#terrace house 2019 2020

[renthony]

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

by Ren Basel renbasel.com

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

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

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

Then the Walt Disney Company made a huge mess.

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

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

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

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

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

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

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

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

Nimona, however, is hard to kill.

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

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

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

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

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

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

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

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

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

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

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

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

Enter Nimona.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

But she isn’t safe from the Director.

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

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

Nimona, however, is hard to kill.

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

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

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

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

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

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

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

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

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

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

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Notes:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[gwendolynlerman]

Discovering the world

Lebanon 🇱🇧

Basic facts

Official name: الجمهورية اللبنانية (al-Jumhūrīyah al-Lubnānīyah) (Republic of Lebanon)

Capital city: Beirut

Population: 5.3 million (2023)

Demonym: Lebanese

Type of government: unitary parliamentary republic

Head of state: vacant (President)

Head of government: Najib Mikati (Prime Minister)

Gross domestic product (purchasing power parity): $78.23 billion (2022)

Gini coefficient of wealth inequality: 31.8% (medium) (2011)

Human Development Index: 0.723 (high) (2022)

Currency: pound (LBP)

Fun fact: It hosts the highest number of refugees per capita and per square kilometer.

Etymology

The country’s name comes from Mount Lebanon, whose name derives from the Phoenician root lbn, meaning “white”.

Geography

Lebanon is located in West Asia and borders Syria to the north and east, Israel to the south, and the Mediterranean Sea to the west.

There are two main climates: Mediterranean-influenced humid continental in the center and east and hot-summer Mediterranean in the rest. Temperatures range from 11 °C (51.8 °F) in winter to 30 °C (86 °F) in summer. The average annual temperature is 20.9 °C (69.6 °F).

The country is divided into nine governorates (muḥāfaẓāt), which are further divided into twenty-five districts (aqdyah). The largest cities in Lebanon are Beirut, Tripoli, Jounieh, Zahlé, and Sidon.

History

2500-64 BCE: Phoenicia

1650-1180 BCE: Hittite Empire

1550-1069 BCE: New Kingdom of Egypt

550-332 BCE: Achaemenid Empire

332-64 BCE: Seleucid Empire

64 BCE-394 CE: Roman Empire

394-635: Byzantine Empire

619-629 CE: Sasanian Empire

636-661: Rashidun Caliphate

661-750: Umayyad Caliphate

750-1517: Abbasid Caliphate

1099-1291: Kingdom of Jerusalem

1102-1289: County of Tripoli

1250-1516: Mamluk Sultanate

1516-1842: Emirate of Mount Lebanon

1516-1918: Ottoman Empire

1843-1861: Double Qaim-Maqamate of Mount Lebanon

1860: civil conflict in Mount Lebanon and Damascus

1915-1918: Great Famine of Mount Lebanon

1920-1926: State of Greater Lebanon

1923-1946: Mandate for Syria and the Lebanon

1926-1943: Lebanese Republic

1943-present: Republic of Lebanon

1948: Arab-Israeli War

1975-1990: Lebanese Civil War

1976-2005: Syrian occupation

1985-2000: South Lebanon conflict

2005: Cedar Revolution

2006: Lebanon War

2006-2008: protests

2007: Lebanon conflict

2011: Intifada of Dignity

2019: 17 October Revolution

2020: Beirut explosion

2021: Beirut clashes

Economy

Lebanon mainly imports from the European Union, Türkiye, and China and exports to the European Union, the United Arab Emirates, and Switzerland. Its top exports are diamonds, polyacetals, and gold.

It has natural gas, limestone, oil, and salt reserves. Services represent 83% of the GDP, followed by industry (13.1%) and agriculture (3.9%).

Lebanon is a member of the Arab League, la Francophonie, and the Organization of Islamic Cooperation.

Demographics

95% of the population is Arab, while Armenians make up 4%. The main religion is Islam, practiced by 55% of the population, 27.6% of which is Sunni.

It has a negative net migration rate and a fertility rate of 1.7 children per woman. 89% of the population lives in urban areas. Life expectancy is 78.3 years and the median age is 31.3 years. The literacy rate is 96.7%.

Languages

The official language of the country is Arabic. French is spoken by 40% of the population.

Culture

Lebanese culture has Persian, Greek, Roman, Arab, Ottoman, and French influences. Lebanese people are very gregarious.

Men traditionally wear a shirt, a dark vest, baggy pants (sherwal), a belt, and a headdress. Women wear a shiny dress (gambaz), a wide belt, and a conical hat with a long piece of silk (tantur).

Architecture

Traditional houses in Lebanon are made of stone and wood and have flat roofs and terraces.

