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mostlysignssomeportents · 2 months ago

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Bossware is unfair (in the legal sense, too)

You can get into a lot of trouble by assuming that rich people know what they're doing. For example, might assume that ad-tech works – bypassing peoples' critical faculties, reaching inside their minds and brainwashing them with Big Data insights, because if that's not what's happening, then why would rich people pour billions into those ads?

https://pluralistic.net/2020/12/06/surveillance-tulip-bulbs/#adtech-bubble

You might assume that private equity looters make their investors rich, because otherwise, why would rich people hand over trillions for them to play with?

https://thenextrecession.wordpress.com/2024/11/19/private-equity-vampire-capital/

The truth is, rich people are suckers like the rest of us. If anything, succeeding once or twice makes you an even bigger mark, with a sense of your own infallibility that inflates to fill the bubble your yes-men seal you inside of.

Rich people fall for scams just like you and me. Anyone can be a mark. I was:

https://pluralistic.net/2024/02/05/cyber-dunning-kruger/#swiss-cheese-security

But though rich people can fall for scams the same way you and I do, the way those scams play out is very different when the marks are wealthy. As Keynes had it, "The market can remain irrational longer than you can remain solvent." When the marks are rich (or worse, super-rich), they can be played for much longer before they go bust, creating the appearance of solidity.

Noted Keynesian John Kenneth Galbraith had his own thoughts on this. Galbraith coined the term "bezzle" to describe "the magic interval when a confidence trickster knows he has the money he has appropriated but the victim does not yet understand that he has lost it." In that magic interval, everyone feels better off: the mark thinks he's up, and the con artist knows he's up.

Rich marks have looong bezzles. Empirically incorrect ideas grounded in the most outrageous superstition and junk science can take over whole sections of your life, simply because a rich person – or rich people – are convinced that they're good for you.

Take "scientific management." In the early 20th century, the con artist Frederick Taylor convinced rich industrialists that he could increase their workers' productivity through a kind of caliper-and-stopwatch driven choreographry:

https://pluralistic.net/2022/08/21/great-taylors-ghost/#solidarity-or-bust

Taylor and his army of labcoated sadists perched at the elbows of factory workers (whom Taylor referred to as "stupid," "mentally sluggish," and as "an ox") and scripted their motions to a fare-the-well, transforming their work into a kind of kabuki of obedience. They weren't more efficient, but they looked smart, like obedient robots, and this made their bosses happy. The bosses shelled out fortunes for Taylor's services, even though the workers who followed his prescriptions were less efficient and generated fewer profits. Bosses were so dazzled by the spectacle of a factory floor of crisply moving people interfacing with crisply working machines that they failed to understand that they were losing money on the whole business.

To the extent they noticed that their revenues were declining after implementing Taylorism, they assumed that this was because they needed more scientific management. Taylor had a sweet con: the worse his advice performed, the more reasons their were to pay him for more advice.

Taylorism is a perfect con to run on the wealthy and powerful. It feeds into their prejudice and mistrust of their workers, and into their misplaced confidence in their own ability to understand their workers' jobs better than their workers do. There's always a long dollar to be made playing the "scientific management" con.

Today, there's an app for that. "Bossware" is a class of technology that monitors and disciplines workers, and it was supercharged by the pandemic and the rise of work-from-home. Combine bossware with work-from-home and your boss gets to control your life even when in your own place – "work from home" becomes "live at work":

https://pluralistic.net/2021/02/24/gwb-rumsfeld-monsters/#bossware

Gig workers are at the white-hot center of bossware. Gig work promises "be your own boss," but bossware puts a Taylorist caliper wielder into your phone, monitoring and disciplining you as you drive your wn car around delivering parcels or picking up passengers.

In automation terms, a worker hitched to an app this way is a "reverse centaur." Automation theorists call a human augmented by a machine a "centaur" – a human head supported by a machine's tireless and strong body. A "reverse centaur" is a machine augmented by a human – like the Amazon delivery driver whose app goads them to make inhuman delivery quotas while punishing them for looking in the "wrong" direction or even singing along with the radio:

https://pluralistic.net/2024/08/02/despotism-on-demand/#virtual-whips

Bossware pre-dates the current AI bubble, but AI mania has supercharged it. AI pumpers insist that AI can do things it positively cannot do – rolling out an "autonomous robot" that turns out to be a guy in a robot suit, say – and rich people are groomed to buy the services of "AI-powered" bossware:

https://pluralistic.net/2024/01/29/pay-no-attention/#to-the-little-man-behind-the-curtain

For an AI scammer like Elon Musk or Sam Altman, the fact that an AI can't do your job is irrelevant. From a business perspective, the only thing that matters is whether a salesperson can convince your boss that an AI can do your job – whether or not that's true:

https://pluralistic.net/2024/07/25/accountability-sinks/#work-harder-not-smarter

The fact that AI can't do your job, but that your boss can be convinced to fire you and replace you with the AI that can't do your job, is the central fact of the 21st century labor market. AI has created a world of "algorithmic management" where humans are demoted to reverse centaurs, monitored and bossed about by an app.

The techbro's overwhelming conceit is that nothing is a crime, so long as you do it with an app. Just as fintech is designed to be a bank that's exempt from banking regulations, the gig economy is meant to be a workplace that's exempt from labor law. But this wheeze is transparent, and easily pierced by enforcers, so long as those enforcers want to do their jobs. One such enforcer is Alvaro Bedoya, an FTC commissioner with a keen interest in antitrust's relationship to labor protection.

