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renthony · 5 months ago

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

by Ren Basel renbasel.com

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

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

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

Then the Walt Disney Company made a huge mess.

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

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

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

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

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

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

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

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

Nimona, however, is hard to kill.

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

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

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

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

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

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

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

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

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

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

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

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

Enter Nimona.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

But she isn’t safe from the Director.

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

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

Nimona, however, is hard to kill.

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

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

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

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

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

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

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

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

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

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

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Notes:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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captain-joongz · 4 months ago

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summer recap/favourite fics/fic recommendations for the first half of 2024

Professor Rapline by @joonsmagicshop

♡ professors! joon, hobi and yoongs x f!reader, professor x student relationship, the rapline takes turns on reader, namjoon centric, smut smut smut

backtrack by @mapofthesea

♡ producers!jimin and yoongs x assistant!reader, studio sex, situationship, reader gets absolutely railed and it's accidentally recorded

Masked miracles by @remedyx + Shadows we trust by remedyx + Boyfriend for hire by remedyx + Trouvaille by @spookyserenades

♡ these series' were already mentioned in my previous recommendations list, but i cannot stress this enough - go read them, they're absolutely amazing!! i will literally never shut up about these and i'll put them on every fic rec list i make until the end of time :D

Golden boy by @kpopfanfictrash

♡ pornstar!jin x f!reader, neighbours au, it's very sweet and funny, absolutely amazing smut

fast lane by @yminie

♡ racer!jin x pitcrew!reader, slowburn but so fucking worth it, kookie gets hurt but it's for character development, e2l/annoyances 2l, smut

midnight by @miniminimermaid

♡ yoongi struggling with burnout and reader helps relax him, soft sex, body worship

Sugar rush ride by @lo1k-diamonds

♡ producer! yoongs x producer!reader, coworkers au, reader is bratty and yoongi is a little shit, mutual pining, smut

A new rhythm by @sluttywoozi

♡ producers! yoongs and jihoon x yoongi's gf!reader, virgin!jihoon, soft sex, they help woozi lose his v-card, allusions to possible poly

three tangerines by @kithtaehyung

♡ brother's best friend!yoongs x f!reader, fuckboy!yoongi, reader asks him for help in the bedroom and gets everything and more, some angst

The early shift by @hobidreams

♡ barista!yoongs x barista!reader, coworkers au, e2l, angsty but gets sweet, yoongi is struggling and reader tries to help, smutty smut smut

love roulette by @whatifyoulivelikethat

♡ producer!yoongs x jin's bff!reader, a bet gone... right??, slowburn, humour and fluff, they help each other, smut, reader has a noona kink and nobody lets her breathe

noise complaints by @jkstompers

♡ producer!yoongs x bassist!reader, neighbours au, reader is in a rock band, smut

strike a chord by @snackhobi

♡ pianist!yoongs x f!reader, reader gets stood up and instead listens to bar musician yoongi, slowburn, smut

Illicit favours by @yoongiofmine

♡ producer!yoongi x writer!reader, bff2l, virgin reader needs help with writing sex scenes, shenanigans ensue, mutual pining, idiots in love

Tricks of the trade by @stutterfly

♡ shopkeeper!yoongs x f!reader, body swap au, jin is a deity of chaos, awkward flirting cause they don't know hot to talk to each other, misunderstandings, sexual tension and smut

Performance evaluation by @kookscrescent

♡ fuckboy!yoongs x f!reader, college au, one night stand?? au, reader asks yoongi to tell her whether she's bad in bed, yoongi is a little shit but what's new

Bad idea... right? by @joonsmagicshop

♡ college party au, e2l, sexual tension, tae is a little bit of a douche but hobi makes it all better, smut

a word from our sponsors by @ugh-yoongi

♡ podcast co-hosts joon and reader, they read smutty fanfic of themselves, sexual tension, f2l, humour, smut

porn director drabble by @badbtssmut

♡ director!tae x pornstar!reader, tae shows reader's co-star how it's done, public sex, dubcon in a way

Risk management by @chateautae

♡ investment banker!tae x f!reader, s2l, sexual tension (i mean, who could blame her it's tae), smut, window sex

petty by @hamsterclaw

♡ rich kid petty criminal!kookie x lawer babysitter!reader, reader is in charge of making sure kookie doesn't get in trouble, idiots in love, sexual tension but with feels, smut

Redamancy by @gimmethatagustd

♡ alpha!tae x omega!kookie, a/b/o, imprinting, scenting, older tae (*cough* daddy), s2l, love at first sight, smut

Like a river by gimmethatagustd

♡ alpha!tae x omega!yoongi x alpha!joon, a/b/o, unexpected heat, college professors coworkers au, semi-public sex

The love witch by gimmethatagustd

♡ demon!tae x romance blogger witch!yoongs, incubus tae, "how to summon a boyfriend" au, s2l, modern fantasy, smut

(actually you should go read everything jai has put out, she's incredibly talented and i love like every fic she's ever published)

My library | ATEEZ fic recs

#kpop fic #kpop smut #kpop fic recs #bts fic #bts smut #bts fic recs #seokjin fic #seokjin smut #yoongi fic #yoongi smut #hoseok fic #hoseok smut #namjoon fic #namjoon smut #taehyung fic #taehyung smut #jungkook fic #jungkook smut #bts x reader

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xinganhao · 24 days ago

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🌱 wonwoo x producer!reader.

the five times wonwoo swears he's over you (and the one time that he decides he isn't) ★ see also: main post, drabble

♫ maybe i'm just not better than this, i haven't tried / 'cause maybe you'll finally choose me after you've had more time.

🌱 the five times.

when he sees you for the first time in over a year.

he believes it's the nice thing to do, treating you out to dinner. he froze you out, after all, because he was stupid and he didn't know how to handle his crush on you. he likes to think that the past fourteen months have made him better. wiser. so, that night, he makes it up to you. he also makes up a dozen different excuses. do his eyes linger on you a little too long as you happily drink your yogurt drink? he's just making sure you like what he chose for you. does he walk a little closer when he notices you're shivering from the evening cold? he's just concerned you might get sick. he doesn't like you anymore. he's better now, wiser now. he has to be.

when your second studio choom video comes out.

it's not the same as the first time, where he'd smiled to himself while watching you perform your latest comeback in STUDIO CHOOM's crisp, 4k quality. back then, that's how he had known he was done for. this time, he watches it purely out of curiosity. to add to the millions of views that the video is already raking up. he keeps a straight face the whole time. just watches with a perfectly neutral expression. he's just a guy supporting a friend, isn't he? when he gets through the entire video without smiling, he counts that as a win. if his heart— the bloody traitor— had stuttered at your ending fairy, well. that's an entirely different story.

on a random tuesday, just because.

he's never really seen the appeal in games like stardew valley; they were always a little too slow for his taste. but you'd absolutely begged, and so he begrudgingly bought the game for ₩20,600 just to shut you up. he still doesn't care much for it, to be quite honest. there's a lot of slow, lazy days where he just dicks around in-game. he bears with it anyway since you're always so happy when you beat him at fishing, or when you get to steal away the bachelorette he was going after. your voice is a low buzz in his ear as the two of you play until the sun has risen, until he's cussing you out for keeping him up so late when he has a schedule to go to. you let him complain all he wants because he'll still back online for co-op later that night.

when you're back in the same recording studio as him.

this one is the hardest, because this is where he fell for you in the first place. you, with your head bent as you fiddle with jihoon's digital audio workstation. you, with your usually friendly demeanor shuttered behind something so cool and collected. the pencil tucked behind your ear. the way you worry your lower lip as the boys croon. he wants to scream, wants to test just how soundproof this damn studio is. instead, he sings his lines. he makes adjustments as necessary. he watches you do your thing, even jokes to you here and there. it's all he can do to keep his mind away from what it wants so badly to stray back to. in the end, he doesn't scream. but when you smile at him and tease him that he did a good job— he wishes he had.

when he drives you home after you've had one too many to drink.

you're half-asleep in his passenger seat, all soft edges and incoherent mumbles. he tries to be cross with you, tries to tell you off for not knowing your limits and ending up like this. there's an unmistakable softness in his gaze, though, as he makes sure the seatbelt isn't too tight around your frame. he avoids all the potholes and goes extra careful over the speed bumps. by the time he makes it to your dorm, you're already passed out with your cheek pressed against the window. he decides to let you sleep for only thirty seconds more. as he mentally counts down— thirty, twenty-nine, twenty-eight— he tries to convince himself that it won't sting when he gets to one. (it still does.)

🌸 the one time.

on another random tuesday.

in the end, it's not an evening of stardew valley that gets him. it's not one of your fancams, not your warm presence in his shotgun. no, it's something much more stupid. something much more small. it's the way he looks for his phone when it pings. he doesn't even know if it's you who's texting him. but it could be, and that's enough to have him fishing through his bag hastily. he catches himself one afternoon, notices the way he's just a touch too excited to check the newest notification. he's not any wiser or better, it seems. he doesn't know if he can be. he's still the same jeon wonwoo with a hopeless crush on you.