Cuisine

The Lebanese diet is based on fish, meat, pulses, and vegetables. Typical dishes include bamieh bi-zeit (okra and tomato stew), kibbeh (fried balls made of spiced meat and bulgur), sayadieh (seasoned fish and rice), sfouf (an almond-semolina cake), and tabbouleh (a salad of bulgur, onion, tomatoes, and parsley).

Holidays and festivals

Like other Christian and Muslim countries, Lebanon celebrates Epiphany, Armenian Christmas, St. Maroun Day, Feast of the Annunciation Day, Good Friday, Easter Sunday, Assumption, Christmas Day, Islamic New Year, Ashura, Mawlid, Eid al-Fitr, and Eid al-Adha. It also commemorates New Year’s Day and Labor Day.

Specific Lebanese holidays include Rafic Hariri Memorial Day on February 14, Liberation and Resistance Day on May 25, and Lebanese Independence Day on November 22.

Independence Day

Other celebrations include the Aerial and Circus Arts Festival, the Baalbeck International Festival, which features dance and music performances, and the Beiteddine Art Festival.

Baalbeck International Festival

Landmarks

There are six UNESCO World Heritage Sites: Anjar, Baalbek, Byblos, Ouadi Qadish (the Holy Valley) and the Forest of the Cedars of God (Horsh Arz el-Rab), Rachid Karami International Fair-Tripoli, and Tyre.

Ouadi Qadish and the Forest of the Cedars of God

Other landmarks include Jabal Moussa, the Mohammad Al-Amin Mosque, the Moussa Castle, Our Lady of Lebanon, and the Tripoli Citadel.

Tripoli Citadel

Famous people

Amin Maalouf - writer

Elie Saab - fashion designer

Fares Fares - actor

Jackie Chamoun - skier

Khalil Beschir - racing driver

May Ziade - poet and writer

Nadine Labaki - actress

Najwa Karam - singer

Ragheb Alama - singer

Rima Fakih - model

Rima Fakih

You can find out more about life in Lebanon in this post and this video.

[hkthatgffan]

With Hilda Season 3 almost here, I thought I'd share this cool thing the Hilda fandom refound recently.

Back in 2019 Dana Terrace tweeted a photo of her in this red coat and given she had blue hair at the time, a lot of people mentioned how she kinda looked like Hilda (this was not too long after season 1 had come out).

Eventually after all her pre 2020 tweets were deleted, it became a sort of lost media hunt and we finally refound it with the help of archivists who checked through The Owl House server.

Kind of a cool little bit of old trivia from back in the day. Also, you can seen in the background a bit of stuff for TOH too. This was about a year out from the show's first season and a few months after Hilda S1 came out.

Now we near the end of this amazing show. Be sure to watch it when it comes out!

[historyhermann]

LGBTQ Representation in Animated Series In 2020 and Beyond

In the past year, various series have premiered on broadcast television and streaming platforms with LGBTQ characters and diverse casts. While there is still progress going forward, as every single major studio had failing, poor, or insufficient ratings for LGBTQ-inclusive films in 2019, according to the recent Studio Responsibility Index released by GLAAD, there were a number of LGBTQ characters in animated series which appeared in 2020 on platforms such as Netflix, HBO Max, CBS All Access / Paramount +,  YouTube, Cartoon Network, Rooster Teeth and Syfy’s TZGZ animation block, with hope for more in the years to come. Despite the dismal events of 2020, these series are making a big impact when it comes to interesting, strong, and complicated stories for LGBTQ characters, and should be praised for that, regardless of whether the shows are aimed at young adults, children, or mature adults.

Reprinted from Pop Culture Maniacs, my History Hermann WordPress blog on Jan. 7, and Wayback Machine. This was the third article I wrote for Pop Culture Maniacs. This post was originally published on December 29, 2020.

Three big animated series ended this year: She-Ra and the Princesses of Power, Kipo and the Age of Wonderbeasts, and Steven Universe Future. She-Ra began streaming on Netflix in November 2018, while Steven Universe Future, the limited epilogue series of the inclusive Cartoon Network series, Steven Universe, began in the fall of 2019, and Kipo, another Netflix show, began in January of this year. All three made strides in representation. In addition to those series, there were a host of new and continuing shows like the new all-ages series Cleopatra of Space, an existing all-ages animation titled DC Super Hero Girls, the Mexican animated series, Victor & Valentino, the mature animated series Star Trek: Lower Decks, and two YouTube-hosted series (Helluva Boss and My Pride: The Series) that all had LGBTQ characters as well. The same could be said about Magical Girl Friendship Squad, a wonderful mature animation which parodied the magical girl genre, specifically anime like Sailor Moon and Cardcaptor Sakura, its pilot series, Magical Girl Friendship Squad: Origins, the epilogue series titled Adventure Time: Distant Lands, and the children’s animated series The Owl House. Other series that shined included RWBY, a young adult animation, and the ongoing series, Big Mouth.