Bedoya understands that antitrust has a checkered history when it comes to labor. As he's written, the history of antitrust is a series of incidents in which Congress revised the law to make it clear that forming a union was not the same thing as forming a cartel, only to be ignored by boss-friendly judges:

https://pluralistic.net/2023/04/14/aiming-at-dollars/#not-men

Bedoya is no mere historian. He's an FTC Commissioner, one of the most powerful regulators in the world, and he's profoundly interested in using that power to help workers, especially gig workers, whose misery starts with systemic, wide-scale misclassification as contractors:

https://pluralistic.net/2024/02/02/upward-redistribution/

In a new speech to NYU's Wagner School of Public Service, Bedoya argues that the FTC's existing authority allows it to crack down on algorithmic management – that is, algorithmic management is illegal, even if you break the law with an app:

https://www.ftc.gov/system/files/ftc_gov/pdf/bedoya-remarks-unfairness-in-workplace-surveillance-and-automated-management.pdf

Bedoya starts with a delightful analogy to The Hawtch-Hawtch, a mythical town from a Dr Seuss poem. The Hawtch-Hawtch economy is based on beekeeping, and the Hawtchers develop an overwhelming obsession with their bee's laziness, and determine to wring more work (and more honey) out of him. So they appoint a "bee-watcher." But the bee doesn't produce any more honey, which leads the Hawtchers to suspect their bee-watcher might be sleeping on the job, so they hire a bee-watcher-watcher. When that doesn't work, they hire a bee-watcher-watcher-watcher, and so on and on.

For gig workers, it's bee-watchers all the way down. Call center workers are subjected to "AI" video monitoring, and "AI" voice monitoring that purports to measure their empathy. Another AI times their calls. Two more AIs analyze the "sentiment" of the calls and the success of workers in meeting arbitrary metrics. On average, a call-center worker is subjected to five forms of bossware, which stand at their shoulders, marking them down and brooking no debate.

For example, when an experienced call center operator fielded a call from a customer with a flooded house who wanted to know why no one from her boss's repair plan system had come out to address the flooding, the operator was punished by the AI for failing to try to sell the customer a repair plan. There was no way for the operator to protest that the customer had a repair plan already, and had called to complain about it.

Workers report being sickened by this kind of surveillance, literally – stressed to the point of nausea and insomnia. Ironically, one of the most pervasive sources of automation-driven sickness are the "AI wellness" apps that bosses are sold by AI hucksters:

https://pluralistic.net/2024/03/15/wellness-taylorism/#sick-of-spying

The FTC has broad authority to block "unfair trade practices," and Bedoya builds the case that this is an unfair trade practice. Proving an unfair trade practice is a three-part test: a practice is unfair if it causes "substantial injury," can't be "reasonably avoided," and isn't outweighed by a "countervailing benefit." In his speech, Bedoya makes the case that algorithmic management satisfies all three steps and is thus illegal.

On the question of "substantial injury," Bedoya describes the workday of warehouse workers working for ecommerce sites. He describes one worker who is monitored by an AI that requires him to pick and drop an object off a moving belt every 10 seconds, for ten hours per day. The worker's performance is tracked by a leaderboard, and supervisors punish and scold workers who don't make quota, and the algorithm auto-fires if you fail to meet it.

Under those conditions, it was only a matter of time until the worker experienced injuries to two of his discs and was permanently disabled, with the company being found 100% responsible for this injury. OSHA found a "direct connection" between the algorithm and the injury. No wonder warehouses sport vending machines that sell painkillers rather than sodas. It's clear that algorithmic management leads to "substantial injury."

What about "reasonably avoidable?" Can workers avoid the harms of algorithmic management? Bedoya describes the experience of NYC rideshare drivers who attended a round-table with him. The drivers describe logging tens of thousands of successful rides for the apps they work for, on promise of "being their own boss." But then the apps start randomly suspending them, telling them they aren't eligible to book a ride for hours at a time, sending them across town to serve an underserved area and still suspending them. Drivers who stop for coffee or a pee are locked out of the apps for hours as punishment, and so drive 12-hour shifts without a single break, in hopes of pleasing the inscrutable, high-handed app.

All this, as drivers' pay is falling and their credit card debts are mounting. No one will explain to drivers how their pay is determined, though the legal scholar Veena Dubal's work on "algorithmic wage discrimination" reveals that rideshare apps temporarily increase the pay of drivers who refuse rides, only to lower it again once they're back behind the wheel:

https://pluralistic.net/2023/04/12/algorithmic-wage-discrimination/#fishers-of-men

This is like the pit boss who gives a losing gambler some freebies to lure them back to the table, over and over, until they're broke. No wonder they call this a "casino mechanic." There's only two major rideshare apps, and they both use the same high-handed tactics. For Bedoya, this satisfies the second test for an "unfair practice" – it can't be reasonably avoided. If you drive rideshare, you're trapped by the harmful conduct.

The final prong of the "unfair practice" test is whether the conduct has "countervailing value" that makes up for this harm.

To address this, Bedoya goes back to the call center, where operators' performance is assessed by "Speech Emotion Recognition" algorithms, a psuedoscientific hoax that purports to be able to determine your emotions from your voice. These SERs don't work – for example, they might interpret a customer's laughter as anger. But they fail differently for different kinds of workers: workers with accents – from the American south, or the Philippines – attract more disapprobation from the AI. Half of all call center workers are monitored by SERs, and a quarter of workers have SERs scoring them "constantly."

Bossware AIs also produce transcripts of these workers' calls, but workers with accents find them "riddled with errors." These are consequential errors, since their bosses assess their performance based on the transcripts, and yet another AI produces automated work scores based on them.

In other words, algorithmic management is a procession of bee-watchers, bee-watcher-watchers, and bee-watcher-watcher-watchers, stretching to infinity. It's junk science. It's not producing better call center workers. It's producing arbitrary punishments, often against the best workers in the call center.

There is no "countervailing benefit" to offset the unavoidable substantial injury of life under algorithmic management. In other words, algorithmic management fails all three prongs of the "unfair practice" test, and it's illegal.

What should we do about it? Bedoya builds the case for the FTC acting on workers' behalf under its "unfair practice" authority, but he also points out that the lack of worker privacy is at the root of this hellscape of algorithmic management.