#wonwoo x reader #wonwoo imagines #wonwoo smau #svt imagines #seventeen imagines #wonwoo angst #svt angst #seventeen angst #[ i don't think i can tag this as fluff. false advertising i fear ]#[ thank u for XXX followers!!! c: feels apt to do this with this series was one of my first ones ]#[ i'm not really a. Series ? type of person. so i don't know if this will have a part two (?) part three (???) ]#[ but this is a much happier ending than what was originally planned....! ]#[ thank u to the original requester of the prompt + the anon who was like 'full picture' sexc ]#[ ALSO. backburner wonu... cackles. evil. ]#[ 5+1 fics supremacy!! ]

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illyrianbitch · 5 months ago

Text

Lights, Camera, Love!

Pairing: Reader x Rhysand

Summary: Rhysand, Hollywood's hottest heartthrob, has everyone smitten—everyone except you, his co-star. But when rumors of your feud begin to affect the show's ratings, your producers propose a last-ditch solution: a fake romance to salvage your public image and reignite fan interest.

Warnings: cocky Rhysand, just two snippy co-stars, ianthe, co-parent feysand, helion and amren as big hollywood peeps

Word Count: 4.7k

a/n: this is a lil series ive had tucked away with some inspo....lets see if ayll fw it enough hehehe. dedicated to @milswrites and @daycourtofficial bc their love for this pushed me to pick it up again

✹ ✶ 𖧷 ✶✹

It was unprofessional, truly.

You wanted to roll your eyes, to scoff and walk off set.

But instead, you simply shifted uncomfortably in your seat, adjusting the hem of your dress as Ianthe, your overly enthusiastic interviewer, fluttered around Rhysand like a lovesick butterfly. Her giggles grated on your nerves as she leaned in a little too close, her hand lingering on his arm just a second too long.

Ianthe was known for her probing questions and flirtatious demeanor— it’s what made her such a popular source for exclusive interviews. Not only did she know the right questions to ask, but she knew exactly how to ask them in order to get what she wanted: juicy gossip, something she could feed on. It wasn’t a coincidence that her last name held such a resemblance to the word parasite. She was one.

You didn’t want to do the interview to begin with. The upcoming release of your newest season meant various events and panels that left you unsettled and anxious. You loved your job— loved your character even more. But being in the public eye alongside Rhysand was hard. Suffocating, really.

It felt like hours that you sat there with a practiced smile, waiting as she conversed with Rhysand. The studio lights were warm, and the backdrop behind you— a cover of the show's logo— made you feel a bit more comfortable. But still, the unease persisted, and you counted down the seconds until this interview was over and you could return home.

"So, Rhysand," Ianthe said, her voice silky smooth. "You've become quite the heartthrob lately. How do you handle all the attention from your adoring fans?"

Your first instinct was to laugh. Your second was to roll your eyes. The third was to vomit in your mouth. You somehow resisted the urge to do all of the above, settling for biting back the rising nausea at the shameless flirting.

Rhysand leaned back in his chair, a charming smile spreading across his face. "It's all part of the job, I suppose. Though, I must say, the fans are incredibly supportive. It's their enthusiasm that keeps us going."

Us. This time it physically burned you to not roll your eyes, even subtly. Your lips curled into a pained smile. Ianthe didn’t seem to notice the forced gesture, her gaze locked onto Rhysand as if you weren’t even in the room.

You looked down, absently playing with a ring on your index finger. The metal felt cool and familiar, and you smiled faintly at it, feeling a warmth spread through your chest. It seemed to fill your lungs with a steadying breath, one that was enough to gather yourself, to steel your resolve and endure sitting beside someone who sucked up all the oxygen in the room without even trying.

It took a few more minutes before Ianthe was turning to you with an expectant smile— perfect white teeth. Veneers, most likely. The smile was strange up close and you resisted the urge to lean in and expect them further, to search for any signs of hidden pointed teeth, sharpened to resemble that of a predator.

You blinked, tilting your head and welcoming her attention with a large smile of your own. Certainly not as perfect, but a lot less unnerving, you hoped.

“Y/n,” She started, readjusting herself in her seat. “You look beautiful. It’s always nice to see you.”

You gave a small nod in acknowledgement. You’d talked to Ianthe a few times, mostly on red carpets and press events. Never longer than a minute, never past fake pleasantries and a kiss on the cheek—- from her end.

“Thanks Ianthe,” you said, smile still plastered on your cheeks like glue. “It’s always a pleasure talking with you.”

There was a glint in her eye that told you she didn’t believe a word you said. At least you both had that in common, perhaps you could bond on your shared love of bullshit.

“Tell me, what's it like working alongside Rhysand? He seems to have quite the presence on set."

You paused for a moment, considering your response carefully before delivering it with a smile.

“Rhysand is an experience. Even after years, he still manages to keep me on my toes.”

What your statement really translated to was: Rhysand was a cocky asshole. Everything was about him. All. The. Damn. Time.

"It's truly remarkable how he commands the attention of everyone in the room. It's as if the rest of us simply fade into the background when he's around.”

Because he’s an attention whore.

You didn’t say the last thought— as much as your body screamed at you to.

Rhysand's smile tightened imperceptibly, a flicker of irritation dancing in his eyes before he masked it with practiced ease. "Well, thank you," he replied smoothly, "I suppose it's just the natural magnetism of a true star."

He delivered his words as a joke, as if you both shared a similar, endearing humor regarding one another. You fought to conceal a satisfied smirk, knowing that your veiled dig had hit its mark.

Ianthe continued to prattle on, her questions growing increasingly mundane as the minutes ticked by. There was a lull—a brief moment of respite where Ianthe paused to collect her thoughts.

It was Rhysand who broke the silence, his voice dripping with faux sincerity. "I must admit, I've always admired Y/n’s dedication to her craft," he said, his tone almost earnest. "It's not easy to disappear into a role the way she does."

You bristled at the backhanded compliment, knowing all too well that beneath his seemingly benign words lay a razor-sharp edge. It was a surprise to you that Ianthe didn’t pick up on it, her dull eyes and bright smile still worn on her nauseatingly beautiful face.

"Well, Rhysand," you replied, forcing a tight smile, "I suppose we all have our strengths. I can’t coast on charisma alone.”

His smirk returned in full force, a wolfish gleam in his eyes. "Ah, but isn't that what makes us such a dynamic duo, sweetheart?" he said, "The perfect balance of substance and style."

You fought to conceal a frustrated sigh, to bite back the snarl you wanted to make at the annoying nickname he’d adopted for you recently. He knew it drove you nuts, knew it made you want to call him something less sweet.

As much as you wished to continue the conversation, to match his veiled insults with ones of your own— that were sure to be far more clever, you knew that this verbal sparring match would only serve to prolong your agony. Instead, you plastered on a diplomatic smile, nodding in agreement as Ianthe launched into yet another round of inane questions.

✹ ✶ 𖧷 ✶✹

It felt like an eternity before you were freed from the clutches of the interview.

Ianthe stood, flashing you a smile that felt more condescending than friendly. "Thank you both for coming," she said, her eyes lingering on Rhysand. You watched as she scanned him one last time, eyes drinking him in like a fresh glass of wine.

You forced a polite nod. "Thank you, Ianthe. Always a pleasure."

She gave you a look that made you feel small, but you quickly swallowed it and turned away, heading toward the exit. As much as a nice, warm bath was calling to you, you had lunch plans with Lucien and were itching to be in the presence of someone you actually liked.

"Well, that was entertaining," Rhysand commented, a smirk playing on his lips as he caught up to you.

You glanced at him, trying to keep your irritation in check as you quickened your pace, offering a few spare smiles to the employees you passed. "If by entertaining, you mean tacky, then sure."

His smirk faded slightly, a flicker of annoyance crossing his features. He raised a brow. "Tacky? I was just keeping things lively."

"Lively," you repeated with a laugh. You stopped, the movement so abrupt that Rhysand almost bumped into you. You turned to face him with a flat look. “You’re a shameless flirt."

His eyes narrowed at you— a deep blue that you swore at times was almost violet. His head cocked to the side and you shrank deeper into yourself, feeling somewhat at odds and uncomfortable in his burning gaze. The smirk tugged harder at the corner of his lips.

“Well, isn’t that the whole point?”

You scowled, opening your mouth to respond. But before any words could leave your mouth, a familiar voice filled the air. “Rhys!”

A head turn led you to catch Feyre’s eye as she walked towards you, a bright smile on her face. Her eyes lit up as her gaze landed on you and Rhys, one hand holding onto the smaller one of her son.

You watched as Nyx, quite possibly one of the prettiest kids you'd ever seen, ran up to Rhysand with a joyous laugh, opening his arms up, wide and expecting. In one swift and natural movement, Rhysand scooped him up effortlessly, his earlier annoyance instantly dissipating from his features.

“Hey, buddy,” Rhysand said, his voice softening as he kissed Nyx’s temple.

Against your better judgment, a smile tugged at your cheeks at how brightly Rhysand’s face lit up. He pulled Feyre into a quick, sweet embrace, placing a chaste kiss on her cheek.

If there was one thing you were willing to give Rhysand credit for, it was this.

His breakup with Feyre had been incredibly public. The divorce, the fallout—both of their reputations took a hit when it came out that she had initiated the divorce, later compounded by her being outed on a date with a woman from her past. Yet, despite everything, they both managed it with such grace.