In 2020, lesbian characters appeared throughout these animated series. For example, the final season of Noelle Stevenson’s She-Ra ended with an episode where the two protagonists, Catra and Adora, shown above, kiss and save the world (and universe) from destruction, with the show’s villains defeated in one fell swoop. The show included a lesbian couple (Spinnerella and Netossa), and two other lesbian couples (Light Hope and Mara, Scorpia and Perfuma) were either shown in the show or identified by the show’s creators, while Huntara was shown to be a lesbian character who may have a crush on Adora. At the same time, characters like Pearl and Garnet (a fusion of two Gem beings, Ruby and Sapphire) were shown to be lesbians in the original series, Steven Universe, but not in the epilogue series. Even so, Bismuth was implied to have a crush on Pearl. Additionally, the two moms of a superhero girl, Jessica Cruz (also known as Green Lantern), were introduced in an April 2020 episode of DC Super Hero Girls, while the two moms of Akila (Theoda and Pothina) were introduced in an episode of Cleopatra of Space.

Apart from these examples, Xochi was strongly implied to be lesbian and be in a relationship with Amabel in Victor & Valentino, as a planned date in the Season 2 episode “Carmelita” between Xochi and Amabel was unknowingly foiled by the show’s protagonists. In The Owl House, Amity, a teenage witch, who falls in love with Luz, was confirmed as lesbian by show creator Dana Terrace. Noting is the mate of Hover in the show My Pride: The Series and Ilia Amitola, who has a crush on series protagonist Blake Belladonna, and a lesbian couple (Saphron and Terra Cotta-Arc) appeared for brief moments in the eighth volume/season of RWBY. In the case of Magical Girl Friendship Squad, Daisy, one of the protagonists who is living with a brown-skinned woman named Alex, was shown to be a lesbian, whether through having an ex who worked at a local urgent care clinic named Yolanda or Pansy, the “monogamous live-in girlfriend” in one of the alternative universes. Additionally, Daisy was said to have slept with every barista in a local coffee shop, while Nut, the animal companion of Alex and Daisy, had a former relationship with Verus, the villain. In October 2020, the creator of Star Trek: Lower Decks, Mike McMahan, in an interview with Variety, confirmed that Captain Amina Ramsey was ex-girlfriend of Beckett Mariner at Starfleet Academy, and promised that the series would explore more LGBTQ storylines in its second season.

Gay characters also appeared in various animated series in the past year. For instance, Adora’s friend, Bow, in She-Ra, has two dads, George and Lance, while Rogelio and Kyle were hinted to be in a gay relationship, confirmed by series creator Noelle Stevenson. Furthermore, there were multiple gay characters in The Hollow, and a character in The Owl House, Willow, a friend of Luz, has two dads. While Corvin having a crush on a character only known as “Coffee Dude” in Magical Girl Friendship Squad was implied, it was Kipo which made headlines when it came to gay characters. That is because Benson comes out as gay to Kipo, the show’s titular protagonist, a half-Korean and half-Black girl, who is also half-human and half-mutant. He later has a boyfriend named Troy, and their romance is an important subplot in the show’s final season, as shown in the above image.

The same could be said for bisexual characters, to an extent. In She-Ra, Bow and Glimmer, two of the show’s main characters, were implied to be bisexual, as was Sea Hawk, due to his relationship with a princess named Mermista, and previous relationship with a man named Falcon. More significant was a bisexual princess named Entrapta, who is autistic and Luz, a teenage Dominican-American witch in The Owl House, who is shown, and confirmed, to be bisexual. A mature animated series, Harley Quinn, on HBO Max, focused on the relationship between two bisexual women, Harley Quinn and Poison Ivy, which blossoms with various kisses and a romantic ending to the show’s most recent season. Another mature series, Helluva Boss, which had a pilot in November 2019, showed a few episodes this year, which featured two bisexual characters: Moxxie and Stolas. In a bold announcement, Arryn Zech, voice actor of Blake in RWBY confirmed that she was bisexual in a video stream. Additionally, the fact that Ramsey, in Star Trek: Lower Decks was Mariner’s ex-girlfriend, that Mariner previously dated Steve Levy, and that, as McMahan put it, “every Starfleet officer is probably at the baseline bisexual,” with none intentionally made straight or cisgender, strongly hints that she is bisexual – or perhaps even pansexual, which wouldn’t be a first for characters in 2020, as Blitzo, in Helluva Boss, is pansexual.