He's right. The last major update Congress made to US privacy law was in 1988, when they banned video-store clerks from telling the newspapers which VHS cassettes you rented. The US is long overdue for a new privacy regime, and workers under algorithmic management are part of a broad coalition that's closer than ever to making that happen:

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

Workers should have the right to know which of their data is being collected, who it's being shared by, and how it's being used. We all should have that right. That's what the actors' strike was partly motivated by: actors who were being ordered to wear mocap suits to produce data that could be used to produce a digital double of them, "training their replacement," but the replacement was a deepfake.

With a Trump administration on the horizon, the future of the FTC is in doubt. But the coalition for a new privacy law includes many of Trumpland's most powerful blocs – like Jan 6 rioters whose location was swept up by Google and handed over to the FBI. A strong privacy law would protect their Fourth Amendment rights – but also the rights of BLM protesters who experienced this far more often, and with far worse consequences, than the insurrectionists.

The "we do it with an app, so it's not illegal" ruse is wearing thinner by the day. When you have a boss for an app, your real boss gets an accountability sink, a convenient scapegoat that can be blamed for your misery.

The fact that this makes you worse at your job, that it loses your boss money, is no guarantee that you will be spared. Rich people make great marks, and they can remain irrational longer than you can remain solvent. Markets won't solve this one – but worker power can.

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

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

#pluralistic #alvaro bedoya #ftc #workers #algorithmic management #veena dubal #bossware #taylorism #neotaylorism #snake oil #dr seuss #ai #sentiment analysis #digital phrenology #speech emotion recognition #shitty technology adoption curve

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renthony · 8 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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bweirdart · 1 year ago

Text

EVENT OVER! THANKS EVERYONE WHO JOINED IN U ALL DID AN AMAZING JOB <3 SEE YOU AGAIN NEXT YEAR IN MARCH FOR #mARTch OR NEXT OCTOBER (2024) FOR A NEW SET OF PROMPTS!!!!!

OC-TOBER 2023 PROMPTS!!

general tag: #oc-tober / my prompts: #bweirdOCtober

F.A.Q:

Do I have to draw EVERY DAY?

NO! I highly encourage skipping as many days as you need to avoid burnout! There are 10 main days in the event (marked with a ⭐ star) that you can focus on if you don't feel up to doing every day, or you can choose your own adventure and just do the prompts you personally like!

Do I have to DRAW?

NO! You can also write fanfiction snippets, repost older art that fits the theme, tweet headcanons/backstory, roleplay in-character as your oc ... genuinely anything that fits the theme is OK!!

Can I start early?

YES! I understand some people work at a slower pace and might need a head start! So long as you wait until October to post it, you can start working as early as you need!

I missed the start of the event .. do I have to catch up?

NO! Please don't stress about days you missed, you're allowed to just skip to the current prompt!

RULES:

1. MAKE FRIENDS! The community is the best part of this event .. please try to follow new people, ask questions about ocs you like, compliment people's styles, ask friends to create with you, etc!

2. TAKE IT EASY! Skip a day if you're tired, busy or just not interested in the prompt. You don't have to catch up on it later. This is supposed to be fun, not work!

3. BE KIND! Please think about the people around you - don't give people unwarranted harsh criticism, content warn for themes/imagery in your work that could trigger someone, don't create anything hateful, etc

text version / tips and ideas on bweird.art or below ↓

star = main prompts | no star = optional

INTRO WEEK

1: FAVE OC ⭐

-Which of your characters is your favourite right now?

2: NEW OC

-Who is your newest OC?

-Design a new OC right now

3: OLD OC ⭐

-Do you remember the first OC you ever made?

-Is there an OC you haven't drawn in a long time?

4: RE-DESIGN

-An OC who has changed a lot over the years

-Take an old OC and update their design right now

BACKSTORY WEEK

5: RELATIONSHIPS ⭐

-Who is important to your OC?

-Do they have a partner?

-Do they have a best friend?

-Are they close to their family?

6: SYMBOL

-What imagery do you associate with your oc?

-Are there any colours, flowers, animals or concepts that symbolize them?

7: PERSONALITY ⭐

-How does your OC behave?

-What are their positive traits?

-What are their negative traits?

-Are they extroverted or introverted?

8: PAST

-What was your OC like as a child?

-Where did they grow up?

-Are there any significant moments from their past that shaped who they are?

9: FUTURE ⭐

-Does your OC have a goal they're working towards?

-What will your OC look like when they get older

-Do you have a planned ending for their story?

PALETTE WEEK

10: pumpkin patch palette

#251604 #1E3807 #5B5E1A #A2A657 #EBA00F #F3ECCC

11: hot cocoa palette

#520B13 #BB382E #E27E6D #88392C #AF5D40 #E1AFA4

12: midnight zone palette

#000007 #000049 #183885 #004D4F #0E8788 #FFF1C0

13: peachy palette

#DE6450 #DB9171 #FFC1AE #FEE1AD #FFF2E0 #D9D8D8

14: haunted house palette

#552506 #6E25AA #ED690B #F925A0 #8F8BA7 #A6C1AA

FUN + GAMES WEEK

15: MEME ⭐

-Post memes that remind you of your OC

-Draw your OC as a meme

-Fill out a character meme (classic deviantart style)

16: FOOD

-What is your OC's favourite food?

-What is their least favourite?

-Can they cook?

17: EYES-CLOSED ⭐

-Draw your OC with your eyes closed! No cheating!

-Write a scene without looking at the keyboard! Keep the typos in!

18: SWAP

-Swap the style or aesthetic of two of your OCs

-Species or gender swap AU

-Invert an OC's colour scheme

19: INSPIRATION ⭐

-Is your OC inspired by any pre-existing characters?

-Are there any particular songs/lyrics that inspired something about one of your OCs

-Do you have a dedicated pinterest moodboard for your character?

20: INVENTORY

-What does your OC carry around with them on a daily basis?

-Are there any objects that have sentimental value for them?