Feyre was incredibly sweet. You never truly understood how Rhysand landed her in the first place, how they had been married for over five years, so deeply in love that they started a family. You thoroughly enjoyed her company, even though it wasn’t as often as you would’ve liked. She was still Rhysand’s family, after all, and you took every chance you could to avoid being around him when it wasn’t necessary.

But Feyre was a large reason you enjoyed your job. She eased the anxiety that came with joining a cast that was already so close, essentially taking a role that had belonged to her— even though your character was introduced after hers was written off.

It was clear that despite everything, Rhysand and Feyre had managed to maintain a bond, not just for their sake, but for Nyx’s. The love they still shared, the ease with which they navigated this new chapter of their lives—it was something you respected, even envied a little.

You averted your gaze, fingers running over the cool metal of your ring as you turned to leave, but Feyre called your name, her voice as kind as usual.

You paused, looking back at her. “Yeah?”

Feyre’s smile was warm. You took her in for a moment, how naturally beautiful she was— how she exuded a certain energy that you could only describe as regal. A smile fit for a queen. “How was the interview?”

You shrugged, giving a small smile. “The usual. Ianthe was...”

You pursed your lips as your voice trailed off. There were many ways you could finish off your sentence but you weren’t sure how diplomatic you could be anymore or if Feyre would be bothered by an honest review of your interviewer.

Feyre leaned in, her voice dropping to a conspiratorial whisper. “A bitch?”

You laughed, catching Rhysand’s glance as he looked over for a moment. His attention quickly returned to Nyx and you turned back to meet Feyre’s beautiful blue eyes. “Exactly.”

Feyre shook her head, a sympathetic look on her face. “She was always so condescending with me, too. It’s because she’s desperate to sleep with that loser.” She pointed a thumb over her shoulder, jokingly but lovingly casting a glance back at Rhysand. She clicked her tongue. “Poor delusions.”

Another laugh left your lips and you nodded, suppressing a grin. “Yeah,” you drawled, “She wasn’t very subtle.”

Feyre raised a brow. “I don’t think subtly is in that limited vocabulary of hers.”

Your eyes drifted to the small interview set, where Ianthe was still standing, talking to someone and sparing regular glances over at Rhysand—a predator about to make her move. It was best for you to leave now, you thought, to avoid watching the inevitable hunt.

“I should get going,” you said, turning back to Feyre. “I have plans. But, it was so nice seeing you.”

Feyre beamed, putting a hand on your arm. You briefly took in the ink that covered her forearm, the delicate, beautiful tattoos that you always wanted to admire further. “You too,” she said, “Let’s have lunch soon.”

You nodded, a genuine and pleased motion. Your conversation with Feyre was the first one today that you didn’t have to fake any polite mannerisms. “I’d love to.”

Casting one last glance at Rhysand, you watched as Feyre approached him and put a hand out to Nyx. Rhysand smiled down at her, a soft, familiar look that made your chest tighten with an emotion you didn’t care to examine.

✹ ✶ 𖧷 ✶✹

It was 10:00 am when you were called into the production office, a room nestled in a quiet corner of the studio lot. You were tired, having only slept a few hours the night prior, and you could feel life slowly dripping back into you with each sip of coffee. The area was relatively private, shielded from the prying eyes of paparazzi, so you opted for comfort over glamor, dressed in jeans and a simple hoodie—nice, big, and comfortable.

Helion was usually meticulous about these meetings, ensuring both you and Rhysand were well-prepared and informed ahead of time. This sudden summons felt off. You didn’t know what to expect, and that uncertainty weighed heavily on your mind as you pushed open the door to the conference room.

Rhysand was already in the room when you arrived, effortlessly lounging in a chair with the kind of put-together look that only seemed to accentuate your own disheveled state. It made you hate him even more. You didn’t attempt to hide your scowl. He glanced up as you entered, a hint of amusement dancing in his eyes.

"Phew, you'd think it was a Sunday and you were hungover," he remarked casually, a small smile playing on his lips.

You shot him a pointed glare, resisting the urge to snap back and opting to take the open seat next to him, sitting back to take a sip of your coffee.

Rhysand leaned over into your space, reaching a hand to tug at the strings of your hoodie with a grin on his lips. You swatted his hand away with a deepening scowl. "Cut it out."

He chuckled lightly, settling back into his chair. "So, what do you think this is about?"

“No idea,” you sighed, crossing your arms defensively. You gave him a pointed glare. “What did you do?”

Rhysand raised an eyebrow. “And why are we automatically assuming I did something?”

“Well when are you not?” You titled your head. “Doing something, I mean.”

Rhysand caught onto the meaning of your words instantly. He narrowed his eyes at you before something crossed his features. Then, he was leaning in again, a smirk on his face as he scanned your own. “Are you feeling a bit left out? You’re always welcome to join.”

You rolled your eyes, letting out a scoff of disgust as you maneuvered yourself to lean farther away from him. “You’re shameless.”

The door clicked open, and your attention snapped over as Helion entered the room. You began to offer him a smile, but the motion died on your lips as you met his gaze.

You loved Helion— as an executive producer, and the main man regarding your public relations, you’d formed a great relationship with him. It helped that you were best friends with his son, too. But today his typically buoyant air was clouded, his expression wearing the weight of serious deliberation. It was one you could only compare to that of a disappointed father about to deliver bad news. Beside him, Amren followed like a silent storm cloud.

Amren, on the other hand, was someone you didn’t have a favorable relationship with. She was Rhysand’s personal agent and she excluded the same energy he did— something that tasted a lot like pretentiousness. Her sharp gaze swept the room, and you instinctively avoided meeting it.

If Amren was here, and Helion was wearing that stern expression, it could only mean trouble. You shifted uncomfortably in your seat, a knot of apprehension tightening in your stomach.

You and Rhysand shared a quick, knowing glance, a similar confusion mirrored on both your faces. You straightened yourself as Rhysand offered a disarmingly charming smile.

"What's going on?" he asked.

Helion exchanged a glance with Amren before sighing heavily. He leaned forward, slapping a piece of paper onto the table and pushing it toward both of you.

The first thing that caught your eye was the TMZ logo— something that made your stomach drop instinctively. You bit at the inside of your cheek, your eyes repeatedly running over the headline. You looked up through your lashes to meet Helion’s expecting gaze.

Rhysand's voice was incredulous as he spoke. "Did you... print these out?"

You casted a quick glance of disbelief at him. Idiot. He paid no mind.

Helion ignored the comment, taking a seat across from you as he leaned back, crossing his arms. He gave a nod towards the two copies before you. “Go ahead. Read," he instructed calmly, his expression grave. The tone alone made you shiver from its unfamiliarity.

You picked up your copy, scanning the bolded headline and the accompanying pictures.

FAILURE ON SET: HOW AN OVERBEARING CO-STAR FUED IS THREATENING THE VIEWER EXPERIENCE

Ianthe Parcite weighs in on the rumored feud between co-stars Y/N and Rhysand after exclusive interview.

As expected, the large printed image was a glamor shot of Rhysand and one of the interview set. You were nowhere to be found. Your grip on the edges of the paper tightened as you began to read the article.

In an exclusive interview with TMZ, Ianthe Parcite, known for her candid critiques, has taken a stark stance on the alleged feud between Hollywood’s famed co-stars, Y/N L/N and Rhysand Darling. Contrary to initial impressions, Ianthe now reveals that behind the scenes, tensions ran high and professionalism faltered. “I sensed an atmosphere of unease and discontent,” Ianthe remarked, reflecting on her recent encounter with the co-stars. “Y/N appeared dismissive and disengaged during our interview, which is concerning for the show’s dynamics.” Ianthe didn’t hold back in her assessment of Rhysand either, noting his apparent lack of receptiveness to her questions. “Rhysand’s demeanor was noticeably distant, almost unreceptive to any meaningful dialogue,” she disclosed. “It’s unfortunate when personal dynamics overshadow the professionalism required on set.” The revelations have sent shockwaves through the fanbase, with many expressing disappointment over the potential impact on their favorite series. As speculation swirls around the future of the show, fans are left wondering if the rift between Y/N and Rhysand will escalate and if it's worth watching a show doomed for failure.

You scoffed incredulously, pushing the paper further away from you as if its distance would minimize the anger that simmered underneath your skin. You deeply regretted holding back in the interview— regretted not tearing that pompous bitch into two.

"So she doesn't even include a picture of me and yet I'm the main one she rips into?"

You found the courage to look around the room, your gaze landing on Helion with pleading eyes. His response was a noncommittal shrug, accompanied by a slight raise of his eyebrows. It was clear he didn't have an easy answer, either.

Running your tongue along your teeth, you shifted your gaze to Rhysand. His jaw clenched as he laid the paper on the table. "It's not even a great photo of me," he remarked dryly, "I'm too pale in it."

Your mouth fell open in exasperation. "Unbelievable," you muttered under your breath.

Rhysand shot you a glare that lingered for a few tense seconds. You matched his gaze evenly before he redirected his attention to Helion and Amren. "This is ridiculous," he asserted, "Did they seriously publish this?

A moment passed. Helion sighed heavily, rubbing his temples in frustration. "Yes. Every tabloid is eating it up.”

You clenched your jaw, feeling every muscle in your body tense with the frustration prickling at your skin. “It wasn't our best interview, sure, but it definitely wasn't that bad," you insisted, tapping a finger down on the offending article.