Finally, there were various non-binary, genderfluid, and trans characters in animated series in 2020, a true sign that things are changing in the realm of animated television. For one, in She-Ra is a non-binary shapeshifter named Double Trouble, who has a pivotal role in the show’s last two seasons, Asher, a friend of Kipo, confirmed to be non-binary by those working on the show, and Y5, a teenage scientist and rabbit with an ambiguous gender. Steven Universe Future, on the other had at least two non-binary characters. For one, the non-binary and intersex fusion of Steven and his friend, Connie, Stevonnie, makes a reappearance in the series. Secondly, a non-binary person, appears and helps Steven get over his feelings of resentment toward his friends “leaving him” and is shown to be the partner of Sadie, a singer of a former band in the town. Apart from this, every single Gem being featured in the show is a non-binary woman, as asserted by series creator Rebecca Sugar. May Marigold in RWBY is a trans woman, as is a new character in Big Mouth named Natalie, and Jewelstar, voiced by a trans male actor, Alex Blue Davis, appeared in an episode of She-Ra.

And, perhaps the most interesting intersection of gender and sexuality in 2020 was the episode “Obsidian” of Adventure Time: Distant Lands, which focused on the relationship between a bisexual woman Marceline “Marcy” the Vampire Queen and Princess Bonnibel “Bonnie” Bubblegum, of a not-yet-known sexual orientation. In the final episode of the original series, Adventure Time, Marcy and Bonnie had kissed, making their relationship canon, with this episode giving more of their backstory and their relationship together.

With these 15 animated series, and others like The Loud House, BoJack Horseman, Castlevania, Hoops, and DuckTales, along with minor characters in Clifford the Big Red Dog and T.O.T.S, there is hope in the future for diverse storylines and expanded representation. For one, it is possible that Kipo will come back in 2021, not just in a comic form, but as a movie, as the series creator, Rad Sechrist, promoted a hashtag for a movie about Wolf, one of the story’s protagonists. Secondly, in January 2021, the final season of Carmen Sandiego will premiere on Netflix, which could end with a lesbian relationship between Carmen and Julia “Jules” Argent, and the new series, DeadEndia, streaming the same year will have a trans teenager named Barney as one of the protagonists.

Next year may bring the second season of The Owl House, with a growing relationship between the two teenage witches, Luz and Amity, a new season of the all-ages animation, Lumberjanes, the mature animated series Hazbin Hotel – created by the same people as Helluva Boss – chock full of LGBTQ characters, the series, Q-Force, which centers around a group of LGBTQ superheroes, the animated web series Gen:Lock, which features a genderfluid character named Val(entina) Romanyszyn, and the upcoming series S.A.L.E.M.: The Secret Archive of Legends, Enchantments, and Monsters. For the latter series, it has already been established that one of the protagonists (Salem) is non-binary and pansexual cryptid, joined by a gay photographer named Oliver, and an asexual psychic medium named Petra. If McMahan follows through on his promise in the interview he had with Variety magazine, the next season of Star Trek: Lower Decks will explore Mariner’s implied bisexual identity and if rumors are true, then the third season of Final Space will have LGBTQ characters. Similarly, the original pitches of Sara Eissa’s animated action-adventure series, Astur’s Rebellion, which Crunchyroll turned down this year, which has a diverse cast, and the 2d animated series Recorded by Arizal, the prelude which aired on Rooster Teeth, both had LGBTQ protagonists. If these series move into production, then this would expand further stories for LGBTQ characters in animation. So, there’s a lot to look forward to in 2021 in terms of animated series and these developments will undoubtedly affect the ongoing war between streaming platforms for more subscribers, profits for themselves, and film distribution itself.

© 2020-2023 Burkely Hermann. All rights reserved.

[yamanaka-lab]

2023建築レビュー#4

・建築レビュー＃4(設計者：Lütjens Padmanabhan Architekt*innen) 発表者 ：小俣 (M1) 講評者：池田

第４回建築レビューでは、「リュートイェンス・パドゥマナバーン・アルキテクテン」を取り上げた。

この事務所は2007年にトーマスパドゥマナバーンとオリバーリュートイェンスの２人によって設立し運営している。

彼らが掲げているのは「実用主義と多様性」である。

主にスイス郊外の住宅に焦点を当てて設計を行い、彼らにとっての住宅は、建築において最も生産的な分野であり、思考し、考察するの��最も適した分野である。建築が一種の高尚なものであり、歴史の深い宇宙からのアイデアや表現を使用し、材料、厚さ、脆弱性、ぎこちない形、断片化などの選択を通じて日常生活に再接続できることを目指している。

今回は、彼らの建築作品を３つ取り上げ、紹介を行う。

事例１『Therwil Terraced House』(2020)

