#I don’t know how old exactly that is for a Transformer but they’re an adult at least

[quibbs126]

So I made the silly megop comic because I said I would, and I figured might as well since I’m here

I don’t think I got the poses, dialogue, timing and expressions down 100% right for maximum comedy, but hopefully it’s close enough that it’s still funny. I may or may not have limited it to only four panels so I could post it on Twitter easier. If there were no limits, there’d be two panels of silence, to show how long it went on, and silence basically being an admission

But anyways, to reiterate what I said last night when explaining this idea: basically someone kidnapped the secret megop kid (Megatron had them not long after their breakup, he sent them away as soon as possible, and did not tell Optimus) bc there’s rumors about that they have one, and they planned to use them as a hostage to get the two leaders to do what they want. Unfortunately they are not aware that Optimus doesn’t know about the situation, so it’s not going to go exactly how they planned

Optimus is very confused because he’s been 100% sure they don’t have a kid. Megatron knows they do, but isn’t sure if the kidnapper is legit or not and actually has the kid, and is also panicking because now Optimus is at risk of finding out, and he’s one of the top people he doesn’t want knowing (“one of” because Starscream’s another person on that list). But his internal questioning and his external silence is not helping the situation, because now it’s putting the possibility in OP’s head

I’ve thought more on the scenario after this, but maybe I should just save it for another time

I used the g1 designs because I know them fairly well, but it probably isn’t the g1 versions of them dealing with this

The drawings themselves are crude, but this is poorly drawn comics, this is how it’s supposed to be

Anyways yeah, take the funny. Or at least I thought it was funny

[lilislegacy]

Okay, I’m so gonna get hate for this. And it will probably get about 4 notes. This is, by far, the most opinionated thing I have ever posted on here. If you can’t tolerate criticism towards Rick Riordan, the books, or the TV show, please keep scrolling. My goal is NOT to change your mind or start arguments.

I also want to preface this by saying that I love and respect Rick Riordan (even if I disagree with him on things and don’t like some of his choices) and fully acknowledge that he has the right to do whatever the hell he pleases with his own series. I also want to say that I love Annabeth Chase (both the book and tv show version) with my entire being and you will never find me being an Annabeth hater. She’s my girl.

We good? Okay cool. So here’s the thing: I’ve seen a lot of people on here saying things like “If you didn’t like the books, you just don’t know how to have fun,” and “The new book haters are just mad that they aren’t the target audience anymore,” and (my personal favorite) “Nothing in the books has changed, only the readers have.”

And while I see your points, and I respect you, allow me to show you something. Because of the 10 picture limit, I am only going to focus on one specific change: Annabeth’s view of Percy.

WOTTG: Annabeth is surprised to be comforted by Percy

Past Books: Percy is constantly comforting Annabeth

WOTTG: Annabeth is shocked when Percy is smart

Past Books: Annabeth often points out that Percy is intelligent

WOTTG: Annabeth thinks Percy can’t do anything on his own, and Rick communicates that Annabeth is always saving his ass

Past Books: Percy is ALWAYS watching her back, and saving her ass just as much (and Annabeth admits that)

I could put a hundred quotes in here. I could go on and on and on. But I can’t, and I won’t.

My problem with this new book is NOT that it is more goofy than serious. My problem is NOT that little things have changed. My problem is NOT that it’s just for fun. My problem is NOT that it’s much more childish. (And by the way, I’ve read PJO and HOO as an adult, so it’s not like I was a child when I read everything else and am now an adult reading the new ones.) I really did like and enjoy many parts of this book.

My problem is that the characters (especially Annabeth) have flat out changed—in bad ways—and we have no choice but to accept it as canon. My problem is that Rick, while trying to merge his books with his new TV show project, is changing the entire personalities and past behaviors/ tendencies of the characters.

I loved Chalice of the Gods. You know why? It was fun, goofy, and showed the characters that we know and love being happy and adorable. I strongly dislike Wrath of the Triple Godess because the characters—no matter how adorable and happy they might be—are no longer the ones we know and love.

My problem is that Rick Riordan fully admitted that he no longer considers the old book characters when he writes the new books. He is now purposefully incorporating his own personal mixture of the book characters and tv characters and writing those versions instead. Because of his desire to change and transform the series, I doubt he’s even read the original PJO or HOO books in years, which is why everything is so inconsistent. The old book characters—the ones who made the series what it was—are gone. And that is not my opinion. Rick fully admits that he doesn’t imagine them when he writes anymore. Don’t get me wrong, I LOVE the tv show actors. I adore Walker and Leah and Aryan with my whole heart, and I wouldn’t trade them for anything. But the fact is: they will never be exactly like the book characters. It’s impossible for actors to become the words on a page. They’re their own unique version! And likewise, you cannot turn actors into print. It doesn’t work! And why would you try? The books versions were perfect as they were. And the disney kids need to make the characters their own. The two versions can exist side by side, equally as wonderful, and still be gloriously different. We should celebrate the uniqueness of both. But instead, Rick is attempting to merge them into one. And in my opinion, it’s just hurting them both. And I’m gonna get real brave by saying this, but do you want my honest prediction? If he keeps doing what he’s doing now, the TV show is going to get cancelled and the books are going to turn into a joke. I so, so badly hope that this doesn’t happen! I have loved Rick and PJO for many, many years. I badly want both to thrive. But what is going on right now… it is not working, no matter how much we all want it to. And speaking as someone who knows people in the TV/Film industry, I am sadly not the only one who thinks the show is gonna flop. Which is devastating, because Rick Riordan deserves a redemption on the big screen, and the incredible actors deserve to bring this series to life in a new way.

I am not trying to force my opinions onto anybody. You are welcome to disagree with me and move on. I am not saying that I’m right and you’re wrong. If you disagree, that’s okay. If you agree but you don’t have a problem with it, that’s okay. In fact if other people have literally no issues, that makes me somewhat happy. And if you loved the book, I’m honestly so stoked for you. Feel free to just keep on scrolling, my friend.