Amren's gaze flickered toward Rhysand, and you followed it. Rhysand shifted uncomfortably, his expression briefly sheepish before he turned to you with a defensive edge. You narrowed your eyes, tuning to face him properly.

“Did you do something?”

Rhysand rolled his eyes. "Don't be ridiculous.”

Your mouth fell agape and you let out a deep, angry breath through your nose. “Don’t use that word about me,” you hissed at him. You pointed emphatically at the paper. "That is ridiculous. And you look like a guilty dog. What did you do?"

"Nothing," he finally muttered, his eyes narrowing in irritation. He shifted in his seat, pulling at the cuffs of his sleeves.

It was Amren's voice that cut through the tension, her tone cool and calculating. "It's what he didn't do, really," she remarked cryptically, her gaze still lingering on Rhysand.

He shot her a pointed glare and you frowned, your brows furrowing to a tight knit. A faint headache throbbed at your temples. Turning to Helion for clarification, you found him leaning forward, lips pursed in thought.

"It appears Ianthe was a bit... offended that Rhysand turned down her advances," Helion explained carefully, his words laden with implication.

Your eyes widened in surprise, disbelief coloring your features. "Seriously?" you blurted out, your head twisting to face Rhysand once more, moving with such swiftness that an ache pulled at the muscles of your neck. “What the hell is wrong with you?”

Rhysand's eyes widened in response, his expression a mix of offense and confusion. "Excuse me?" he retorted, a hint of incredulity in his voice. "So you have a problem with me when I sleep with people and when I don't?"

Annoyance flared within you. "You flirted with her the entire interview," you accused, your voice raising slightly in pitch. "The one time you decide to take a vow of celibacy and it's with the one name that can tarnish my reputation?”

Rhysand scoffed, shaking his head in disbelief. "Your reputation, of course," he muttered sarcastically. "You're such a hypocrite."

"Your actions reflect on me too, Rhysand," you shot back, "Do you ever think about that?"

He rolled his eyes, crossing his arms with a pinched expression. "Oh, please," he countered, "If you hadn't been sulking and throwing daggers at me the entire interview, I wouldn't have had to flirt with her to salvage it. You should be thanking me."

Your jaw tightened at his words. "Thanking you? Look what happened—"

Before you could finish your retort, Helion slammed his palm down on the table with a sharp crack. You and Rhysand both jumped at the sudden interruption, turning to face him with wide eyes.

"Enough," Helion declared firmly, his voice cutting through the tension like a knife. "Stop bickering like children."

You and Rhysand exchanged a reluctant glance and with a sigh, you sank back into your seat, folding your arms defensively.

"It'll blow over in a week, right? No big deal," Rhysand said casually, his tone attempting to downplay the severity of the situation. You raised your eyebrows at the suggestion, but as hopeful as it sounded, part of you knew that this was a bigger deal than you both cared to admit.

Helion regarded him with a critical eye, his lips pressed into a thin line. Feeling an itch at your skin, you unfolded your arms.

"He’s right," you said hopefully, running a hand through your hair. "I mean, rumors of us not being... the best of friends isn't something new. People know this."

Rhysand offered a nod of agreement. “Exactly. It's just tabloid fodder," he said, his gaze shifting between Amren and Helion with a hint of concern.

Leaning slightly on the table, Amren shook her head slightly, her eyes– a color so light they were almost silver— glowed with intensity as they swept over Rhysand and then fixed on you. The heat of her gaze made you swallow and you found yourself tempted to apologize for things you’d never done— confess for crimes you hadn’t committed. But against your instincts, you held her gaze for another lasting moment. Amren seemed to appreciate the stare and she raised an eyebrow of approval before she spoke.

“It's more than that now," she stated firmly, her voice cutting through the air like a finely sharpened knife. "This isn't just idle gossip anymore. It's becoming off-putting. A few small rumors are funny at first, but now people don't want to watch. It's affecting our ratings."

"We can't afford to lose viewers over this," Helion added, his voice tinged with a sense of urgency you’d never heard. He was stressed— extremely so. He picked at the gold rings that adorned his hands. "The show needs a strong, united front, not two leads sniping at each other in public."

You exchanged a glance with Rhysand. Your mind raced and you settled your gaze on Helion.

You trusted him. He always had your best interests in mind, and navigating public fallout wasn’t unfamiliar territory for you. This was fine, this was manageable.

“Okay,” you said, the words directly intended for him. “What do you want me to do?”

He threw a glance at Amren.

“Well,” he started, “We need to manage the narrative. The tension between you two is too obvious. Starting with the press tour, we'll need you both to project a good connection. No more sniping or tension in public—it needs to be all smiles and cooperation."

You nodded slowly, digesting his words. Next to you, Rhysand sighed heavily, rubbing the back of his neck in frustration. "Are you saying we need to fake being friends?"

The two agents before you shared another glance. You frowned at the exchange, an unsettled feeling brewing in your gut. Helion’s face slowly shifted into one more amused— and you watched as a grin grew on his lips, something suspicious, mischievous even. His eyes gleamed.

“Not just friends," he said, his gaze shifting between you and Rhysand. He looked to Amren one last time, who gave a small nod of approval before he continued,

"We need you to fake a romance."

You choked on the air in your throat, your heart skipping a beat at his words. You blinked rapidly, gaze darting between Helion and Amren, seeking any sign that this was a joke or a misinterpretation.

They were messing with you both, surely. This was some joke to make you both apologize, some horrendously unrealistic suggestion that made the idea of you two being simply friends something straight out of paradise.

But their faces were deadly serious— set with a purposeful intent etched into their features. Helion’s grin ate at you.

Rhysand's laughter broke the tense silence, though it lacked humor as he shook his head in disbelief. His wide eyes met yours, a silent exchange of incredulity passing between you before both of you turned to Helion simultaneously. When no other words were offered to you both, the reality of the suggestion seeped in.

As if you both registered it at the same time, both you and Rhysand rose swiftly.

"Absolutely fucking not—"

"—There is no way in hell I'm—"

✹ ✶ 𖧷 ✶✹

GUYS IM OBSESSED IM SORRY I CANT. reader is such a hater and i think its so funny, whatever rhys does its just *eye roll* booo he sucks

i loveee them ur honor

if youd like to be added to the LCL! taglist, lmk!! <3

permanent tag list 🫶🏻:

@rhysandorian @itsswritten @milswrites @lilah-asteria @georgiadixon

@glam-targaryen @cheneyq @darkbloodsly @pit-and-the-pen @azrielsbbg

@evergreenlark @marina468 @azriels-human @panther-girl-124

Rhysand tag list 🫶🏻:

@serrendiipty

#rhysand x reader #rhys x reader #rhysand fanfic #rhysand fanfiction #rhysand x y/n #rhysand x you #rhysand x reader fluff #rhys x you #rhys x y/n #rhys acotar #acotar #acotar fanfiction #acotar fanfic #acotar fandom #rhysand acotar #high lord rhysand

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mostlysignssomeportents · 26 days ago

Text

Penguin Random House, AI, and writers’ rights

NEXT WEDNESDAY (October 23) at 7PM, I'll be in DECATUR, GEORGIA, presenting my novel THE BEZZLE at EAGLE EYE BOOKS.

My friend Teresa Nielsen Hayden is a wellspring of wise sayings, like "you're not responsible for what you do in other people's dreams," and my all time favorite, from the Napster era: "Just because you're on their side, it doesn't mean they're on your side."

The record labels hated Napster, and so did many musicians, and when those musicians sided with their labels in the legal and public relations campaigns against file-sharing, they lent both legal and public legitimacy to the labels' cause, which ultimately prevailed.

But the labels weren't on musicians' side. The demise of Napster and with it, the idea of a blanket-license system for internet music distribution (similar to the systems for radio, live performance, and canned music at venues and shops) firmly established that new services must obtain permission from the labels in order to operate.

That era is very good for the labels. The three-label cartel – Universal, Warner and Sony – was in a position to dictate terms like Spotify, who handed over billions of dollars worth of stock, and let the Big Three co-design the royalty scheme that Spotify would operate under.

If you know anything about Spotify payments, it's probably this: they are extremely unfavorable to artists. This is true – but that doesn't mean it's unfavorable to the Big Three labels. The Big Three get guaranteed monthly payments (much of which is booked as "unattributable royalties" that the labels can disperse or keep as they see fit), along with free inclusion on key playlists and other valuable services. What's more, the ultra-low payouts to artists increase the value of the labels' stock in Spotify, since the less Spotify has to pay for music, the better it looks to investors.

The Big Three – who own 70% of all music ever recorded, thanks to an orgy of mergers – make up the shortfall from these low per-stream rates with guaranteed payments and promo.

But the indy labels and musicians that account for the remaining 30% are out in the cold. They are locked into the same fractional-penny-per-stream royalty scheme as the Big Three, but they don't get gigantic monthly cash guarantees, and they have to pay the playlist placement the Big Three get for free.

Just because you're on their side, it doesn't mean they're on your side:

https://pluralistic.net/2022/09/12/streaming-doesnt-pay/#stunt-publishing

In a very important, material sense, creative workers – writers, filmmakers, photographers, illustrators, painters and musicians – are not on the same side as the labels, agencies, studios and publishers that bring our work to market. Those companies are not charities; they are driven to maximize profits and an important way to do that is to reduce costs, including and especially the cost of paying us for our work.