-Loot drop for your DnD OC

FRIENDS WEEK

21-25:

There's no specific daily prompts for this week, but here are some ideas you can try ...

-Art trades with friends who are doing the event with you

-Your OC interacting with a friend's OC

-Gift art for someone whose OCs you like

-Work together and collaborate on something with a friend

-Roleplay an OC scene together with someone

HALLOWEEN WEEK

26: FEAR ⭐

-What is your OC scared of?

-Draw one of your OCs trying to scare the others

27: MONSTER

-Do you have any monster OCs? (eg: vampires, werewolves, creatures, ghosts...)

-Draw a human OC as a monster

-Design a new monster

28: TRICK

-Play a trick on an OC

-Do you have an OC who would play tricks on people?

29: TREAT

-What is your OC's favourite halloween candy?

-Give an OC a special treat to make up for yesterday's trick

30: MAGIC

-Do any of your characters have magical powers?

-Give an OC a magical or cursed artifact

-Create a magic-using OC like a witch or wizard

27: COSTUME ⭐

-What is your OC dressing as for halloween?

#bweirdOCtober #events

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incorrectbatfam · 21 days ago

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In 2024, I ruined everyone's year with this post talking about the batfam's ages if they were living in the same year as us. Well, get ready to have 2025 ruined too.

Depending on how old you see Damian, he could be anywhere from 9 (like in WFA) to 15 (like in the mainline comics). I'm gonna go in the middle and say he's around 12. That means he is a Gen Alpha iPad baby born in 2013, the same year we saw Catching Fire and the Doge puppy.

NOTE: in my previous post, Damian was 10 years old and born in 2014, but I've since amended it since his age is depicted as all over the place. If you want to go with 10-year-old Damian today, he would've been born in 2015, the same year Undertale came out.

If we assume Duke is around 16, then that means he is the youngest Gen Z batfam member born in 2009, the same age as songs like Boom Boom Pow and Party In The USA.

Since Tim will always be 17 against his will, in 2025 it means he would've been born in 2008, the same year Obama was elected and Breaking Bad first aired.

Steph is a little older than Tim, so let's say she's 18. That means she was born in 2007, so along with obvious stuff like the iPhone, she would be as old as Bully Maguire and Rickrolling.

Harper is a little older than Steph but they went to college together at one point, so I'll pin her age at around 21. That means she was born in 2004, when Shrek 2 was the movie of the year.

Cass and Jason were born just months apart and are written to be in their early 20s, and I used 23 in the last post so I'll do that here. That means they were born in 2002, making them the first post-9/11 batkids and the same age as the book Eragon.

Dick and Barbara are both approximately 27, so they would've been born in 1998, the same year Destiny's Child, Coldplay, and System of a Down made their first debuts.

Helena (and I think Bette too, not sure) is a little older than both Dick and Barbara, so I'm gonna put her down as around 28. That makes her the oldest Gen Z batfamily member born in 1997, the same year as the movie Titanic.

Luke is somewhere between Helena and Kate but I can't find any specifics, so I'm going with 30. That means he is the youngest millennial batfam born in 1995, when Internet Explorer and the USB were first released.

Kate is approximately a decade younger than Bruce, making her around 35. In 2025, that means she would've been born in 1990, when Home Alone was released and Yugoslavia began to break up.

Selina's age is a little iffy because different sources give different age gaps between her and Bruce, but she's younger than him and older than Kate, so I'll go with 40. Being born in 1985 means she's currently the same age as celebrities like Bruno Mars and Lana Del Rey.

Bruce is around 45, so being born in 1980 means he is the very last of Gen X and as old as The Empire Strikes Back. It also means he would've been in middle school when Nirvana went mainstream in 1991 with Smells Like Teen Spirit.

Alfred's age is ambiguously old, but I used 75 in my last post. That means he would've been the only Baby Boomer batfam born in 1950, the same year that the TV remote and credit card were invented. He would've enlisted in 1968, at the start of the Troubles.

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cinnamanz · 30 days ago

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— ִ ࣪✮🕷✮⋆˙ DARLING, I .ᐟ ·˚ ༘ MANON BANNERMAN

when new york city’s widely-known spider-woman's life becomes unknowingly entwined with a member of the rising global girl group katseye, she learns that juggling superhero duties, university, and a sudden crush may or may not just be the downfall of her. but hey, at least she's helping people, right?

tags .ᐟ smau, crack, fluff, idol x superhero, unserious awkward losers, coarse language, suggestive themes, university! au, horrible jokes

featuring .ᐟ katseye, itzy, skz, le sserafim.

pairing .ᐟ manon bannerman x reader.

status .ᐟ completed— 5 jan 25.

notes .ᐟ this smau was made for fun and entertainment. it is not an actual portrayal of the people mentioned in this smau, nor are the photos used to portray y/n. also let's just say that some kpop groups are currently living in nyc. IGNORE THE TIMESTAMPS. divider creds: @/adornedwithlight. TAGLIST CLOSED.

PROFILES!