But me? I’m sad. I’m really, really freaking sad. And I’m a little angry too, even if I don’t have a right to be. I can’t help it because I’m only human. But this is how I—and a lot of other people—feel. And you know what? That’s okay too. Because the fact of the matter is:

Annabeth isn’t the same Annabeth anymore. And Percy isn’t the same Percy anymore. And it’s not because they went through trauma, or because time has passed. It’s because Rick Riordan doesn’t have any interest in writing those versions of them anymore. And I think the comparisons between the old and the new show that fact pretty clearly.

[sharkaroni]

Chapter 10 of The Plum Calendar is up!

In this chapter, Reigen and Serizawa finally have a talk. In the end, they’re wet, cold, covered in mud, one of them’s bleeding and they’re both halfway deaf. But to find out how that happened, you’re just gonna have to read the very final chapter of The Plum Calendar.

” Like I said, aside from the constant overhanging threat of being eaten, it was one of my better vacations to date.” The fact being, it was one of exactly two vacations Reigen had taken in his entire adult life, and the other one had been pretty severely dampened by a very predictable bout of salmonella. ”Besides, you, uh, definitely did your part,” he said, looking the other way. ”You’re a pretty smooth talker, when you wanna be. And you’re not a bad kisser, either.” Reigen didn’t have time to reflect on what a stupid, idiotic thing that had been to say, because he, along with all the woodsy debris on the ground, was being launched a good few meters up into the air by some unseen psychic force.

The Plum Calendar has been a fic about pretending to be engaged to the secret love of your life so a 200-year old ghost won’t marry him and keep him in the ghost dimension forever. But it has also been about not being good enough, about the concept of deserving, about what it means to be a liar, and whether or not that sort of thing is innate.

For those of you who have been reading along, thank you, thank you, thank you, thank you. I can write 30 000 words of someone else’s sappy feelings, but I can never express how much I’ve loved having you read my story. And for the rest of you,  maybe check it out? I don’t know, you might like it.

[worldofstoriesanddreams]

The Timeless Appeal of YA Fiction: Why We Never Outgrow It.

Ever picked up a YA book “just for nostalgia” and found yourself completely hooked—like, staying-up-past-midnight kind of hooked? Yeah, me too. There’s something magical about YA fiction that pulls readers in, no matter their age. It’s more than just teenage drama and coming-of-age stories—it’s about adventure, identity, and emotions so raw they practically jump off the page.

But what is it about YA books that make them so impossible to outgrow? Let’s talk about it.

1. YA Fiction is About Growth—And We Never Stop Growing

YA novels are built around self-discovery, identity, and transformation—things that don’t just stop when we hit adulthood. Whether it’s figuring out who we are, making life-altering decisions, or dealing with relationships, those themes hit home no matter how old we are.

Think about Katniss Everdeen in The Hunger Games or Harry Potter facing his destiny—these stories aren’t just about being young. They’re about courage, choices, and standing up for what’s right. Even in my novel The Quest for Immortality, the characters grapple with the fear of change and the pursuit of something bigger than themselves—something that resonates with all of us.

2. The Emotions Are Real and Raw

YA books don’t sugarcoat emotions. They capture first loves, heartbreaks, friendships that feel like lifelines, and losses that shake you to the core. The stakes always feel high because, when you’re young, every moment feels like the most important one of your life.

Honestly, sometimes adult fiction gets too caught up in being “literary” and forgets to make us feel something. But YA? It throws you right into the deep end. If you’ve ever told yourself, “Just one more chapter,” and suddenly it’s 3 a.m., you know exactly what I mean.

3. YA Books Are Addictive (In the Best Way)

You know how some adult books take forever to get going? YA fiction doesn’t play that game. It grabs you from page one and doesn’t let go.

That’s something I aimed for in The Quest for Immortality—fast-paced storytelling that keeps you flipping pages, mixed with mystery, adventure, and deep emotional stakes. Readers want excitement, and YA delivers.

4. Nostalgia Hits Hard

For adult readers, YA is like a time machine. It brings back the intensity of youth—the thrill of possibility, the way friendships could mean everything, the sheer excitement of not knowing what’s next.

It’s not just about reliving our younger years—it’s about remembering the emotions that made them unforgettable. And let’s be real, sometimes it’s just fun to escape into a world where you don’t have to worry about taxes.

5. YA Fiction is Always Evolving

One of the coolest things about YA is that it never gets stale. It’s constantly pushing boundaries, exploring new voices, and tackling real-world issues—mental health, identity, diversity—while still delivering page-turning adventures.

Whether it’s fantasy, sci-fi, contemporary, or dystopian, YA always brings fresh perspectives. It grows with its readers, which means there’s always something new to discover.

So, Are You Ever Too Old for YA?

Absolutely not. The idea that YA books are only for teenagers is so outdated. The best stories transcend age, and YA fiction has a way of pulling us in—whether we’re 16 or 60.

So next time someone asks why you’re still reading YA, just smile and hand them your favorite book. Who knows? They might rediscover the magic for themselves.

What’s a YA book that’s stayed with you over the years? Let’s chat in the comments!

[periwinckles]

Please tell me you have a middle name chapter 15

“Good afternoon , can I help you?” 

Mrs Everdeen’s voice startles me, as I climb the three steps to their small front porch. I postponed my visit here for the afternoon. First, because I had work to do in the morning and second, because I reasoned Katniss would be back from the woods by now. Deep down, I also hoped her mother would be out on house calls, but I guess no such luck. 

Her hands are dirty and I notice the small patch of land with rosemary, mint and several other herbs I don’t recognise from up here. I must have missed her, kneeling on the ground. 

