#wei-bai-bai

Apps are a twiddler's playground. Not only can they "customize" every interaction you have with them, but they can block you (or researchers seeking to help you) from recording and analyzing the app's activities. Worse: digital transactions are intimate, contained to the palm of your hand. The grocer whose e-ink shelf-tags flicker and reprice their offerings every few seconds can be collectively observed by people who are in the same place and can start a conversation about, say, whether to come back that night a throw a brick through the store's window to express their displeasure. A digital transaction is a lonely thing, atomized and intrinsically shielded from a public response.

That shielding is hugely important. The public hates surveillance pricing. Time and again, through all of American history, there have been massive and consequential revolts against the idea that every price should be different for every buyer. The Interstate Commerce Commission was founded after Grangers rose up against the rail companies' use of "personalized pricing" to gouge farmers.

Companies know this, which is why surveillance pricing happens in secret. Over and over, every day, you are being gouged through surveillance pricing. The sellers you interact with won't tell you about it, so to root out this practice, we have to look at the B2B sales-pitches from the companies that sell twiddling tools.

One of these companies is Plexure, partly owned by McDonald's, which provides the surveillance-pricing back-ends for McD's, Ikea, 7-Eleven, White Castle and others – basically, any time a company gives you a hard-sell to order via its apps rather than its storefronts or its website, you should assume you're getting twiddled, hard.

These companies use the enshittification playbook to trap you into using their apps. First, they offer discounts to customers who order through their apps – then, once the customers are fully committed to shopping via app, they introduce surveillance pricing and start to jack up the prices.

For example, Plexure boasts that it can predict what day a given customer is getting paid on and use that information to raise prices on all the goods the customer shops for on that day, on the assumption that you're willing to pay more when you've got a healthy bank balance.

The surveillance pricing industry represents another reason for everything you use to spy on you – any data your "smart" TV or Nest thermostat or Ring doorbell can steal from you can be readily monetized – just sell it to a surveillance pricing company, which will use it to figure out how to charge you more for everything you buy, from rent to Happy Meals.

But the vast market for surveillance data is also a potential weakness for the industry. Put frankly: the commercial surveillance industry has a lot of enemies. The only thing it has going for it is that so many of these enemies don't know that what's they're really upset about is surveillance.

Some people are upset because they think Facebook made Grampy into a Qanon. Others, because they think Insta gave their kid anorexia. Some think Tiktok is brainwashing millennials into quoting Osama bin Laden. Some are upset because the cops use Google location data to round up Black Lives Matter protesters, or Jan 6 insurrectionists. Some are angry about deepfake porn. Some are angry because Black people are targeted with ads for overpriced loans or colleges:

https://www.theregister.com/2024/06/04/meta_ad_algorithm_discrimination/

And some people are angry because surveillance feeds surveillance pricing. The thing is, whatever else all these people are angry about, they're all angry about surveillance. Are you angry that ad-tech is stealing a 51% share of news revenue? You're actually angry about surveillance. Are you angry that "AI" is being used to automatically reject resumes on racial, age or gender grounds? You're actually angry about surveillance.

There's a very useful analogy here to the history of the ecology movement. As James Boyle has long said, before the term "ecology" came along, there were people who cared about a lot of issues that seemed unconnected. You care about owls, I care about the ozone layer. What's the connection between charismatic nocturnal avians and the gaseous composition of the upper atmosphere? The term ecology took a thousand issues and welded them together into one movement.

That's what's on the horizon for privacy. The US hasn't had a new federal consumer privacy law since 1988, when Congress acted to ban video-store clerks from telling the newspapers what VHS cassettes you were renting:

https://en.wikipedia.org/wiki/Video_Privacy_Protection_Act

We are desperately overdue for a new consumer privacy law, but every time this comes up, the pro-surveillance coalition defeats the effort. but as people who care about conspiratorialism, kids' mental health, spying by foreign adversaries, phishing and fraud, and surveillance pricing all come together, they will be an unbeatable coalition:

https://pluralistic.net/2023/12/06/privacy-first/#but-not-just-privacy

Meanwhile, the US government is actually starting to take on these ripoff artists. The FTC is working to shut down data-brokers:

https://pluralistic.net/2023/08/16/the-second-best-time-is-now/#the-point-of-a-system-is-what-it-does

The FBI is raiding landlords to build a case against Frontpage and other rent price-fixers:

https://popular.info/p/feds-raid-corporate-landlord-escalating

Agri Stats is facing a DoJ lawsuit:

https://www.nationalhogfarmer.com/market-news/agri-stats-loses-motions-to-transfer-dismiss-in-doj-antitrust-case

Not every federal agency has gotten the message, though. Trump's Fed Chairman, Jerome Powell – whom Biden kept on the job – has been hiking interest rates in a bid to reduce our purchasing power by making millions of Americans poorer and/or unemployed. He's doing this to fight inflation, on the theory that inflation is being cause by us being too well-off, and therefore trying to buy more goods than are for sale.

But of course, interest rates are inflationary: when interest rates go up, it gets more expensive to pay your credit card bills, lease your car, and pay a mortgage. And where we see the price of goods shooting up, there's abundant evidence that this is the result of greedflation – companies jacking up their prices and blaming inflation. Interest rate hawks say that greedflation is impossible: if one company raises its prices, its competitors will swoop in and steal their customers with lower prices.

Maybe they would do that – if they didn't have a toolbox full of algorithmic twiddling options and a deep trove of surveillance data that let them all raise prices together:

https://prospect.org/blogs-and-newsletters/tap/2024-06-05-time-for-fed-to-meet-ftc/

Someone needs to read some Adam Smith to Chairman Powell: "People of the same trade seldom meet together, even for merriment and diversion, but the conversation ends in a conspiracy against the public, or in some contrivance to raise prices."

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/06/05/your-price-named/#privacy-first-again

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

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