It's easy to miss this fact because the workers at these giant entertainment companies are our class allies. The same impulse to constrain payments to writers is in play when entertainment companies think about how much they pay editors, assistants, publicists, and the mail-room staff. These are the people that creative workers deal with on a day to day basis, and they are on our side, by and large, and it's easy to conflate these people with their employers.

This class war need not be the central fact of creative workers' relationship with our publishers, labels, studios, etc. When there are lots of these entertainment companies, they compete with one another for our work (and for the labor of the workers who bring that work to market), which increases our share of the profit our work produces.

But we live in an era of extreme market concentration in every sector, including entertainment, where we deal with five publishers, four studios, three labels, two ad-tech companies and a single company that controls all the ebooks and audiobooks. That concentration makes it much harder for artists to bargain effectively with entertainments companies, and that means that it's possible -likely, even – for entertainment companies to gain market advantages that aren't shared with creative workers. In other words, when your field is dominated by a cartel, you may be on on their side, but they're almost certainly not on your side.

This week, Penguin Random House, the largest publisher in the history of the human race, made headlines when it changed the copyright notice in its books to ban AI training:

https://www.thebookseller.com/news/penguin-random-house-underscores-copyright-protection-in-ai-rebuff

The copyright page now includes this phrase:

No part of this book may be used or reproduced in any manner for the purpose of training artificial intelligence technologies or systems.

Many writers are celebrating this move as a victory for creative workers' rights over AI companies, who have raised hundreds of billions of dollars in part by promising our bosses that they can fire us and replace us with algorithms.

But these writers are assuming that just because they're on Penguin Random House's side, PRH is on their side. They're assuming that if PRH fights against AI companies training bots on their work for free, that this means PRH won't allow bots to be trained on their work at all.

This is a pretty naive take. What's far more likely is that PRH will use whatever legal rights it has to insist that AI companies pay it for the right to train chatbots on the books we write. It is vanishingly unlikely that PRH will share that license money with the writers whose books are then shoveled into the bot's training-hopper. It's also extremely likely that PRH will try to use the output of chatbots to erode our wages, or fire us altogether and replace our work with AI slop.

This is speculation on my part, but it's informed speculation. Note that PRH did not announce that it would allow authors to assert the contractual right to block their work from being used to train a chatbot, or that it was offering authors a share of any training license fees, or a share of the income from anything produced by bots that are trained on our work.

Indeed, as publishing boiled itself down from the thirty-some mid-sized publishers that flourished when I was a baby writer into the Big Five that dominate the field today, their contracts have gotten notably, materially worse for writers:

https://pluralistic.net/2022/06/19/reasonable-agreement/

This is completely unsurprising. In any auction, the more serious bidders there are, the higher the final price will be. When there were thirty potential bidders for our work, we got a better deal on average than we do now, when there are at most five bidders.

Though this is self-evident, Penguin Random House insists that it's not true. Back when PRH was trying to buy Simon & Schuster (thereby reducing the Big Five publishers to the Big Four), they insisted that they would continue to bid against themselves, with editors at Simon & Schuster (a division of PRH) bidding against editors at Penguin (a division of PRH) and Random House (a division of PRH).

This is obvious nonsense, as Stephen King said when he testified against the merger (which was subsequently blocked by the court): "You might as well say you’re going to have a husband and wife bidding against each other for the same house. It would be sort of very gentlemanly and sort of, 'After you' and 'After you'":

https://apnews.com/article/stephen-king-government-and-politics-b3ab31d8d8369e7feed7ce454153a03c

Penguin Random House didn't become the largest publisher in history by publishing better books or doing better marketing. They attained their scale by buying out their rivals. The company is actually a kind of colony organism made up of dozens of once-independent publishers. Every one of those acquisitions reduced the bargaining power of writers, even writers who don't write for PRH, because the disappearance of a credible bidder for our work into the PRH corporate portfolio reduces the potential bidders for our work no matter who we're selling it to.

I predict that PRH will not allow its writers to add a clause to their contracts forbidding PRH from using their work to train an AI. That prediction is based on my direct experience with two of the other Big Five publishers, where I know for a fact that they point-blank refused to do this, and told the writer that any insistence on including this contract would lead to the offer being rescinded.

The Big Five have remarkably similar contracting terms. Or rather, unremarkably similar contracts, since concentrated industries tend to converge in their operational behavior. The Big Five are similar enough that it's generally understood that a writer who sues one of the Big Five publishers will likely find themselves blackballed at the rest.

My own agent gave me this advice when one of the Big Five stole more than $10,000 from me – canceled a project that I was part of because another person involved with it pulled out, and then took five figures out of the killfee specified in my contract, just because they could. My agent told me that even though I would certainly win that lawsuit, it would come at the cost of my career, since it would put me in bad odor with all of the Big Five.

The writers who are cheering on Penguin Random House's new copyright notice are operating under the mistaken belief that this will make it less likely that our bosses will buy an AI in hopes of replacing us with it:

https://pluralistic.net/2023/02/09/ai-monkeys-paw/#bullied-schoolkids

That's not true. Giving Penguin Random House the right to demand license fees for AI training will do nothing to reduce the likelihood that Penguin Random House will choose to buy an AI in hopes of eroding our wages or firing us.

But something else will! The US Copyright Office has issued a series of rulings, upheld by the courts, asserting that nothing made by an AI can be copyrighted. By statute and international treaty, copyright is a right reserved for works of human creativity (that's why the "monkey selfie" can't be copyrighted):

https://pluralistic.net/2023/08/20/everything-made-by-an-ai-is-in-the-public-domain/

All other things being equal, entertainment companies would prefer to pay creative workers as little as possible (or nothing at all) for our work. But as strong as their preference for reducing payments to artists is, they are far more committed to being able to control who can copy, sell and distribute the works they release.

In other words, when confronted with a choice of "We don't have to pay artists anymore" and "Anyone can sell or give away our products and we won't get a dime from it," entertainment companies will pay artists all day long.

Remember that dope everyone laughed at because he scammed his way into winning an art contest with some AI slop then got angry because people were copying "his" picture? That guy's insistence that his slop should be entitled to copyright is far more dangerous than the original scam of pretending that he painted the slop in the first place:

https://arstechnica.com/tech-policy/2024/10/artist-appeals-copyright-denial-for-prize-winning-ai-generated-work/

If PRH was intervening in these Copyright Office AI copyrightability cases to say AI works can't be copyrighted, that would be an instance where we were on their side and they were on our side. The day they submit an amicus brief or rulemaking comment supporting no-copyright-for-AI, I'll sing their praises to the heavens.

But this change to PRH's copyright notice won't improve writers' bank-balances. Giving writers the ability to control AI training isn't going to stop PRH and other giant entertainment companies from training AIs with our work. They'll just say, "If you don't sign away the right to train an AI with your work, we won't publish you."

The biggest predictor of how much money an artist sees from the exploitation of their work isn't how many exclusive rights we have, it's how much bargaining power we have. When you bargain against five publishers, four studios or three labels, any new rights you get from Congress or the courts is simply transferred to them the next time you negotiate a contract.

As Rebecca Giblin and I write in our 2022 book Chokepoint Capitalism:

Giving a creative worker more copyright is like giving your bullied schoolkid more lunch money. No matter how much you give them, the bullies will take it all. Give your kid enough lunch money and the bullies will be able to bribe the principle to look the other way. Keep giving that kid lunch money and the bullies will be able to launch a global appeal demanding more lunch money for hungry kids!

https://chokepointcapitalism.com/

As creative workers' fortunes have declined through the neoliberal era of mergers and consolidation, we've allowed ourselves to be distracted with campaigns to get us more copyright, rather than more bargaining power.

There are copyright policies that get us more bargaining power. Banning AI works from getting copyright gives us more bargaining power. After all, just because AI can't do our job, it doesn't follow that AI salesmen can't convince our bosses to fire us and replace us with incompetent AI:

https://pluralistic.net/2024/01/11/robots-stole-my-jerb/#computer-says-no

Then there's "copyright termination." Under the 1976 Copyright Act, creative workers can take back the copyright to their works after 35 years, even if they sign a contract giving up the copyright for its full term:

https://pluralistic.net/2021/09/26/take-it-back/

Creative workers from George Clinton to Stephen King to Stan Lee have converted this right to money – unlike, say, longer terms of copyright, which are simply transferred to entertainment companies through non-negotiable contractual clauses. Rather than joining our publishers in fighting for longer terms of copyright, we could be demanding shorter terms for copyright termination, say, the right to take back a popular book or song or movie or illustration after 14 years (as was the case in the original US copyright system), and resell it for more money as a risk-free, proven success.

Until then, remember, just because you're on their side, it doesn't mean they're on your side. They don't want to prevent AI slop from reducing your wages, they just want to make sure it's their AI slop puts you on the breadline.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

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

https://pluralistic.net/2024/10/19/gander-sauce/#just-because-youre-on-their-side-it-doesnt-mean-theyre-on-your-side

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 #publishing #penguin random house #prh #monopolies #chokepoint capitalism #fair use #AI #training #labor #artificial intelligence #scraping #book scanning #internet archive #reasonable agreements

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beif0ngs · 11 months ago

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One Piece is getting a new anime adaptation starting from the iconic East Blue saga. Titled “THE ONE PIECE”, this series will be produced by Wit Studio, recognized for their work on hit anime shows such as SPY × FAMILY and Attack on Titan.