“Hello Mrs Everdeen.” I finally manage to say. “I’m a friend of Katniss and Prim. My name’s Peeta.” 

I extend a hand to her even though hers are covered in dirt. “Peeta Mellark?” She asks, rubbing her hand in her apron and taking mine in a brief handshake. 

“Yes!” I confirm, still suspicious that she would recognize me. I wonder if she kept track of my father’s sons the same way he kept track of her daughters. 

“I’ve heard a lot about you, Peeta Mellark.” 

She gives me a heartwarming smile and suddenly I’m blushing to the root of my hair. So it’s not because of my dad that she knows of me. I know for a fact that he hasn't spoken to her in years.

“I take it you’re here to see Katniss?” She says circling around the house and gesturing for me to follow. “They’re in the backyard, tending to our goat.” 

The box with the slice of cake is as heavy as a sack of flour in my hand, and don’t get me started on the two letters in my back pocket. How exactly am I supposed to handle this? Sorry, Mrs Everdeen, your teenage daughter has a suitor, but he’s making his case to you oldest daughter because pretty much everyone considers her the responsible adult and effective guardian of this household.

We reach the backyard and I can’t stop myself from smiling. Prim is brushing the goats hair, and Katniss is laying down, stretching her arms like a cat, basking in the sunlight, her shirt riding up letting me catch a glimpse of her midriff. She’s wearing pants, but has them rolled up to her knees to enjoy the sunlight in her skin. There it is. Black. Unmistakable. Unequivocal. The most glorious handwritten P I have ever seen. 

“Peeta, what are you doing here?”  Prim asks, delighted, when she sees me. Katniss instantly sits up, and rolls her pants leg down.

“Hello Prim.” I greet them with my free arm. “Katniss.” 

We haven’t spoken since last Tuesday. I don’t even try to hide my staring at her leg, as if I could see through the fabric covering it. Her gaze drifts to mine as well, but I’m wearing pants today. Her eyebrows lift in question. Missing the shorts, are we? 

“To what do we owe this visit?” Prim asks reluctantly, as if she’s afraid to interrupt something and we both avert our eyes from each other. 

“Oh, I have something for you, actually!” I tell her, extending the small white box. 

“Peeta…” Katniss starts, clearly upset. “You need to stop giving away merchandise, it’s not…”

“It’s not mine!” I tell them both and she’s taken aback by this. 

"Who is it from?” Prim asks, taking the box from my hand. “IS THiS BIRTHDAY CAKE?” Suddenly the almost fifteen year old is jumping up and down as if she’s ten again. “Look mom, it’s cake, with frosting and everything!!” 

(you know the drill. Read the rest on AO3 be a doll and leave me a comment!)

[merrybrides]

Everything You Need to Know About Flower Girls

Flower girls are adorable additions to any wedding. Even if kids aren't your thing, it's hard to deny the cuteness that comes with a little tot all dolled up in tulle throwing petals down the aisle.

What Is a Flower Girl?

A flower girl is typically the youngest person in the wedding party and precedes the bride down the aisle. The tradition dates back to ancient Rome, where the flower girl carried wheat and herbs for the bride and groom.

The History of Flower Girls

Upper-class Greeks and Romans often included little girls in the wedding procession. They would walk ahead of the bride, “showering her path with grains and herbs,” which of course represented the collective hope that this woman could also make little humans just like the ones tossing oatmeal, lest she be doomed to a life of barren dread.

The interpretation of this tradition got a little looser and a little weirder around the Elizabethan era when the inclusion of children in the wedding party itself was more a reflection of how the culture idealized childhood, seeing kids as “symbols of hope and innocence.” Since the flower girl walks down the aisle before the bride, she's meant to represent a younger, more innocent version of the bride and the transformation from child to adult.

Flower Girl FAQs

Who should be the flower girl?

Flower girls can be nieces, cousins, or even your college best friend's daughter.

How old should they be?

Usually, they range from three to eight years old. You can, of course, go with someone younger as long as you're confident in their ability to get down the aisle.

Can I have more than one?

Definitely! If you have a big family or a bunch of nieces, it might be a good idea to include everyone to avoid anyone feeling left out. If you've decided to include several little attendants in your bridal party, there are many duties they'd no doubt love to take on. Ask one flower girl to walk with you and carry your train while another helps escort a beloved pet down the aisle. They can hold hands with each other as they walk down the aisle or opt for a wagon ride with the eldest flower girl pulling the littlest ones.

What should they wear?

Traditionally, the flower girl's dress is similar to the bride's gown. But you can also have her dress mirror that of the bridesmaids, whether that's incorporating a similar print or the same color. 

Who should pay for the dress?

Typically, their parents are expected to pay for the outfit. If what you're envisioning is a bit pricey though, you might volunteer to cover the cost.

What are they responsible for exactly?

Their main duty is to charm the pants off guests, leaving them smiling from ear to ear. Some are very shy and walk timidly down the aisle while others take their responsibilities seriously, meticulously placing each petal in the 'perfect' spot for the bride. Mostly, they're there to set a cute tone for the bride to walk down the aisle.

Do they have to throw flowers?

Nope, they can carry everything from colorful balloons to pinwheels or a bottle of bubbles to blow as they walk down the aisle. The possibilities are endless.

How will they process?

If the flower girl is old enough to walk on her own, she should head down the aisle after the wedding party and before the bride. If they're too young to walk or tend to be a little fussy or shy, involving their mom or dad to help carry or hold their hand is also an option. The biggest concern brides have is wanting assurance that the flower girls will fulfill their duty without getting stage fright. Don’t worry to much because, inevitably, guests will coo at them or coax them down the aisle somehow.

Do I also have to have them at the reception?

Not if you don't want to. If you're having a no-kids-allowed wedding, tell the flower girl's parents in advance and help to arrange a babysitter to look after them as the party happens.

Should I get them a thank-you gift?