一つ目は、スイスで戦後依頼人気の住居形態であるテラスハウスを独自に解釈した作品である。田園地帯を見下ろす森の近くに位置しており、このタイプの建物のモダンで反ロマンチックな特徴を取り入れている。

牧歌的な雰囲気とは対照的に、建物の形状は非常に合理的で、賃貸可能なスペースを最大限に活用するというプロセスの結果であるといえる。若干歪んだ平行線で区切られた住戸のと中央を貫くホールがテラスにいざなう明快な形式である。この建築の魅力は、奥行きと素材の混在するさまを改築、減築では無く、新築で表現している点であると感じる。

事例２『Waldmeisterweg』(2018)

二つ目に取り上げるのは、コンペによって選定されたスイスの低所得者、家族向け公営住宅の建て替え計画の作品である。敷地はチューリッヒの異質な居住構造を持つ典型的な戦後の郊外であり、ここにかつて建っていた3 階建ての住宅街に代わる 5 階建ての新しい建物を建設した。2～5部屋のアパートメント21戸が建設され、もともと存在していた住宅ストックがほぼ 3 倍になった。

この特徴的なフォルムは、もともと立っていた住宅画利用できていなかったデットスペースの活用、郊外住宅地独特の開かれた緑地への配慮等、外部的な要因によって決定している。プランの特徴として、中央のキッチンホールから各部屋にアクセスできるような、廊下の無いプランが全ての住戸で統一されている点があげられる。これによって全ての住戸が南側の開けた庭に面することになる。

そして最大の魅力は、キッチンホールとリビングホールの間に設けられたこの柱である。

基本的に内壁は煉瓦で積み上げられていますが、スパンの関係上すぐ後ろにある窓枠に構造補強が必要になった。そこで、単に窓枠を補強してディティールを崩すのではなく、杖のような柱を設けることが彼らの解答であった。冬になるとほとんど曇りで太陽の登らないスイスの気候特徴から、この柱に木の陰を設けている。これがリビングルークとキッチンホールをつなぐ役割を果たしており、実際の境界とのずれによって各部屋の流動的なつながりを実現しているといえる。

他にも、白と黒の人工石でつくられたピアノ階段や、完全に重なり合うことなく支え合うような印象を持たせる壁面パネルの組み合わせなど、一見すると工業的な住宅でありながら、彼らなりの美学が表現されていることが分かる。

ファサードには、ダークグレーに塗装された木材で作られた中央のフリーズによって水平方向に分割され、これによってこの建築は自律性を保っている。結果としてこの住宅は、低水準の賃貸料を維持したまま、独特の解像度を獲得している。

事例３『Zwhatt』(2019)

三つ目の作品は、チューリッヒ郊外の再開発地域の一角に建設予定の集合住宅である。「充分性」���テーマにスイスで建設する住宅の最も安価な方法を追求することが彼らのチャレンジであった。

ランドスケープアーキテクト等も参加し全体計画がなされ、今回取り上げる建築は向かいにある高層住宅の防音壁の役割も果たしている。

構成は非常にシンプルで、角層に設けると日射条件が悪くなってしまうバルコニーを２層に１つとし、住戸自体をメゾネットにしたうえで、上層階に進むにつれてセットバックさせることで採光を獲得している。

プランはこのように部屋の大きさごとに分けられ、反復する平面計上によって施工面での経済合理性を獲得している。また、階段部分を利用して空間を区切りながら、狭小ながらも多様な使われ方のできるフラットなプランである。

ここで、彷彿させるのがコルビュジェのユニテダビタシオンである。

隔層ごとのアプローチやメゾネット型の住居形態という意味では同じだが、アプローチが外に出てきていることでその関係性は大きく変化している。ユニテダビタシオンに対してこの建築では、アプローチとバルコニーが兼ねられていることで、このスペースが居住空間としても定義され、ある意味でより効率的な形態と言えるかもしれない。都市と繋がる1層目、プライベートな2層目というすみわけも可能である。

以上彼らの作品から言えることは、「彼らがつくっているのは現代スイスにおけるヴァナキュラー建築なのではないか」ということ。

ヴァナキュラーが土地の風土や文化から立ち上がるものだとするならば、現代の建築、特に彼らが挑戦するような住宅にとっては経済的な制約や周辺条件がまさに土地の風土であると見立てられる。その中で経済的な原理に裏打ちされながらも、それに押し流されない建築��して無駄な線は加えず彼らの独特な素材の豊富さや感性から生み出された自我、「小さく抗う野性的な強さ」が受け取れる。それが使い手に問いかける魅力に繋がるのではないかと感じる。

・引用

Therwil Terraced House / Lütiens Padmanabhan Architekten |アーチデイリー (archdaily.com)

アパート ウッドラフトレイル、チューリッヒ/スイス - Deutsche BauZeitschrift (ドイツ・バウツァイツリフト) (dbz.de)

建物の耐え難い軽さ (archpaper.com)

[zhihancui]

References

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Gaming      By    Jamie Watts      London, U. et al. (2020) 2K Games announce new bioshock, Thred Website. Available at: https://thred.com/tech/gaming/2k-games-announce-new-bioshock/ (Accessed: 12 October 2023).