Currently in the works, “THE ONE PIECE” will be streamed worldwide exclusively on Netflix, marking a significant collaboration with the production committee made up of representatives from Shueisha, Fuji Television Network, and Toei Animation Co.

The project will be distinct from the TV anime series that has captivated audiences for over 25 years. With “THE ONE PIECE”, the committee aims to provide viewers with a fresh yet familiar experience, utilizing cutting-edge visual technology to reimagine Luffy’s adventures through the beloved East Blue saga.

#One Piece #The One Piece #opgraphics #*mine #so curious about the art direction they'll take!#hmm i wonder if they'll still try to emulate Oda's art style or go in a completely different direction...#either way i'm very excited for some GOOD QUALITY animation that One Piece deserves!!!

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austinswife · 2 months ago

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‘DUNE 3’ AND BABY BUMP — Austin Butler

SYPNOSIS: Austin Butler and his wife, Y/N, have just wrapped filming on Dune 3 together, where they played intense and compelling roles—Austin as the menacing Feyd Rautha, and Y/N as one of his captivating consorts. The two, now parents to their newborn daughter Wren, join The Graham Norton Show alongside Dune producer Barbara Sanderson to discuss their experience making the movie. As they reveal intimate behind-the-scenes moments, including how Y/N filmed while pregnant and concealed her growing bump, the conversation takes a funny and heartfelt turn. Between Austin’s protective instincts on set, the crew’s humorous attempts to safeguard the baby bump, and the secret they kept from their fans, the interview showcases the couple’s love, their chemistry, and the unforgettable memories they made while working together.

WARNING(S): Mentions of pregnancy, humor and lighthearted conversations, discussions of intimate scenes in a playful way, fluff.

𝜗𝜚 ALL FEEDBACKS, IDEAS SUGGESTION — TO AUSTINSWIFE

divider by @/chilumitos

The soft hum of excited chatter filled the studio of The Graham Norton Show as the audience eagerly awaited the next segment. It was a particularly star-studded episode, featuring the much-anticipated stars of Dune 3. As the cameras prepared to roll, Graham himself sat ready at his desk, glancing through his notes and smiling at the mention of the guests he would soon welcome to the stage. He knew this was going to be a fun interview—he could feel it.

“And now,” Graham said with his trademark charm as the show returned from its commercial break, “please give a warm welcome to the stars of Dune 3—Austin Butler, Y/N Y/L/N, and the producer of the Dune series, Barbara Sanderson!”

The applause erupted as Austin, dressed in a sleek, perfectly tailored black suit, walked hand in hand with you, his wife and co-star, Y/N. You radiated elegance in a soft, flowy dress that accentuated your post-pregnancy glow. Behind you, Barbara Sanderson, the producer, strode confidently onto the stage, smiling broadly at the adoring crowd.

Once the three of you were seated on the famous red couch, Graham leaned in, his eyes twinkling with mischief. “Well, look at you two! Fresh from the intergalactic battles of Dune 3 and straight into parenthood. Congratulations on the birth of your daughter, Wren Butler!”

The applause filled the room once again as you and Austin exchanged a warm look, his hand gently squeezing yours.

“Thank you so much,” you said, beaming. “She’s been an absolute joy, and we’re really loving being new parents.”

Austin nodded in agreement, his face lighting up at the mention of Wren. “Yeah, it’s been incredible. She’s such a sweet baby.”

Graham leaned forward with that ever-curious expression, already knowing the direction he wanted to take the conversation.

“Now, I have to ask—Dune 3 is quite an intense film. I mean, it’s the culmination of this epic sci-fi saga, and the two of you play some pretty heavy roles. Austin, you’re Feyd Rautha, the ruthless antagonist, and Y/N, you’re one of his darlings. There are some... well, let’s call them intimate scenes between the two of you, aren’t there?”

The audience chuckled as Austin smirked, his hand still resting protectively on your knee. You shared a quick glance with him, both of you clearly in on the joke.

“Oh yeah,” Austin drawled, flashing that signature half-smile of his. “Feyd Rautha doesn’t do subtle.”

Graham laughed and nodded. “No, I don’t think subtle is in his vocabulary. But there’s been a lot of speculation, Y/N, because—correct me if I’m wrong—were you actually pregnant while filming those scenes?”

The room seemed to hold its breath as the question hung in the air, and the audience collectively leaned forward in their seats. You grinned, glancing at Austin for a beat before answering.

“Yes, it’s true—I was pregnant while filming Dune 3,” you admitted, laughing softly as the crowd gasped in surprise. “In fact, I found out early on, but I was lucky because my bump didn’t really show much until I was about eight or nine months pregnant. So by the time we were filming those scenes, I had a tiny bump, but only Austin and the crew knew!”

The audience erupted into laughter and applause, clearly charmed by your candid admission. Graham’s eyes widened, clearly intrigued.

“So let me get this straight—you were filming these intense, steamy scenes with Feyd Rautha while pregnant with Austin’s baby?”

You nodded, laughing even harder. “Yep! I was carrying his baby the whole time during that scene where I’m, well... not wearing much. Talk about method acting!”

Austin, trying to hold back his laughter, chimed in. “Yeah, it was pretty surreal, to be honest. We’d be in the middle of a scene where I’m supposed to be all intense and villainous, and then as soon as they called ‘cut,’ I’d go straight into husband mode—‘Are you okay? Do you need anything? How’s the baby?’”

The audience burst into laughter again as you playfully nudged Austin, smiling affectionately. “He was the most overprotective co-star I’ve ever had,” you teased. “But honestly, it was really sweet. He and the entire crew were so supportive. I felt like I had a whole army of people making sure I was comfortable.”

Barbara Sanderson, the producer, who had been quietly enjoying the banter so far, spoke up with a fond smile. “I think it’s safe to say that once we found out Y/N was pregnant, the entire atmosphere on set shifted. Everyone became so protective of her. I remember one day when we were filming a particularly physical scene, and I swear, at least five people rushed to her side with pillows and blankets the moment we finished shooting.”

Graham’s eyes widened in mock disbelief. “Pillows and blankets on a Dune set? Sounds like a far cry from the sandworms and desert storms of Arrakis!”

You laughed, nodding. “It was so funny! I felt like I was wrapped in bubble wrap half the time. And the funny part is that I felt completely fine—like, I wasn’t really showing much, and I wasn’t feeling sick or anything, but everyone was treating me like I was about to go into labor at any moment.”

Austin grinned, clearly loving the memory. “Yeah, I remember one scene where you had to lie down on this really uncomfortable-looking floor, and before I could even say anything, someone was already there with a pillow, fluffing it up for you. It was like, ‘Alright, guys, she’s tough—she can handle it.’”

Barbara laughed, nodding in agreement. “We did get a little overzealous, I’ll admit. But when your co-star is carrying a baby, you do tend to get a bit overprotective!”

Graham leaned back in his chair, thoroughly entertained. “So, Austin, how was it for you knowing that your co-star—who also happens to be your wife—was pregnant with your child during these scenes? Was it difficult to stay in character?”

Austin scratched the back of his neck, a playful grin crossing his face. “Well, let’s just say it added a whole new layer to things. I mean, there’s Feyd Rautha—this brutal, ambitious character—and then there’s me, Austin, who’s just trying to make sure my wife and our baby are okay. So yeah, it was definitely a bit of a challenge to switch back and forth.”

The audience chuckled at his honesty, and Graham leaned forward, his eyes sparkling with amusement. “I can only imagine! And I have to ask, did the fans pick up on any of this? Because if your bump wasn’t really showing until later, I imagine it must have been quite the surprise when you finally announced your pregnancy.”

You nodded, a knowing smile on your lips. “Yeah, we managed to keep it pretty low-key. I think most fans didn’t notice anything at all. I wore a lot of loose costumes, and the camera angles were really clever. It wasn’t until after filming wrapped, and we announced Wren’s birth, that people were like, ‘Wait, you were pregnant during all of that?!’”

Graham shook his head in disbelief. “Incredible. And now you’ve got a beautiful daughter. How is Wren doing?”

Austin’s expression softened immediately at the mention of his daughter. “She’s amazing. She’s the happiest little baby, always smiling. We feel really lucky.”

“She’s been a dream,” you added, your voice full of warmth. “And we’re just so grateful for how everything worked out. Filming Dune 3 while pregnant was definitely a unique experience, but now that we have Wren, it all feels even more special.”

Graham smiled, clearly touched by the couple’s love for their daughter. “Well, it sounds like a labor of love—no pun intended.”

The audience laughed again, and Graham leaned in with a teasing glint in his eye. “Before we wrap things up, I have one more question, because the Dune fans will absolutely want to know—were you ever shy filming those intimate scenes with Feyd Rautha, knowing you were pregnant?”

Y/N smirked, her eyes twinkling with mischief. "Shy? Not at all! I mean, I was literally pregnant with his baby while filming those scenes. By that point, I was more worried about not tripping over cables on set or staying awake between takes."