It's a nice idea, especially if you're getting the rest of your wedding party something. It doesn't have to be that expensive, a doll or a personalized gift box are just some ideas.

Flower Girl Alternatives

You can choose to skip out on having flower girls altogether, or you can get creative by giving the role to a friend or family member that isn't already a part of the wedding party. You can even give this role to a pet who is trained and able to follow the cue of when to walk down the aisle. Some people are inviting their grandparents to walk down the aisle instead. The idea is to incorporate them into your big day and honor them in some way. The act became somewhat of a trend last year and has made the concept of "flower grandmas" a thing.

If you still want the little ones to be a part of your wedding, but you're not into the origins of the flower-girl tradition, you can also have them be greeters at the wedding, waving to guests as they arrive to set a fun, cute mood. Or, if they're older and capable enough, recruit them to be the ushers who are typically responsible for handing out programs and escorting guests to their respective sides.

[cocogum]

Koroks are the bane of my existence.

(pointless ranting ahead)

You know that weird feeling that you get when you’re in the bathroom and you’re almost done doing the business but your booty hole is internally hurting cuz you keep forcing yourself but nothing is coming out despite the fact that you know it’s there and it won’t get out?

That’s what a korok feels like.

Every time I see these little feces roaming around the woods with their weak ass twig legs hanging out from their disgusting and musty body, it makes me wanna commit arson on their whole families.

I swear, when I say I LOATH these little shits, I really mean it.

Koroks were a mistake to be brought into life.

If I see even one of them doing something simple like breathing and standing, IT’S ON SIGHT.

I don’t know how some of y’all think they can be cute.

Like there really be fangirls looking at them and screeching about how their bodies look like marshmallows, how they move around with their little leaves, or how their voices sound adorable and innocent to listen to.

i’m sorry what?

what did you say?

Their voices????

How are you so delusional to the point where you would believe that their high-pitched ear-bleeding voices can be soothing to hear??

These rodents are nothing close to ‘innocent’.

You could be climbing a cliff with the utmost serious concentration you’ve ever pulled off and when you think you’ve almost climbed the whole way up, one of these freaks would suddenly pop up out of nowhere and jump at you, ruining all of your progress by making you fall into the dark pits of what we call DEATH.

They will not stop ruining your improvements and will look for any way to make your day a shitty one by making you subconsciously play their stupid game with them.

You have to let the game make you hear 900 times their stupid ass “YAhAHa YoU fOunD mE!” dialogue AND let them do their pathetic small (thank god) dance till they disappear.

You can also stop searching for them once you hit the number 441 cuz that’s when it maxes out your inventory but still, who the hell decided to stop at 441?

That’s not even a good number.

You couldn’t have just stopped at 444?

That number sounds much better than 441.

But anyways.

900.

Would you go that far?

They even specifically stated that you guys don’t have to catch all 900.

Like what kind of idiot would go around the WHOLE map to find exactly 900 koroks???

Not only is that shit so time-consuming AND there is no useful reward for getting them all, but you also have to carry these.

You have to carry these.

Your nasty ass has to carry feces.

And you know they’re feces.

Because once you give them all to the Deku Tree, he literally shoves them all together to make a golden shit.

The shits turned into one huge golden shit.

Are you proud of yourself.

Are you proud of accomplishing this quest.

How can you sleep at night not thinking about the things you had to do to acquire them.

How can you go up to your friends and show them what you accomplished.

Matter of fact, can you even consider this an ‘accomplishment’?

How dare you.

Remember when Koroks used to be kids?

Well they’re not kids cuz they’re technically adults but you know what I meant.

Yeah…

I sure miss that time.

I mean yeah they were called kokiris and this was pretty much an old evolution but still.

I miss when they used to look like that.

They were so iconic.

They weren’t a pain to catch, their voices didn’t sound too high pitched, they actually had personalities (can you believe that?) and one of them became one of the seven sages.

Now they just look like this.

Doesn’t feel the same when you compare them, now does it?

Looks disappointing right?

Comparing them next to each other almost makes you question how the hell did they end up this way.

But judging by their….uh…. ‘adorable transformation’ like some would say, (*gags*) I don’t wanna know how they turned out like this.

I just feel like the process would be…painful?

Cuz like…. how the hell does human skin turn into….uh. Well THAT.

That’s not-

That’s not possible.

Not even evolution can do that on its own unless they had some kind of shitty gene already placed in their cells to begin with.

I literally have no idea what I’m saying anymore.

I’m trying to come up with a logical explanation for this but I can see that I’m just pulling shit out of my own ass at this point.

I think there was a youtube video explaining that topic exactly but I don’t remember if I actually saw it or if it’s just my mind screwing with me.

Oh well.

Looks like we’ll never know.

I’m too lazy to search for it but if you know a video like that send it to me (put it on my wall or something).

So in short, koroks are something that exists now and if they ever touch me I’m calling the Guardians on their asses.

(also i used to think koroks were edible)

[goodlucktai]

Could you write something about natsume getting a hug?? Just, from whoever n for whatever reason. I keep thinking about how no one ever really hugs him n it makes me sad

x

The absolute last person Joji expected to see today was Natsume Takashi.

Joji slows to a stop on the corner of the street, a block away from the train station, and stares shamelessly.

It's been a decade since the last time he saw Natsume, but he recognizes him immediately. Of course he does. His light hair and eyes aside, Joji has thought about him on-and-off since junior high.

Joji remembers that rainy day when he was thirteen, an empty desk in the middle of his eighth grade classroom, Ito leaning over in his chair to whisper, "Did you hear? Natsume was in the ER. He almost died. The police are looking at his foster parents."

It was as if he'd been plunged into a pool of ice water. He sat there, frozen, while their teacher called them to attention for homeroom and announced that Natsume wouldn't be in their class going forward.