nightmare blunt rotation brainrotted fine shyts brainrotted fine shyts 2.5

01. YOUR FRIENDLY NEIGHBOURHOOD SPIDER-WOMAN!

02. TOO LIT!

03. CAKE!

04. SWEET MOTHER OF CHRIST!

05. WEDGIES IN A SPANDEX!

06. MAMA A MINION GIRL BEHIND YOU!

07. FREAKY N PROUD!

08. WUH LUH WUH?

09. LOST IN TRANSLATION!

10. STALKER!

11. IT'S A DATE!

12. SICK N TIRED!

13. BOOTS R QUAKING!

14. SO ANXIOUS!

15. AND THE CROWD IS CONFUSED?

16. CANDIDS!

17. NEW YEAR, NEW ME!

18. NEW YEAR, NEW FRUSTRATIONS!

19. FEMALE DJS DO IT BEST!

20. JENNIFER!

21. LAST STRAW!

22. BLOCKED!

23. THIS POST HAS BEEN DELETED!

24. SO COOKED!

25. WHAT DOES IT #MEAN?

26. HEIROGILGER AHH TEXT!

27. QUEEN NEVER CRY!

28. THE TYPE OF GREED THEY TALK ABOUT IN THE BIBLE!

29. EYES ON ME!

30. FINALLY!

31. ONE HELL OF A DATE!

32. HALLELUJAH!

33. TOO GAY TO FUNCTION!

34. EMBARRASSING!

35. BLOCKED PT. 2!

36. THREE WEEKS!

37. SPIDER-WOMAN!

38. APOLOGY GIFT!

39. SALUTATIONS BEAUTIFUL!

40. IDGAF WAR!

41. APOLOGY GIFT PT. 2!

42. BLOCKED PT. 3!

43. SO HELP ME GOD!

44. OH SHIT!

45. LIFE OR DEATH!

46. STUPIDITY!

47. LIZARD THING LIVESTREAM!

48. MOVIE DATE!

49. WOMAN ON A MISSION!

50. SUSPICIONS!

51. GO HOME!

52. THE END!

bonus! incorrect quotes n text messages.

™ CINNAMANZ 2024

#cinnamanz's works .ᐟ #cinnamanz's navi .ᐟ #katseye #katseye x reader #manon bannerman #meret manon #manon katseye #manon bannerman x reader #manon x reader #katseye smau #wlw #katseye x female reader #manon x deader #manon bannerman x female reader #spider woman #smau

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jeffsshrimpmas · 1 month ago

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🦐 The 12 Days of Jeffmas 2024 Masterpost! 🎄

It’s back...kind of. The best fake holiday that’s ever graced the Sims Community, but BIGGER, SCARIER AND MORE JEFF! What is Jeffmas? To understand Jeffmas, you must understand Shrimpmas. To quote @surely-sims: Shrimpmas is a secular Holiday Event I made up two years ago when Ice-CreamforBreakfast bugged me to make a Christmas Tree covered in shrimp. BUT be aware not everything on this calendar will be Holiday themed, expect more random pieces- stuff you might find between your CC Couch Cushions, things like that. I, Jeff, moste famouse shrimp mousse, not to be mistaken for Coley's ham salad, have decided to give Anne a break this year. She may not want a break, but she's having one, because Shrimpmas is mine now. It runs through my very veins...or it would if I had veins. Anyhoo, it's Jeffmas this year and if you don't like it, you can sniff me. My little prawns and I have been working hard this year to bring you some holiday magic. Keep your eyes peeled...like prawns for our first CC drop starting Friday the 13th! Lucky for some! Luckiest for Jeff.

So, have you been good this year? - I hope not. Links will be added below from December 13th onward. | DAY 1 | DAY 2 | DAY 3 | DAY 4 | DAY 5| DAY 6 || DAY 7 | DAY 8 | DAY 9 | DAY 10 | DAY 11 | DAY 12 |

#shrimpmas2024 #shrimpmas takeover #shrimpmas #ts4 #the sims 4

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liyahsim · 3 months ago

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Old Money Collection - Liyahsims x @mapleesimsss

Hello! A new collaboration! This time I worked with Mapleesimss to bring this collection to life. She had in mind to work on equestrian clothing and I had in mind something with an "Old Money" vibe, so she did some research on patterns and style while I made the first sketches and worked on the meshes and textures. I hope you like this collection, we had fun creating it for you!

Step into the essence of "Old Money" style, inspired by the relaxed elegance of life in the Hamptons. This collection captures that perfect blend of luxury and simplicity that defines fall getaways on the East Coast. From tailored blazers to timeless houndstooth prints, each piece reflects that effortless sense of refinement, where class is worn naturally.

"Old Money" style it's all about quality, tradition, and subtle exclusivity. The equestrian-inspired pieces add a touch of aristocratic charm, ideal for those who enjoy horseback riding in the countryside. With details like tall boots and fitted jackets, each garment blends elegance with an active, refined lifestyle.

This collection is made up of 14 items and I used autumnal colours and plaid and houndstooth patterns.

Check the full collection here:

Swatches:

Release dates:

Riding Jacket [18/10/2024 EARLY ACCESS] // [15/11/2024 PUBLIC ACCESS]

Riding Shirt [18/10/2024 EARLY ACCESS] // [15/11/2024 PUBLIC ACCESS]

Riding Jacket [18/10/2024 EARLY ACCESS] // [15/11/2024 PUBLIC ACCESS]

Equestrian Hat [18/10/2024 EARLY ACCESS] // [15/11/2024 PUBLIC ACCESS]

Ridding Boots [18/10/2024 EARLY ACCESS] // [15/11/2024 PUBLIC ACCESS]

Ridding Gloves [18/10/2024 EARLY ACCESS] // [15/11/2024 PUBLIC ACCESS]

Hight waist pants [25/10/2024 EARLY ACCESS] // [22/11/2024 PUBLIC ACCESS]

Silk shirt [25/10/2024 EARLY ACCESS] // [22 /11/2024 PUBLIC ACCESS]

Classic Heels [25/10/2024 EARLY ACCESS] // [22/11/2024 PUBLIC ACCESS]

Formal Jacket [01/11/2024 EARLY ACCESS] // [29/11/2024 PUBLIC ACCESS]

Formal Skirt [01/11/2024 EARLY ACCESS] // [29/11/2024 PUBLIC ACCESS]

Button earrings [01/11/2024 EARLY ACCESS] // [29/11/2024 PUBLIC ACCESS]

Ribbon Dress [08/11/2024 EARLY ACCESS] // [06/12/2024 PUBLIC ACCESS]