The audience erupted in laughter, their amusement filling the room. Austin grinned, his arm draped comfortably behind you as he chuckled.

"Yeah, when you're both trying to stay in character and simultaneously making sure you're not stepping on your wife's dress or her tiny baby bump, 'shyness' kind of takes a backseat."

Graham, always quick to lean into the humor, smiled wide. "It does add a whole new dimension to 'intimate scenes,' doesn’t it?"

Barbara, who had been watching with an amused expression, nodded. "Oh, absolutely. I remember one of the costume designers coming up to me, stressing about how to hide the bump, and I just said, 'Embrace it. If anyone asks, we’ll say it’s all part of the world-building.’"

The audience roared with laughter, and you chimed in, still laughing. "Honestly, the bump was so small that for most of the filming, it was our little secret. But by the end, I think some people on set were like, 'Wait a minute...'"

Austin playfully nudged you, shaking his head. "It’s amazing how you kept it under wraps for so long. By the time your bump did start to show, it was like an Easter egg for the crew. Everyone was tiptoeing around it."

Graham leaned forward, still grinning. "So the fans were completely in the dark until you announced Wren’s birth?"

"Pretty much," you confirmed. "We didn’t want to make a big public announcement during filming. It was such a special time for us, and we really just wanted to keep it between us and our closest friends and family."

Graham nodded, clearly touched. "It sounds like you handled it beautifully. And I think I speak for everyone when I say it’s wonderful to see you two sharing this moment, both in your careers and in your lives together."

The audience applauded again, the warmth in the room palpable. Austin turned to you with a soft smile, his hand gently squeezing yours as he spoke. "It’s been an amazing journey, both in terms of Dune 3 and our life as a family. We feel really lucky."

You smiled back at him, your heart full as you took in the supportive energy of the room. "We do. And honestly, Wren’s timing couldn’t have been more perfect. She arrived right after we finished filming, like she was waiting for her cue."

Graham laughed, clapping his hands together. "A born performer already! Watch out, Hollywood!"

The light-heartedness of the moment allowed everyone to bask in the happiness that radiated from the two of you. Even Barbara, normally so focused and professional, seemed to be swept up in the magic of the interview. "It’s rare to have this kind of chemistry on set," she said thoughtfully. "Austin and Y/N brought so much more to their roles than just acting. There was a real connection, and I think it showed in every scene."

Graham glanced between you and Austin, raising an eyebrow. "Speaking of chemistry, what’s it like acting opposite your husband in a movie like Dune? Is it hard to separate the personal from the professional?"

You laughed lightly, tilting your head toward Austin. "Honestly? Sometimes yes, and sometimes no. There were moments where it was challenging to stay in character, especially when he’d shoot me a look, and I’d know exactly what he was thinking, which usually had nothing to do with the scene."

Austin chuckled, nodding in agreement. "Yeah, it definitely keeps things interesting. You’ll be in the middle of this intense, dramatic moment, and then one of us will break character for a split second, and it’s hard not to laugh. But I think, ultimately, working together was really rewarding. We pushed each other in ways I don’t think we would have with anyone else."

Graham smiled warmly, clearly charmed by the dynamic between the two of you. "It sounds like a real partnership, both on and off screen."

"It really is," you said softly. "We’ve always supported each other’s careers, and Dune 3 gave us the chance to take that support to a whole new level. Filming while pregnant, working through those intense scenes together—it’s all made us stronger as a couple and as parents."

Austin nodded, his expression filled with pride. "Yeah, we’ve been through a lot together, and this experience just solidified how much we’ve got each other’s backs."

Graham looked genuinely moved. "That’s beautiful. And now you’ve got Wren, this incredible new chapter in your lives. What’s next for you both? More movies together? More babies?"

The audience laughed, and you couldn’t help but join in. "Well, we’re definitely taking some time off to focus on Wren right now. But who knows? If the right project comes along, we might just team up again. As for more babies..." You glanced at Austin with a playful smile. "We’ll see!"

Austin grinned, raising his eyebrows mischievously. "One day at a time, Graham."

Graham shook his head, laughing. "Well, whatever the future holds, I’m sure it’s going to be amazing. Thank you both so much for sharing your story, and congratulations again on Wren and the success of Dune 3."

As the audience clapped and the lights dimmed for the final moments of the segment, you felt a wave of gratitude wash over you. Sitting there with Austin, reflecting on the incredible journey you’d shared, you couldn’t help but feel that this was just the beginning of something even greater.

As you left the stage, Austin’s arm wrapped around your waist, you exchanged a look that said more than words ever could. From co-stars to husband and wife, from actors to parents, your shared adventure was far from over. Whether on-screen or off, you knew that whatever came next, you’d be facing it together.

And as for Wren? Well, maybe one day, she'd get her own starring role.

part 2? maybe

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studio105animation · 3 months ago

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Meet the Studio 105 Head Honchos! 🚙

Hi my name is Vanessa Garcia-Millan :3 ! I am one of the co-founders for Studio 105! I work for outreach and as a Line Producer at Studio 105! I have so much to learn and I am so excited to be a part of a team with so many ambitious artists!!!!! I love all things small and cute (shout out to itemlabel and hyraxes). Anyway, I am so hype for what our team has to offer! Stay Tooned! 😎 @ ivory.petals

Hello! I am Nina, one of the co-founders of Studio 105. I work as the social media manager for the studio. I graduated May this year with a BFA in animation. In my free time you’ll probably catch me playing games, drawing or reading a book. I’m excited to see where Studio 105 goes! @ tanjyareen

Hello my name is Pedro Maradiaga. I am part of the Executive Board on Studio 105!

I'm so glad I was approached by Nina and Vanessa to join the studio. They entrusted me, and the now Executive Board, to help setup leadership and administration.

I believe in all the creatives involved, and want to serve them with my business expertise. @ pedrofriedrice

Hello! My Name is Alejandra and I’m one of the Head Honchos and a Production Manager for Studio 105! I’m so excited to be working with so many wonderful creative minds and we can’t wait to show you guys our creations! Get ready! We’re gonna be cruising along! 😎✨🤩 @ floramarkart

Hi everyone! My name is Kimmothy, and I’m one of the Head Honchos of Studio 105. I deal with Business Administration and Production for the studio, and I’m so excited to be a part of this awesome team! When I’m not staring at my screen, I’m usually wandering the woods or hanging out with my cats. Watch out for our work, we’re on a roll 🦅😤💯 @ kim_of_thee

Hi, I’m Marisa and I’m one of the Head Honchos of Studio 105! I’m primarily in charge of managing the studio’s art direction. I love clowns and cool bugs and fun biology facts. We have lots in store for y’all and I’m excited to share it with you! 🌈🦎✨ @sabertoothwalrus

#studio 105 #indie animation #long post

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woozivrsefactry · 5 months ago

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lee jihoon as your producer (implied idol!reader)

producer jihoon who was shy the very first time he met you with your manager because, even apart from his general incapability to mingle with females, he found you extraordinarily attractive

producer jihoon who may have been cool and composed on the outside but had firecrackers in his head when he was told he'll be your semi-permanant co-producer for your music.

producer jihoon who suggest you two hang out more often so he can get to know you better and thereby make more suitable songs for your personality, except he really only wanted to spend as much time with you as he possibly could

producer jihoon who started taking gym more seriously than ever when he heard you say muscular men are your ideal type during an interview

producer jihoon who always brings you lunch and dinner whenever you are at his studio, especially your favorite junk foods which you wouldn't be able to eat in front of your manager due to your diet

producer jihoon who has an assorted playlist of all the songs that reminds him of you

producer jihoon who is internally bouncing in joy when you tell him how good a friend he is to you

producer jihoon who gets lost watching you sing in his studio

producer jihoon who streams your performaces and livestreams as often as he can, feeling pride and glee swell in his chest as you give him a special thanks for helping your music

producer jihoon for whom you are genuinely an inspiration because you inspire him with your personality, your pretty body, the things you do for/with him

producer jihoon who is as red as a tomato when you scoot too close to him while editing your music in his studio

producer jihoon whose dick twitches in his pants when you suggest adding some moaning sounds in one of your rather sensual songs as adlibs

producer jihoon whose job as a producer includes telling you that you don't sound realistic enough when you attempt to mimik your own sounds in bed

producer jihoon who, when you ask for suggestions, tells you that you could try touching yourself sensually if it would help, and even offer to turn around to give you that privacy

producer jihoon who is took by surprise when you tell him that he didn't have to turn around if he wanted, the lust in your eyes almost piercing through the camera in the recording studio as you look up at it

producer jihoon who, being a man as he is, takes full advantage, watching you strip out of your lower half and push your top up, taking a seat on the stool there and touching your most sensitive areas.

producer jihoon who records all the sounds you make, slowly stroking himself over his joggers and saves the recordings in one of his private files.

producer jihoon who loses his composer when he hears his name slip off your tongue between moans, and he gets up and barge into the recording studio

producer jihoon who you don't take as surprise as he starts kissing you aggressively with all horniness of a sex-starved young man (that he is)

producer jihoon who holds you up with one arm (thanks for the gym motivation) and takes you to the big white couch in his studio

producer jihoon who practically licks up every inch of your skin, telling you of how much you had been tempting and teasing him and how badly he's been wanting to do this

producer jihoon, prior to whom you didn't know how big of a praise kink you had, because your clit throbs at the way jihoon calls you a good girl

producer jihoon who has the best sex he's ever had, and he might have cum embarrassingly soon all over your stomach, though its fine because you came along with him.