What was the last thing Joji had said to him? "It's no wonder your parents didn't want you." Why the hell had he said that? A book, if he remembers right. He'd lent it to Natsume and Natsume gave it back all water-damaged, like he'd gone for a swim with his backpack on. Natsume's eyes were on his hands, on the ruined book, and he'd tried to apologize, said he'd pay for it, but Joji just snatched it away, ticked off.

"This is what I get for trying to help you, I guess. It's no wonder your parents didn't want you."

Joji is almost twenty-four now. He's going into pediatrics. His fiance, Sakura, is a foster parent. She is currently the proud and fiercely protective mother of two beautiful twin girls.

Sora and Miu are terrified of adults and they go everywhere together and sometimes they make up stories. Sometimes they lie, about why their uniforms are torn, why they're home late, why their lunchboxes are covered in dirt. They have this look in their eyes sometimes like they're just waiting to get hurt again.

Sakura has the patience of a saint. She never raises her voice. She stitches their torn uniforms, replaces their lunchboxes, and, on more than one occasion, has marched into their junior high school and threatened the staff with physical violence if her babies come home with bruises one more time.

Needless to say, Sora and Miu adore her. It took them longer to warm up to Joji, but they're there now; no longer flinching when he moves in their direction, greeting him happily when he comes over for breakfast, smiling shyly when he staggers into the apartment underneath the weight of two giant stuffed rabbits that cost nearly half his paycheck, because it's their birthday, Sakura, they need them.

Joji tries to imagine someone telling them "this is why your parents didn't want you" and goes absolutely breathless with rage.

Natsume glances up from his phone to look right at Joji, as if someone had pointed him out. Caught staring, Joji shuffles in place for a moment, and then squares his shoulders and heads over.

He's expecting the Natsume of his memory; he's expecting him to curl his shoulders and duck his head, the way Joji's girls still sometimes do when a stern auntie wants to talk to them.

He's not expecting Natsume to level him with a clear, politely confused gaze. He pockets his phone, and shoves his hands into the front pockets of the cardigan he's wearing; a size too big, like something he borrowed out of someone else's closet, but it's a charming look on him. He's dressed well, in dark-washed jeans and white high-top sneakers, and his silvery hair is long, probably long enough to fall past his shoulders if he didn't have it piled up in a bun. There's a squat calico cat at his feet, glaring up at Joji with judgmental green eyes.

"Can I help you?" Natsume asks kindly. His voice is a shock to the system; Joji remembers him like it was yesterday.

"Oh," Joji says, stymied. It never occurred to him that Natsume might not recognize him in turn. "Um, I'm Watanabe Joji. We were classmates in eighth grade."

"That's right," Natsume says with gratifying quickness. He looks a little embarrassed now and returns Joji's short bow. "Sorry, it's been a long time."

And we weren't exactly friends, he doesn't say, but that common knowledge sits neatly between them.

"Ten years!" Joji replies with some forced enthusiasm. "Is that why you're here?"

"Sorry?"

"The, ah, reunion this weekend? Ito, from our homeroom back then, put together a whole thing. Our whole class is getting together for dinner and drinks."

It occurs to him that Natsume might not have been invited. Joji thinks that's less because he isn't welcome and more because Ito almost certainly didn't have his contact information. The few times his name has come up, Joji's friends have gone quiet and melancholy. A few of them are parents now, or aunts and uncles at least. All of them know better than they did when they were mean, shitty little teenagers.

Joji opens his mouth to assure Natsume that they'd love to have him, but Natsume cuts him off with a laugh.

It's not a mean laugh. It's not unfriendly in the slightest. But it stings anyway, because Natsume is laughing out of pure disbelief.

"No, no," he says, waving a hand, "god, no. Could you imagine?" he adds, glancing down at the cat. The cat huffs, settling a little more solidly against Natsume's ankle. "We're just passing through, actually."

"We?" Joji asks dumbly. Did he mean himself and the cat?

It's Natsume's turn to get cut-off, this time by a long, drawn-out shout of "Takashiiii!"

A short, russet-haired young man around Joji's age comes barreling down the sidewalk toward them at a flat-out run. Joji's first inclination is one of alarm, but Natsume steps forward with his arms outstretched, and the stranger collides with him in an embrace that looks like it hurts.

Natsume is laughing again, but it's softer this time. It's the warmest sound Joji has ever heard him make.

"What's this for?" Natsume is saying, patting him on the back.

"Just missed you," his friend replies.

"You saw him twenty minutes ago, Satoru," comes the exasperated call from further down the road, and Joji glances over to find a small group headed their way, laden with shopping bags.

"Yeah, exactly," Satoru says, leaning back without letting go, just enough to gaze up at Natsume with a cheeky grin. "I'm all Takashi-deficient. It's pretty serious."

"Sounds serious," Natsume replies, and agreeably keeps an arm wrapped around his shoulders as the rest of their group catches up.

A tall, dark-haired man stoops to pick up Natsume's cat, and it settles agreeably in the crook of his arm. The brown-eyed woman beside him lets out a coo, shifting all her bags to one hand so she has one free to scratch it behind the ears.

"We're being rude," the dark-haired man says in a soft, pleasant tone. "Who's this, Takashi?"

Natsume introduces Joji as an old classmate, giving absolutely none of their history away in tone or expression, but somehow all of his friends seem to clue in to something anyway. Their collective demeanor shifts, in an unidentifiable way, even if their polite smiles don't slip an inch as Takashi introduces each of them in turn.

All but Nishimura Satoru, still tucked up against Natsume's side, who gives Joji a positively poisonous look.

"Okay, Satchan, you're going to lose privileges if you can't be nice," Kitamoto says dryly, and extracts him from Natsume's person with a deftness that speaks of years of practice.

"Nooo," Nishimura says, but it's curbed quickly by Shibata shoving a bag at him and snapping, "Carry this! It's that stupid lucky cat statue you just had to have, and it's heavy!"