@maxismatchccworld @sssvitlanz @coffee-cc-finds @sims4finds @lanaccfind @cchunters @ccfinds @c12ccfinds @mmoutfitters @mmfinds @emilyccfinds @redheadsims-cc @wysidiacc @ccsimsfindss4 @maxismatchccworld @lotusplumbob @toastyccfinds @cookiesccfinds @strangecowplantfinds @shaenaeccfinds @eanyroseccfinds @kairasimsccfinds @anikasims @blueishccfinds @petiteluneccfind @alt-lanaccfinds @cc-kallo @ccaholic @ccfindsims4 @brindletonccfinds @cinnamonfinds @arcchive @missimformationccfinds @biancmlfinds @kisaccfinds @ceeplays @llama--plumbobcc @luckyduckycc @faeirysims @tenshialaya

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lamentationsofalonelypotato · 11 months ago

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You Call It Madness But I Call It Love

Pairing: Pairing: Soldier Boy x f!reader, Reader POV

Tropes: Friends to Lovers, Slow Burn

Song Inspiration For The Series: You Call It Madness But I Call It Love By Russ Columbo

Series Playlist (Spotify)🥀

Summary: When the reader left Payback 40 years ago after a falling out with her childhood best friend she never looked back, but when two men show up to her apartment and start asking her questions about the past, the reader begins to think those things can’t stay hidden and starts to question what’s real and what’s fantasy. This is a re-telling of The Boys Season 3, where the reader is a supe who's known Soldier Boy since 1927. The chapters fluctuate between past and present, beginning in 1934. SPOILERS FOR THE BOYS S3

Chapter 1: You Shouldn't Have Answered the Door

Chapter 2: Late Night Visitor

Chapter 3: Summer Has to End Someday

Chapter 4: It's My Party and I'll Eat Cake If I Want To

Chapter 5: The Man, The Myth, The Legend

Chapter 6: Batter Up

Chapter 7: Are We Old Friends Or Old Enemies?

Chapter 8: Jealousy Doesn't Look Good On Anybody Except...

Chapter 9: Wedding Bells or Gong of Destruction?

Chapter 10: How Did It End Up Like This?

Chapter 11: I Can't Think With You Yelling At Me!

Chapter 12: My Heart Is Beating For You Constantly

Chapter 13: You Made A Plaything Out of Romance

Chapter 14: You're All I'm Dreaming Of

Chapter 15: What Do You Know About Love?

Chapter 16: Please Come Back To Me

Chapter 17: How Could I Ever Forget?

Chapter 18: First Impressions Are Often Correct

Chapter 19: I Know Who You Are

Chapter 20: You Were There

Chapter 21: Try To Understand

Chapter 22: I May Be Right Or I May Be Crazy

Chapter 23: Extreme Makeover Backyard Edition

Chapter 24: What The Past Held

Chapter 25: Are Family Reunions Always This Awkward?

Chapter 26: I Hate You, I Love You

Chapter 27: Take Me Back To The Beginning

Epilogue: True Love Is Hard To Find

Last Updated: 10/08/2024 (Series Complete)

One Shots:

Guess Who's Coming To Dinner?: All you wanted was for Ben to have a nice Thanksgiving, but when your daughter brings her new boyfriend over, all hell brakes loose!

[Extras]

Chapter 7.5: The Only Escape (Unused)

Happy Halloween! (Takes Place After Main Series)

If you'd like to be added to the taglist for this series let me know :)

Taglist:

@roseblue373 @anundyingfidelity @cheynovak @cassiecasluciluce @muhahaha303

@deans-spinster-witch @kayleighmeister @demodemo909 @fruitfacess @bobbobbobinogs

@bughill126 @simplyfixated @tiredstrangerr @freefallthoughts @onlyangel-444

@lov3vivian @mxltifxnd0m @mayafatimakhan @marvel-mistress @my-obsession-spn

@lifeonawhim @liuope @brynanna @carpenterswife

@xxannyxx

@babyinatrench-coat1 @the-gentle-spirit @valryomen @cassieriddle713 @shaggzthatsnottheworm

@lil-soup @ej13928 @topstory21 @boywivlove

@mrsjenniferwinchester

@vivre-dans-la-nuit @megara0224 @daisy-the-quake @thesilmarillionblog @samanddeaninatrenchcoat

@livya99 @peachhiz @tinydancer40 @tinystarfishgalaxy

@jvanilly

@lunaticgurly @i-am-typing @52ndstreeet

@anna6307

@pixviee @soldiergrimes @ladysparkles78 @ahoytothestorm

@octoazzy @modiddys-blog @marmie-noir @practicallylivesonline @impala67stellawinchester

@everlove @dangerousgardenchild

(Photos on mood board from Pinterest)

#jensen ackles soldier boy #soldier boy x reader #soldier boy x you #soldier boy x female reader #the boys fanfic #the boys series #soldier boy #soldier boy fanfiction #the boys amazon #jensen ackles #soldier boy/ben #soldier boy fic #the boys season 3 #jackles #billy butcher #homelander #hughie campbell #the boys #You Call It Madness But I Call It Love

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fans4wga · 1 year ago

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26 July update from WGA's Chris Keyser

youtube

From the WGA: With SAG-AFTRA now on strike and new levels of solidarity across all Hollywood unions, we are witnessing the spectacular failure of the AMPTP’s negotiating strategy. In this video, WGA Negotiating Committee Co-Chair Chris Keyser lays out what this moment means and how we move forward. To learn more about the WGA strike, visit https://www.wgastrike.org.

FULL TRANSCRIPT:

Fellow members of the WGA East and West. It's been a while since our last video and quite a bit has happened in the meantime. So on behalf of the negotiating committee and leadership, I wanted to give you an update on where we are and what the near future at least is likely to bring.

We've been walking side by side on picket lines in New York and Los Angeles for a little over 12 weeks now. Only now we're joined by thousands upon thousands of members of SAG-AFTRA who, like us, have finally had enough.

This is the endpoint and the fruit of the AMPTP’s game plan. For 11 weeks, they negotiated with everyone but us. They claimed it was just practicality, that they could only do one thing at a time, which is not normally a point of pride. But events have made clear what we knew from the start: that not only was it a strategy, it was their only strategy. Negotiate a deal with a single guild and impose that deal on every other guild and union in Hollywood, whether it addresses the needs of those unions or not, all with the implicit threat: if you want more, strike for it.