Han, Y. (2020) ‘Organic Architecture’, JOURNAL OF ENGINEERING AND ARCHITECTURE, 8(2). doi:10.15640/jea.v8n2a5.

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HD wallpaper: BioShock, Columbia, video games, Tower: Bioshock, Underwater City, Digital Wallpaper (2021) Pinterest. Available at: https://fi.pinterest.com/pin/675399275366467985/ (Accessed: 12 October 2023).

Interior Design, reception area design, store design interior (2021) Pinterest. Available at: https://www.pinterest.com.au/pin/732046114430698814/ (Accessed: 12 October 2023).

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Morris, A. (2022) Sordo Madaleno Arquitectos creates alfresco feeling inside Mexico City Skyscraper Restaurant, Dezeen. Available at: https://www.dezeen.com/2022/08/18/ling-ling-restaurant-mexico-city-sordo-madaleno-arquitectos-interiors/ (Accessed: 12 October 2023).

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[esgdatainrate]

Australia Balustrade Forecast to 2031 with Key Companies Profile, Supply, Demand and SWOT Analysis

Australia Balustrade Market Statistics- 2027

The Australia balustrade market size was valued at $44.1 million in 2019, and is projected to reach $54.5 million by 2027, registering a CAGR of 4.0% from 2020 to 2027. The balustrade is a handrail supported by balusters, especially installed in balcony, terrace, and others. These balustrades are available in various sizes, patterns as well as materials for installation in residential and commercial spaces.

Rise in demand for commercial infrastructure developments in Australia drives the Australia balustrade market growth. For instance, Canberra’s largest independent hotelier DOMA built and inaugurated Little National hotel in Sydney in September 2020. Similarly, in December 2020, Australian boutique hotel group opened Lance more Crossley St. in Melbourne, which includes 113 private guest rooms with an exotic interior. Moreover, many commercial construction companies are engaged in business expansion in Australia to expand their production base and increase their production. Such factors offer lucrative growth opportunities for the market players during the forecast period.

In addition, surge in urbanization and population have fueled the demand for balustrade in residential and commercial spaces. Moreover, rise in demand for residential buildings is expected to continue to drive the Australia balustrade market growth. In addition, in June 2020, Prime minister of Australia announced the HomeBuilder scheme worth $688 million for Australians who are looking to build or renovate their houses. The grants are open to people whose income is less than $125,000 annually. In addition, in May 2020, Property Council of Australia (PCA) recommended a $50,000 new home boost scheme to help the building industry. However, the fluctuation in raw material prices may hinder the market growth.

The novel coronavirus is rapidly spreading across various countries and regions, causing enormous impact on lives of people and overall community. Originating as a crisis to human health, it now poses significant threat to the worldwide trade, economy, and finance. The impact of lockdown, owing to COVID-19 is vague and economic recovery of Australia balustrade manufacturers is completely based on its cash reserves. Market players can afford a complete lockdown only for a limited period, after which they would have to alter their investment plans. The Australia balustrade manufacturers need to emphasize on protecting their staff, operations, and supply chain partners to effectively respond toward immediate crisis and discover new ways of working after coronavirus cases begin to decline.

The Australia balustrade market is segmented on the basis of railing type, material type, and application. On the basis of railing type, the market is divided into interior railing, and exterior railing. On the basis of material type, it is classified into stainless steel, aluminum, wood, glass, and others. On the basis of application, the market is divided into residential, and non-residential.

Competition Analysis

Key companies profiled in the Australia balustrade market report include Absolute Balustrades, Advance Metal Industries (AMIA), Aluline, Aluminum Balustrades, Ammi Balustrades, Balustrading WA, Betta Balustrades, Oxworks, Protector Aluminum, and Ullrich.

Full Report With TOC:-https://www.alliedmarketresearch.com/australia-balustrade-market-A11093

[kyuuzeroichi]

Grim Reality

Reality TV, a sub-genre of television that takes a glimpse of a person/ people’s lives and broadcasting to the general public. Due to its nature, it elicits conversation on the choices and behaviours of the “contestants”. Previously, if one was in need of discussing the matters that had recently unfolded, they would have been only been able to converse with people in their immediate vicinity, i.e. immediate family and friends. But as the era of social media has risen, we have the opportunity to speak to those on the opposite side of the country, and depending on the popularity of the show, the opposite of the world. The word of the public are generally on the kind/ wittier side, however some may have a harsher judgement.