"It looks just like sensei! Tooru loves it, too!"

"I do," Taki admits.

It's a warm afternoon, right at the end of August, the sky turning golden with the beginnings of dusk. Joji still manages to feel cold.

He grew up, but Natsume did, too. He always regretted what he did, he always wondered if Natsume was okay, wherever he went, but Natsume hasn't seemed to spare him a second thought. He's got his own friends now; bright, kind people who look like they'd raise hell for him. Who run to meet him.

Joji missed the chance to have a place in Natsume's life. He's a footnote, now, and not a very good one.

"Jojojojo!"

The bright voices have him spinning around, forgetting everything else, and he lights up when he spots Sora and Miu waving at him from the other side of the street. Sakura has a firm hold on their jackets so they can't go spilling out into the street until the pedestrian crossing sign lights up, and then she releases them like a couple of eager hunting dogs.

Natsume's friends shuffle to one side politely, and Joji steps forward to catch his girls when they reach him. They're so beautiful and he missed them so much, this weekend they were away to visit Sakura's parents. He kisses them each on the head, and then kisses Sakura on the head in the name of fairness, and it makes all three of them laugh.

Taki coos just like she did with the cat, hands clasped together under her chin.

"What sweet girls!" she says. "Are they yours, Watanabe?"

"Yes," Joji says proudly, putting one arm around each of their shoulders. They've come so far, not hiding behind him from the group of strangers, even if they press into his sides shyly. "This is Miu, and this is Sora. We're adopting them."

Sakura shifts her weight imperceptibly, a barely-there tell. Waiting, he knows, for the surprise, or outright condemnation. She's dealt with a lot of bullshit for taking these kids in, from family and ex-friends and even total strangers. It rolls right off her, and she usually gives as good as she gets, but she hates when Sora and Miu have to hear it. They don't deserve to hear it.

Joji will have to explain it to her, later, why he brought it up. Why he knew it would be safe to bring it up in front of these strangers.

Sure enough, all their faces soften immediately, a gentle transformation. Natsume crouches, gazing at the twins with an expression that Joji remembers from his childhood. The delicate resilience, the willingness to reach out even if he got hurt.

The look on his face ten years ago when he handed back that ruined book, owning up to his mistake and trying to fix it, buying Joji a replacement even after Joji said something unthinking and cruel.

"I was adopted, too," he says.

"Really?" Sora asks quietly.

"Really," Natsume tells her. "My parents died when I was little. I wasn't an easy child to care for, even though it wasn't my fault, so I got passed around a lot. It took me a long time to find my place, but I found it. Did you find yours?"

"I think so," Sora says, glancing around Joji at her sister.

"Me, too," Miu adds.

Sakura clutches Joji's hand hard enough to bruise. She won't cry here and now, but he already knows it's going to be an ice-cream-for-dinner kind of night.

Natsume looks up to meet Joji's eyes when he says, "That's good. I'm glad to hear it."

It's forgiveness. Joji hears it plain as day. He didn't get a chance to ask for it-- isn't sure he deserves it-- but there it is, freely given. And it's reassurance, too.

When Joji's daughters used to curl their shoulders and duck their heads, it would always tug at the memory of a boy he used to know, who was as kind as he was desperate for kindness.

Now, he thinks, when his girls are making a mess of the kitchen trying to follow a pancake recipe with their friends, or dragging a stray cat inside with big, hopeful eyes, it'll remind him of this afternoon. Natsume's clear, bright eyes, and the protective cluster of friends surrounding him.

The world wasn't fair to him; it left a mountain in his life that he had to climb, complete with all its pitfalls and crumbling paths and bad weather.

And here he is on the other side, goodness intact. Smiling. Loved.

He found his place. Sora and Miu found theirs.

And god, if that doesn't give Joji hope for everyone else.

"It was nice to see you," he says thickly, hoping Natsume hears his honesty. "Don't come to the reunion, that was-- a stupid thing to say, but-- would you-- dinner?"

Natsume hears it. He tilts his head, considering, and then says, "We missed our train, anyway."

"And I'm starving," Tanuma says agreeably. Clearly, he says it more to agree with Natsume than anything.

Nishimura is the hardest sell, watching Joji with hard eyes. But then his gaze dips to Sora and Miu, and all his sharp edges go soft, like butter melting in the sun. After a handful of tense seconds, he visibly gives up on his anger with a huff. His friends, watching patiently, all give absurd little cheers when it's clear he's on board.

"Fine, but if you live farther than three feet away, we're getting an Uber," Shibata threatens, rustling the shopping bags in his hands with annoyed fervor.

They drift in the direction of Joji's home, and Kitamoto talks Shibata down from the Uber with the promise of ducking into a 7-Eleven for ice creams instead, and Taki and Sakura are fast friends, rolling their sleeves up to compare tattoos-- Taki's is a strange, occult-looking circle that Joji makes a mental note to ask about-- and Tanuma lets Sora carry the fat cat, while Miu pets it with reverent fingers.

Natsume walks beside Joji, calm and unhurried, with Nishimura on his other side. He grew up with so much grace.

"Can I add you to the class groupchat?" he asks without thinking.

"Good luck with that," Nishimura butts in, not unkindly. "He's the most unreliable texter you've ever met. He left me on read for like two days once, and we live together."

"You'd have better luck with an email," Natsume says apologetically.

It's more than Joji thought he'd get; they exchange contact information, in the middle of this chaotic, noisy group making its way down the street toward the well-lit combini on the corner and then, beyond that, home.

Natsume doesn't seem to have any interest in reconnecting with his old classmates, and Joji doesn't blame him for that. Even though it will certainly piss Ito off to be kept in the dark, even just for a few days, Joji decides it's for the best.

Nishimura's goodwill can't be stretched that far.