Wow. It’s their 2007-8 playbook applied to 2023 as if nothing has changed, as if the accumulation of economic insults and injuries inflicted on us over the past decade would be borne in perpetual silence, as if the giant of labor had not awakened. But it has. And you only need to look as far as the front gates of every studio in LA and New York to see the evidence.

Two unions on strike willing to exercise their power, despite the pain, to ensure their members get the contract they deserve. For us, that means addressing the relentless mistreatment of screenwriters, which has only been exacerbated by the move to streaming; the continued denial of full MBA protection to comedy variety and other appendix A writers when they work in streaming; and the self-destructive unsustainable dismantling of the process by which episodic television is made and episodic television writers are paid.

It means addressing the existential threat of AI and the insufficiency of streaming residual formulas, including the need for transparency and a success-based component. All of these will need to be addressed for there to be a deal because in this strike it is our power and not their pattern that matters, not their strategy. Their strategy has failed them. Now they're in the midst of a streaming war with each other, an admittedly difficult transition. And as they face the future, their interests and business models could not be more different from Disney to Sony to Netflix to Amazon.

We root for their success, all of them. They root for each other's failure. We are the creative ammunition through which they will succeed. They are each other's apex predators. And yet, in a singular shared dedication to denying labor, they have shackled themselves together in what increasingly seems like a mutual suicide pact, as the 2023-24 broadcast season and the 2024-25 movie schedule and its streaming shows disappear, melt away week by week.

So what does this mean? What does it mean going forward? How do you play chess against an opponent who insists on screaming checkmate at every move regardless of how the board looks and the game is going?

You stay firm, you stay resolved, because our cause is no less existential than when we started and our leverage is increasing every day. Alone we withheld our labor with the support of our union siblings and the Teamsters and IATSE and the Crafts, we were able to delay the vast majority of production. Now with SAG-AFTRA on strike, those few studio projects that remained have also shut down. And it's not just the obvious delays. If this strike drags on, it's the actors with conflicting obligations and the directors and the double-booked studio facilities and release date chaos that the companies must now also contend with. Some of their most valuable product could well be delayed for years.

Add to that, no promotion of movies or television shows and famous faces on the picket lines and social media speaking directly to their customers. For the tech companies and the mega corporations, that should be their nightmare scenario: WGA and SAG-AFTRA side by side. Our bargaining agenda may not be identical, but our cause is the same. Our army of labor, defending labor has increased 17-fold in the past two weeks alone.

Even so, even with all this wind at our backs this negotiation won't happen overnight. It's not because the negotiations themselves are so complex. Once the companies fully engage, it could go very quickly, but because their strategy of many decades has just fallen apart and they didn't see it coming, and it's going to take them a minute to regroup, 'cause the companies have things to work out internally, and saying no to labor in unison is a lot easier than saying yes. So either together or separately, as their divergent interests might suggest, they will come back to us, despite their understandable concern about how they've navigated this transition to streaming, which is on their heads and not ours; and their worries about costs and their worries about Wall Street; despite this being a season of doom and gloom, none of them are walking away from the riches of this business, and certainly not over the equitable minimum compensation to writers.

They didn't get the deal they wanted; that's fine, it happens all the time. They're not taking their ball and going home over it. And since we know they come from union families themselves, and since they've denied that “even-in-Hollywood-you-have-got-to-be-kidding-me” ugliness of threatening to starve us out and leave us homeless (which we assume they understand also means making our children homeless,) they will come back to us. Although I will say they took a long time to deny that statement, longer than I would have had it been ascribed to me.

But what does it matter? You can starve a labor force slowly or quickly. The effect is the same. It's not like day rates for comedy variety writers and endless free drafts for screenwriters in exchange for a single paid one in four-week mini-rooms isn't cruelty. It's just cruelty written in contract language instead of a press quote.

So what can we expect from the companies as all of this plays itself out? They will try to convince Wall Street that taking a strike, prolonging it unnecessarily, losing their content stream in the process—that all of that is just smart business and no reason for investor concern. We will be talking to Wall Street too, and reminding them that for all these companies, all of 'em including Netflix, the bill, the price for making nothing, will eventually come due. And Wall Street is listening already. Here's Michael Pachter, managing director of equity research at Wedbush on Yahoo Finance the other day: “I think the studios are completely wrong on this one. Content is their lifeblood. They're feeling really foolish about this."

Wall Street isn't the only one listening. We've been talking to union pension funds too about the risks the companies are taking. We talked to CalPERS, the largest public pension plan in the country, talked about the loss of programming and the cost to the industry, and we heard strong support from its board for our struggle and the promise that the companies will be hearing from them, from CalPERS, and demanding answers on behalf of its 2 million members.

To us, of course, they will continue to plead temporary poverty, but we know the drill. These companies support billions into the streaming wars and taken short-term losses these past three years, because they know that to the winner will go the spoils. We're patient, will they share that with us when the time comes? What are the chances?

Since 2017, the last time the studios negotiated with us outside of COVID, the big six companies alone have made $150 billion in profits off our work, while they slashed our pay and degraded our working conditions. Maybe if they had shared a tiny piece of that then, made $1 billion or so less, this year wouldn't seem so costly. As it is, there is no iron law that these companies are entitled to record profits every year, and it isn't some great travesty if their shareholders or their CEOs get a slightly smaller slice of the massive profits we helped create if some balance is restored.

Look, no one denies that corporations exist to make a profit and no one wants our employers to be profitable more than we do, but the singular pursuit of corporate profits to the exclusion of their social and human cost is a real problem in this country—it’s a real problem. A corporation's bottom line is not the same as the world’s, and there is nothing in our studio's bottom lines today that accounts for the quality of our lives or for our dignity, for the comfort of our retirement or the security of our families. Their numbers have no conscience, but the people who report them as victories ought to.