Terrace House, is a reality TV show available on Netflix that is based in Japan. The charm of this show is in its simplicity. The show provides a house, two cars and that’s about it. As said in the introduction of the show, “There is no script”. It brings together 6 strangers into one house, 3 boys and 3 girls, and sees how the interact with each other. Participates have the freedom of coming and going, commuting to their jobs, attending events and interacting outside of these walls. If a contestant decides to leave the show at any point in time, they are free to do so, and another stranger will come in and take their place. During the intermission of each episode, there are a panel of commentators that reflect the recent events of the week. The show advertises itself as a raw, unscripted view into the young adults of Japan, until recent events. The legitimacy of the show had been put under a spotlight as one of the participants was victim of cyberbullying and ultimately took their own life because of it, terminating the show for the season and perhaps for the foreseeable future. As it is the responsibility of the editors and partially the producers to oversee and portray the participants in a certain light, putting content of the show over ethics. “The focus on ethics in reality television is not, I imagine, going away anytime soon, and reflects a broader attention to the ethics of television and the media.” (Ruth Deller 2019) Deller, R. A. (2019). Reality television : The tv phenomenon that changed the world. Emerald Publishing Limited

Romano, A, 2020, “The tragic lie behind the beautiful dream of Terrace House”,vox.com/2020/6/5/21273888/terrace-house-death-hana-kimura-what-happened-netflix

[coolchevistianofficialsite]

Normalmente, me vale madre cuando dicen que odian Primos, sé que la mayoría que se quejan ni siquiera la verán cuando se estrene y van a chillar cuando sea renovada para una segunda temporada, pero realmente desear que se vuelva lost media solo por un Intro de 46 segundos se me hace una falta de respeto a todo el equipo que fue puesto en el mismo saco de boxeo por las declaraciones de una actriz de voz.

Bueno since nobody asked, i will contradict this statement as person with more knowledge on the industry specially since i've been covering Disney TVA for 8 years also im Mexican who has stayed more neutral on the whole controversy additionaly anything involving Harvey Beaks/Big City Greens alumni projects interest me and have done research in every BCG Alumni project at Disney.

Before starting, i recommend these videos who gave a more neutral look to the series.

I want people to understand that a show from concept to greenlight to release takes alot of time, the following arguments are from multiple interviews with Natasha Kline and the Primos team from 2021-2023.

1- Primos originated from 2017 and was pitched and rejected by Disney the same year, it wasn't till 2019 when the project went back to Disney TVA development and was greenlight on November - December 2020. This is common on the industry for example Pedro Eboli (Keep that person in mind) started on Disney TVA development on 2020 and left on 2021 due COVID-19 cuts at Disney, Eboli returned to Disney TVA Development Summer 2023.

2- From multiple interviews, animation festivals and podcasts where Kline was invited, the series is meant to represent the chicano culture on Los Angeles, fellow workers like Sage Cotugno (Owl House), Megan Nicole Dong (Centaurworld) have stated this as they grew up on those small towns on L.A where families from Mexican-American inmigrants are very frequent. The show is meant to represent the cultural clash between how a American-Mexican who mostly grew up within the American culture meeting their Mexican roots within their extended family from Mexico. (You can see the "Hollywood" sign on the intro)

TLRD: That 100% Molly McGee but as a show for chicanos

3- The crew from Primos spans from The Owl House and Amphibia and both Matt Braly and Dana Terrace have shown support to Kline for the project. The show has a heavy Mexican-American crew, unlike people say, other people who have showed and giving their blessing to Primos are crew members and lead creatives are from the same shows/films with latino characters that animation twt are using it to trash Primos. (Spiderman In To Spiderverse, Onyx Equinox,Maya and The Tree, Casagrandes, Victor And Valentino, Hamster & Gretel, The Proud Family Louder And Prouder, El Tigre: The Adventures of Manny Rivera etc..)

Pero no le digas a nadie

4.- Is wild to judge a show only on a leaked pilot from 2019 who will get changed in the final product and a Theme Song who probably will be changed based on the delays than a entire 30 episode season who hasn't even aired yet, specially since staff members from other Disney TVA shows have said that the show is good. I know Kline since the early Big City Greens days and she isn't this super evil creator like Butch Hartman or Chris Savino.