[padfootastic]

We canonically know it was Sirius and James who had the easiest time with their animagi transformations, as Remus stated Peter needed all the help he could get from them in POA, but they literally became animagi at 15 but started trying even younger. That requires confidence in spades, to be around 13 and decide to accomplish magic that grown adults struggle with and might not even be taught in school (maybe animagus transformation is taught 7th year, but we don’t know for sure). Sirius and James really went “Maybe you adults can’t become animagi, but we’re better so we can.” What’s even better is that this confidence/borderline arrogance is completely justified because they did do it.

that’s exactly what i mean!!! to know something is (presumably) way out of ur league and still attempt to do it requires some serious chutzpah. i’m just imagining these bite sized twelve year olds (bc u know how boys are, right, they’re tiny until they’re suddenly not) sitting in a circle, absolutely serious frowns on their face, poring over tomes the size of their heads and going ‘mhm, yeah let’s do the one that has serious risk of disfigurement, disability, or death—oh also, imprisonment in azkaban. it’s the only option’ like the babies didn’t even consider not doing it, ykno? i’m also divided on whether i want remus to be in the know about it or not. like, the way i’ve written it (and seen) before was that they only tell him once they accomplish him so they don’t give him a false sense of hope (or alternatively, in the fics i don’t like, remus doesn’t have to act as the ~moral guide who tells them to stop).

but also, consider this. a remus who’s starved for friendship, who’s a bit dark and a lot selfish on the inside, who secretly wants them to do this and succeed. which means u have four cocksure boys basically pushing their mind, body, and magic to its limits for 3 whole years. like. have u seen how impatient teenagers can be? the fact that they kept at it that long, despite presumable obstacles, tells us so much. honestly, if i put aside my dislike for remus, i’m so in awe of and in love with marauder friendship lol it’s ridiculous how tight knit & loyal they were (atleast in hogwarts)

and the point about their arrogance being justified—that line literally sums up james and sirius lol like yah they were seriously cocky bastards but also,,,they had every right to be? those fuckers earned every bit of confidence they had, why shouldn’t they throw it around 💀

[smoochkooks]

—chapter four: white lies

this is a part of my an ode to a broken heart drabble series.

pairing: jeon jungkook/reader

genre: unrequited love, best friends to (?), heavy angst, future smut

word count: 1.5k

summary: it came easy to you to lie. but with every untold truth, you were hurting more on the inside.

previous || next

one year and 6 months ago

April was exceptionally moody that year.  

Every day you woke up to either heavy rainfall or a beautiful, cloudless sky. Alternatively, it could also snow for a couple of hours just to have it all vanish once the sun reappeared. As much as you loved Spring, you hated the capricious weather with passion.  

It was a normal, peaceful, Saturday afternoon. Saturday meant no classes to attend, no work to do on the side. It was just you in your small, cozy apartment, tucked underneath the blanket and binge-watching Attack On Titan.  

You were never an anime enthusiast per se, but you happened to befriend a doe-eyed weeb all those years ago. Your current occupation was just a part of the aftermath. It wasn’t like Jungkook was obsessed, not at all. He was actually far from it. Now, at the tender age of twenty-three, his old hobby was like a relapse. His love for anime was coming in waves every once in a while, gradually transforming into a two-months-long hyperfixation and then, it was nothing. And the cicle continued.

He was currently in the stage of re-watching Attack On Titan, hence why you had been forced to finally give the damned anime a try as well. Hell, he was even coming over tonight to have a marathon with you.

(He’d said that season three, his favourite, you had to watch alongside him.)

You: eren's annoying little shit  

Jungkook: told you so

You: but levi? damn I’d sell my soul for him  

Jungkook: for a 5’2 emotionally unavailable man?  

You: yep. that’s my type

It was far from truth. As much as you liked Captain Levi, he wasn’t Jungkook. You are my type, you wanted to write instead. There hadn’t been a man in my life who managed to even come close to you. But, as always, you kept those confessions to yourself.  

Right when you were about to play another episode, your phone buzzed again.  

Jungkook: I have a weird question  

You: I’m used to that  

You: shoot your shot.  

Jungkook: what’s your finger size?  

Confused, you read his last message once again. That was indeed a weird fucking question to ask, you thought. You had never really been a fan of rings. You only owed one - a gift from your grandmother she gave you for your sixteenth birthday. Rummaging thorough your drawer, you found it in a separate, black case.  

It still fit just right, so you took a ruler, measured the size and googled the results.  

You: it’s 7.5 I guess

You: why do you ask tho?  

Jungkook: I need you to go somewhere with me before our marathon if that’s okay

You: you didn’t answer my question  

You: but okay. what time?

Jungkook: ill pick you up at 5pm  

Jungkook: you’ll see  

Maybe it was for the better he hadn’t told you where he was taking you. If you had know, you would have backed away last minute. Come up with so lame excuse, blame it all on a headache or period cramps.

If you had known Jungkook was taking you to pick up an engagement ring for Soojin, you would have never come with him.  

When you parked in front of one of the most high-ranking jewellery stores dowtown, the solemnity of the situation hit you like a whiplash. You took a deep, shuddering breath. Jungkook was thinking about marrying Soojin. Jungkook was going to propose to her, soon. He was ready to spent the rest of his life with her. 

Jeon Jungkook, the love of your life, was about to slip out of your reach for good. 

You couldn’t cry. Not in front of him. You clenched your fists so tight the knuckles turned white.  

“I figured out you could help me,” Jungkook said, breaking the silence and unbuckled his seatbelt. “I checked Soojin's finger size once when she was showering and then I found out that your’s the same and well, you’re a girl so you obviously know more about jewellery than me and–”

“Jungkook,” you cut him off with a dry chuckle. You didn’t want him to speak. You didn’t want to see him. You wanted to jumped off his car and ran away from that place as far as possible. “You don’t have to explain yourself. I get it.”  