In their refusal to recognize that, these companies have also extracted an awful price, which is laid at their feet and for which they are responsible. Losses to the economies of New York and Los Angeles and everywhere that film and television are made, terrible losses that mount every day, thousands of people out of work; not just us, all the crews, the crafts, the janitors, the drivers, the businesses that thrive when Hollywood thrives, the restaurants, the stores—for what? For nothing. So they could avoid coming to the table to negotiate the deal they will one day give us. Measured today that is the painfully mixed legacy of our employers, weighed against every beautiful piece of work we have made with them.

And if history is a guide, they have only temporary stewardship over a kind of national trust, which is Hollywood. Our story, our sometimes conscience, our public conversation, our diversion of the worst and best of times, our greatest export, the repository of our imagination. They have some obligation to more than just their shareholders to behave accordingly.

Unfortunately, it seems big tech, mega corporations, and some of the people who run them, as the saying goes know the price of everything and the value of nothing. So they have built a business model that no longer works for human beings who cannot be paid minimum for 10 to 20 weeks a year and make a career out of that, be paid for one draft of a screenplay that demands a year of labor, be paid a few episodic fees for a show about which to take years to decide be paid a daily rate.

And now we have a first glimpse of what they offered our actor colleagues. We are not 170,000 Willy Lomans to be used and then discarded. We know what the companies believe they have the power to do. We know what they think machines can do and do without any of us. Oh yeah, we've seen the writing on the wall and it's plagiarized.

The thing is this: the difference between what you CAN do and what you SHOULD do is the greatest single difference in the world. Knowing that is the only real protection we have against a dystopian future. And if the companies sometimes forget that, writers will do it for them.

I can't know exactly how long it will take this revolutionary moment, and you've heard again and again what is happening today has not happened in 63 years, but I know that's not always how it feels, revolutionary and defining, even though we celebrate that on picket lines together, which is the right thing to do. That's not always how it feels when you go home at night. I know how tough this is: to strike, to hold the line. I know it gets tougher every day even with SAG-AFTRA marching beside us, how hard it is to face the uncertainty of when it will end, when we'll get back to work, how we'll pay the bills. I know it's hardest for those who've just gotten started, for those for whom the world opens doors more reluctantly, battled their whole life just to get here; but hard too for those struggling to maintain their long careers, who find work tougher and tougher to come by, or those with families with children or parents to take care of.

These companies understand the cruelty of what they're doing. It's their plan to starve us just a little, to exact as much pain as they can so that we wish more for the pain to end than for the better life we dreamed up. That we're more afraid of the uncertainty of the present than the certain devastation of the future. It's societally acceptable economic torture inflicted by management on labor every day, then blamed on labor for daring to fight back, for refusing to be complicit in its own mistreatment.

Here's how I know that's not going to work. Not with us, not with the writers, because we haven't come all this way, fought to have these careers in the first place, all the adversity, and marched together for all these months, only to let it slip away on our watch—because there is no point in rushing back to jobs that may not be there in a year or two anyway. Because the business, as the companies have twisted it, is now untenable, unsurvivable for so many of us, because even success is not enough to keep going, because this guild is younger than it's ever been and more diverse. And this young diverse membership knows from hard personal experience the system is broken and that it will not be fixed unless they fix it. And those of us who came before them will not let them down, because we and the writer's guild are the beneficiaries of all those who came before us who gave up everything for us.

Like the writers of 1960, the year I was born, who struck for 22 weeks and who gave away all the TV residuals for all the movies they had ever written so that we could have a health insurance and pension plan and residuals from that date forward. $15 billion flowed to writers and their benefit plans because of that sacrifice. Because writers are brave, because now it's our turn.

So what's our job? Even as we welcome SAG-AFTRA to our side, we are still responsible for our own deal, and so we must remain focused and diligent. We must continue to march, picket signs in hand. But we should also remember this and with pride, that before there was SAG-AFTRA, before even the Teamsters and IATSE and the laborers and the electrical workers and the musicians and the plasterers came to our side, there was the writers. Alone then, we looked at the blank page and began to imagine the future. With no net but each other we typed the words, what if?

And then we took a step into the darkness and found that it was light. And then we were joined by the crews and the drivers and the actors. The actors got a bit more fanfare when they showed up, but that's okay, we wrote the script. The WGA, still small, not alone anymore after all these decades. Hollywood labor has finally linked arms and found its voice, and that voice says enough. There is no road to longterm prosperity that burns a path through your own workforce. We are not your enemies. We are not merely a cost to be borne. We are your partners and your greatest asset. And we are, as you acknowledge yourselves, irreplaceable, but by accident or design and it doesn't really matter anymore, the business you are running no longer works for those who work for you.

What is the point in continuing to deny that? Why deny it when everyone else in the business to a person tells you it's true? Do you think it's a coincidence that two unions are on strike against you for the first time since Eisenhower was president? You can't exactly accuse us of being quick on the trigger. The effect has a cause, it has a cause. And there is no profit in insisting on the answers to the past for the questions of the future.

But if you want instead to invest in something that will reap you fortunes, I have a tip. And if you are visionaries, envision a solution, not a stalemate. Because this isn't a war we're in, it's a negotiation, it's just a negotiation. There is no face-saving here for either side, because there is no winner or loser. It's just a deal. And when you come to remember that again we will be here as we have been here all along.

And at this point with 170,000 writers and actors aligned against your intransigence, that is as generous as I can be, as close to an olive branch as I can offer. But if you insist instead on the same threatening rhetoric, on saying you would rather starve us than pay us, I would remind you of this: You are fighting for a dollar, we are fighting for survival. We are fighting for our home: writing is where we live, and we will defend that home with a bravery and stamina and ferocity that you will come to understand someday, which is why you cannot break us. You cannot outlast us, you cannot.

And not just because we have the will, because we have power. Nothing in this business happens until we start to write. And we will not start to write until we are paid.

Union now. Union forever.

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