5- When the main target demographic that you’re trying to appeal to is rightfully calling out your show for being tone deaf and racist. Primos criticism from latinos are mostly jokes and memes for shitpost usar eso como "fair criticism" es una mamada y lo sabes, the majority of the videos on Youtube from latinos are either rage bait channels or people who wanted to jump in the trend of the moment, the majority moved to either trash The Little Mermaid (2023) or that McDonalds Japan AD "Este comercial hizo a los PROGRES enojar" o "La Sirenita PROGE de Disney esta fracasando"

MUCHO OJO la respuesta de Velasco y Terremoto Heights si tienen mi apoyo de ser criticados.

6- Mexicans and Latinos have told me trought social media that they never planned to watch the show anyways, they where jumping the badwagon of the moment and never cared for Disney TVA shows overall

7- Then it’s time to just scrap everything and go back to the drawing board.

Funny beacuse there's a looming Animation Strike this summer for unfair conditions, crunch and abuse from CEOs and studios so saying this....... is a choice....... also they are doing it, the infamous character "Cookita" got renamed to "Lucita", it's obvious that the Theme Song is getting changed and probably Terremoto Heights is getting changed.

Unrelated to OP but famous Mexican Actress from the Era de Oro del Cine Mexicano Angélica María aka "La Novia de Mexico" is voicing Tater's Grandma "Buela" and Xolo Maridueña from Blue Beetle and Moon Girl fame will be a guest star so Mexican and Mexican-American celebrities are ok with the show overall

8- Disney despite it's hypocrisy and being a bad company overall is the only studio accepting original animation ideas from latinos or with latino mcs, we have SuperStar which it's cast call reveals that the main character Alejandra Fuentes is latina, Neon Galaxy supposedly stars a latine trans princess, Pedro Eboli will become the first Brazilian in having a Disney show, The Proud Family spin-off focusing on LaCienega and The Boulevardez and Jose Zelaya having a preschool show with a Salvador mc.

TLRD: No estoy diciendo que de a huevo te tenga que gustar el show pero desear que se vuelva lost media por una controversia causada por una sola actriz de voz es de perdedores...

I normally hate it when a show ends up becoming lost media, but in all honesty, Disney should have just quietly shelved Primos after the controversy.

When the main target demographic that you’re trying to appeal to is rightfully calling out your show for being tone deaf and racist. Then it’s time to just scrap everything and go back to the drawing board.

Pushing the release date to 2024 and then attempting to stealth drop the show is um, certainly a choice.

[kobe-1974]

handcrafted

[genieyea]

テラスハウスのかおりさんです！

赤色が似合いますね

Kaori-san from Terrace House

[itsya-eonni]

Man I binged watched the new season of Terrace House and now I have to wait....

Send help.

[moonchildfourtimes]

im watching terrace house because im a trash TV lover and im on episode 2 where Shohei is being questioned by Haruka about his work ethics etc. im a lot like Shohei, my interests are scattered and I like to do all of those things. i personally don't believe in limiting myself but ofcourse it's cool when people have their passion their 'thing' that they focus on. he was expressing that he doesn't care about the society who judges him and people with that mentally will grow old and die. he said he likes tempura but he wouldn't like it if he ate it everyday and it makes sense to me?

it cut to the panel completely misunderstanding him and them being said people who are judgemental. shohei never said people who believe in dedication are old and will die literally, he meant they are narrow minded people who will never understand where he's coming from so they just don't exist for him? it makes me so upset how they insulted him and asked for authentication of whatever he does and only if he excels his point is valid. they are not being lazy or "wishy washy" like Haruka said. both of these people are valid and there is no need to subject people who haven't found that ONE thing to constant judgment. the work you do doesn't become redundant if it doesn't recieve success. people are different, they will view life differently. it is okay not to have dreams, it is okay just to live <3

[vectorbelly]

Now you can play Terrace House from the comfort of your home! Terrace House: Rolling New Dice is a simple RPG about chilling, dating, and roommate drama. Achieve a full character arc while commenting on your own story as one of the panelists. What better escape from being stuck in your house than to pretend you're stuck in Terrace House~

[silversoma]

TW: Suicide

I had plans to do a piece for her weeks ago as I caught up with Terrace House on Netflix USA. I wish I had done it earlier.

I’m so so sad to hear about Hana Kimura’s passing... while watching Terrace House I could easily see myself being friends with her.

Hana was charming, witty, honest, and stood by her friends. I saw myself in her, someone who desperately wanted to be loved and was excited and working to find it. I wanted do draw her a tribute that represented who she was in life. I am sad to know that she was in so much pain that she felt she needed to leave this world.

My prayers go out to her family and friends in this awful time.

If you or someone you know needs help please offer support and love. Bullying is never acceptable. There are people on the other end of your tweet. Act with love.

[khakilike]

This scene is haunting me.

I didn’t watch Yosuke’s season, so this didn’t hit me all that hard when I first saw it. But now? Ton of bricks.