producer jihoon with hom sex after work is now regular, whether its right there in his studio or at his big penthouse where he takes you sometimes

producer jihoon who is glad you ask him out soon because he doesn't think he'd ever have the balls to do that himself (doesn't matter how shameless and nasty he is in bed)

#seventeen #svt #svt imagines #svt smut #svt x reader #seventeen smut #seventeen headcanons #svt headcanons #woozi smut #woozi #woozi x reader #lee jihoon #lee jihoon x reader #jihoon #seventeen woozi

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doyoulikethissong-poll · 10 months ago

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Backstreet Boys - I Want It That Way 1999

"I Want It That Way" is a song by American vocal group Backstreet Boys. It was released as the lead single from their third studio album, Millennium (1999). It was written by Swedish hitmakers Max Martin and Andreas Carlsson. Max Martin has written or co-written 26 Billboard Hot 100 number-one songs, most of which he has also produced or co-produced. He is the songwriter with the second-most number-one singles on the chart, behind only Paul McCartney (32) and tied with John Lennon (26 both). In addition, he currently holds the record for the most Hot 100 number-one songs as a producer, with 24 as of January 2024. Congrats! 🥳

"I Want It That Way" was nominated for three Grammy Awards, including Song and Record of the Year. The music video received four MTV Video Music Awards nominations, winning Viewer's Choice. It became the group's first music video to surpass one billion views on YouTube in 2021.

"I Want It That Way" is the Backstreet Boys' signature song, and commercially it reached the number-one spot in more than 25 countries, including Austria, Germany, Italy, New Zealand, Switzerland and the UK.

The song was famously used in the cold open of the Brooklyn Nine-Nine season 5 episode "DFW". Andy Samberg's character has a police lineup sing the song to help a victim identify a killer.

"I Want It That Way" received a total of 82% yes votes!

youtube

#finished #high votes #high yes #high reblog #backstreet boys #max martin

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maxwellatoms · 7 months ago

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Hello Mr. Atoms, I'm an animation student in college and fan of your work. I got this assignment in which I need to ask questions to a professional in the area. Could you pretty please answer them? It'd mean a lot to me.

1- Are you happy with your career? How it's going.

2- What are your opinions, expectations and hopes about the independent animation industry that's developing?

3- What do you think about the advent of artificial intelligence? Do you fear for the future of animators?

4- If money wasn't a problem, would you still do what you do?

5- Any animators you admire and would like to mention?

Okey dokey.

1- Are you happy with your career? How it's going.

Not really, in that there seems to be no career left.

The animation industry swelled its numbers greatly before 2020. Almost immediately after that, corporate greed synergized with a pandemic to reduce animated programs and the number of people working on them to almost zero. It takes almost a year from beginning to end to make a single episode of an animated show (by the modern standard). There was nothing being made in 2020 and four years later, we''re not in a much better spot. It's going to be a long drought for (especially) Kid's TV Animation.

Recently, many of my former co-workers have hit the financial wall and can't continue, moving away after (sometimes) 20 years in the industry. I begin to wonder if I'm very far behind.

A "bounce back" a year from now would need to start today. There are still some animated shows being made now, but those are almost universally "library" properties. That means it's an existing I.P. (Intellectual Properties like Garfield/Mario/Batman/Star Wars) so as an artist you're immediately in that box. Depending on the property and the studio, it can be an unpleasantly tight box. I grew used to holding and maintaining the vision for a show, but it's less fun when it's not my vision. It's even less fun when you can't inspire someone to follow your vision because they've been so ruthlessly abused.

I'm pretty sick of how big media corporations treat their employees. If I inherit one more burnt out crew due to mismanagement, I'm gonna lose it.

Over a decade ago I fought hard to get board artists story credit for the episodes they were actually writing, and felt like I'd won a big victory for everyone. The second my back was turned, it all reverted.

Mostly... what is the point now? My career is/was developing ideas, crafting those ideas into a workable show, then managing teams of thirty to seventy people to produce a couple of dozen episodes per year. Studios actively do not want new ideas right now, and are actively searching for ways to eliminate what artists from the process. I'm not sure what my job would be under this new system, but it feels like they decided to hang onto the anxiety-inducing deadlines while removing anything remotely pleasurable from the experience.

2- What are your opinions, expectations and hopes about the independent animation industry that's developing?

It's the only way to get anything done, currently.

The current state of the industry is not sustainable. I (along with a lot of other animators I know) are trying to decide what's next, and pretty much everyone agrees that "you just have to make something".

It is (in that very specific way) a great time to be a young animator. The system was never going to treat you well anyway. If you can get something like a Hazbin Hotel happening without studio help, you can currently write your own ticket. I'm super proud of Vivsie, because that's a LOT of stuff to handle. I never had to handle my own marketing or drum up money to make Billy & Mandy happen.

There are opportunities there, but it's definitely "Hard Mode". The best idea is probably to team up with a few other people you like and like to work with.

Hopes? I hope that the young animators take over and make something new on top of the bones of the old industry, rather than just allowing that industry to patch its rotting hide with their collected works.

3- What do you think about the advent of artificial intelligence? Do you fear for the future of animators?

I suspect true AI might just peace-out like ScarJo in "Her", but we're not there yet. What we have now isn't Artificial Intelligence at all (though I do believe it may be the underpinnings of the Artificial Suconscious of what may one day become an actual Artificial Intelligence.)

The LLMs and "Generative AI" are (so far) a big dumb waste. They consume tons of energy and aren't great for doing anything creative. If you've sat down with Chat GPT for a creative writing session, you've probably run into the "out of the box" limitations which prevent it from talking about sex or violence-- which happen to be a major component of most stories.

Still, the technology has come incredibly far in an incredibly short amount of time. I imagine we're going to hit the point where we're being hazed by artificially generated political ads way before Generative AI can produce a consistent and usable character turnaround, so that'll be the test. Whatever the legal fallout is from this stuff over the next few years will set the tone.

Still, studios have a vested interest in pleasing their shareholders. Generative AI potentially has the capability of not only replacing swaths of money-eating artists, but handing that control directly to the billionaire studio heads. Mark my words: We're headed straight for billionaire-generated content.

I don't think the public at large will want to watch Elon Musk's fever dreams, so there's that. So law and general distaste might stave it off for a while, but I think there's just too much impetus for studios to continue to try to please their investors. "AI Art" is here to stay.

Eventually that will lead to millions and millions of bots generating millions and millions of songs and paintings and movies all day every day. Most of it will be utter trash. Right now (so I'm told) viewers are already burnt out, and will generally only click on what they already know. On Netflix, where there are twenty things you've never heard of and one you have, you're more likely to pick the thing that gives you comfort and gives you a guarantee you're not wasting your time. With exponentially more A.I. trash, how would you even begin to filter it out?

You'd need absolute control of an already existing distribution system. We currently have a few of those, and all of the media companies are desperately trying to merge with them to insure their own survival.

To me, the post-Gen-AI landscape looks a lot like old-school Cable, but with endless I.P. and fewer masters.

4- If money wasn't a problem, would you still do what you do?

The real question is, maybe, "What am I even doing?" These days I try to do a lot of gardening. I'm trying to learn new art skills, because suddenly twenty five years of experience managing, drawing, and writing isn't worth much. I recently worked on Jellystone until Zaslav lost 2.5 billion in the wash and had to find justification for his new yacht. The show before that? Also culled midway through to save money. The days of multi-year gigs seem to be over, and if I'm going to scrape by doing freelance, maybe I can do that somewhere else.

I'll always make art. I can't seem to help it. Ideas aren't my problem-- it's executing those ideas without the help of a structured pre-existing system. I honestly don't know if I'll ever be able to pull that off. My strengths are great, but were always supported by friends I worked with.

Can I start an indie cartoon with all of these cool friends? Sure, maybe. Most of those people have gone on to have other careers of their own and got used to being paid. Now nobody is getting paid and no one can pay anyone else. My immediate circle are all now middle-aged people with families and no jobs. Convincing them to give up a large chunk of their day for an idea that's not guaranteed to pay off is going to take some real effort.

I technically have fifteen years until I can claim my "retirement", assuming that still exists by then. That's a pretty big hole to fill with... I don't know what.

The difficult "What comes next" discussions at home are really just starting.

5- Any animators you admire and would like to mention?

There are a lot of cool animation people out there. I already mentioned I was proud of Vivsie. I was also reminded recently just how great C.H. Greenblatt and Mr. Warburton are. I know they're my friends. They're both just really upstanding, creative people who take good care of their crews.

The treatment of animation industry professionals by the studio system has been one of the most demoralizing and heartbreaking parts of this demoralizing and heartbreaking time.

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So there ya go. If you want to look for someone whose attitude is a little more upbeat, I won't blame you a bit.

Wherever you are, I wish you the best of luck. For me, just climb up there and crush it. I would very much like to add you to #5 someday.

#maxwell atoms #animation industry #grim reaper

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