You smiled at him with reassurance. It was actually hilarious, how you mastered the art of feigning your real feelings when you were with him. It came easy to you to lie but with every untold truth, you were hurting more on the inside.  

“I’m here, so you don’t have to worry about chosing something horrible.”  

He grinned and you noticed a dust of pink covering the apples his cheeks. It was hard, so fucking hard seeing him happy because that was all you ever wanted and yet it pained you not to be the main source of it. Jungkook was twenty-three and already so in love he wanted to get married. You were going to see him in a black tux, a prince charming waiting in front of the altar for his princess.  

It ached. Why did it ache to see him happy?

The lady who worked at the jewellery store greeted you politely with a bow. “What can I do for you?” she asked.  

“We are looking for engagement rings.” Jungkook answered.

You could tell she was a bit astounded but her professional smile never faltered when she responded with, “Oh, that’s still quite unusual to see the couple chosing an engagement ring together.”  

You were about to protest but then, Jungkook did something you would never expect him to do.  

He grasped your hand.

(It was warm. His touch was soothing. Comforting. Then why did it hurt so bad?)  

“My girlfriend wants to chose the ring herself but she doesn’t know when she will get it.”  

To make matters worse, he sent you a wink. The store’s clerk cooed at the scene and clasped a hand over her chest. For her it was yet another day at work, yet another pair of adults who had decided to get marry.  

“You make a really beautiful couple.” she said. 

Even Jungkook’s hand squeezing yours couldn’t ease the sting you felt hearing her speak those words to you. You smiled lightly for good measure. She then pointed at the display and gave you some time and space too look at the options.

Your whole face felt hot. Jungkook was still holding your hand, still playing the role of a perfect boyfriend. He didn’t seem to notice what kind of effect it had on you. He didn’t know how fast your heart was beating, how warm his touch felt on your skin. It was all just a silly joke to him.

He leaned closer to you, so the store's clerk couldn’t hear him. His breath tickled your skin. “You’re blushing.” he whispered.  

“Shut up.”  

He chuckled and let go of your hand. “I’m sorry. I didn’t mean to make you feel uncomfortable.”  

(No matter how much it hurt you on the inside, you already missed his touch.)

“It’s okay. Let’s chose my damned ring, shall we?” you proposed, mustering a nonchalant tone.  

Dodging uneasiness with humor always worked out, it seemed.

You felt odd and out of place standing next to him and staring at all those glimmering jewels. In the corner of the eye you saw the lady who worked there glancing at you from time to time and that was when you remembered you were supposed to act like a soon-to-be fiancée. 

“They’re all pretty.” you said to Jungkook. 

“Which one you like the most then?”  

You didn’t have to think long about the answer. The ring with an emerald stone caught your eye from the beginning. It was different than the others, definitely not a standard choice for engagement but something about its peculiarity made you want it to have it shinning on your finger one day.  

Except, you weren’t here for yourself. Jungkook wasn’t your boyfriend. You were helping him chose a ring for Soojin. And you knew exactly what she would like.  

So you pointed at the number thirty-two. A sparkling, white-gold ring with an oval-shaped diamond.  

Jungkook let out a hum. “It’s really pretty, yeah. Excuse me,” he called. “My girlfriend would like to try out this one.”  

You ignored the phantom pain you felt as you put the ring on. You flexed your fingers and just for a moment, you pretended it wasn’t a farce your best friend came up with. The diamond shone brightly just like the glimmers of happiness in Jungkook's eyes. He didn’t have to worry about Soojin's answer. He knew it would be thousand times yes.

You were good at pretending. After all, you had been practicing the art of it almost your entire life.  

So you drove with Jungkook to your apartment and listened to him babbling about his newest project at work. You made snacks, sat in front of your TV and spent the next couple of hours watching Attack On Titan. You cursed him for spoiling you a few bits of the show and Jungkook, like the petty Virgo he was, reminded you how you accidentally revealed him Little Women's ending because you had read the book years before.

As you laughed and bickered with him, you still remembered about the crimson box tucked in the pocket of his leather jacket, but you didn’t allow yourself to break. Not yet.  

It was only when Jungkook fell asleep around 1am that you stepped into the shower and let the tears flow.  

And a week later, when the dreaded became real–

Jungkook: she said yes!!!

A white lie was told to avoid hurting someone’s feelings.

You: I’m so happy for you, Jungkook!  

After all, the best you could do was give up your happiness for the sake of his own.

[osakaso5]

IDOLiSH7 6th Anniversary Special Story: Full of Heart...

Chapter 2: Tearjerking Memories

Chapter 1 | Chapter 3 | Chapter 4 | Chapter 5 | Chapter 6

Torao Mido: Atchoo!

Toma Inumaru: Caught a cold, Tora?

Minami Natsume: Don't infect the rest of us, please.

Haruka Isumi: Maybe it's hay fever? Apparently that can get pretty bad in August.

Torao Mido: Or, someone's talking about me... A pretty woman, most likely.

Toma Inumaru: Sure, whatever.

Shiro Utsugi: I must say, I'm impressed that you could reserve such an expensive-looking bar for us.

Torao Mido: It was no trouble at all. Besides, Haruka wanted to try going to a bar.

Haruka Isumi: He promised to take me here if I won in a game of Konpira Fune Fune. And I did.

Minami Natsume: Hee hee... Oh, Isumi-san. I didn't know you had what it takes to become a geisha.

Toma Inumaru: Don't teach Haru anything weird, now.

Shiro Utsugi: Since we're at such a fine establisment, we should make the most of it.

[Snap]

Shiro Utsugi: I'll have a Bloody Mary.

Toma Inumaru: You're going to drink? I thought we had a meeting...

Shiro Utsugi: This is a bar. We're not here to see the sights. Now go on, Inumaru-san, order something.

Toma Inumaru: A-alright. Uh...

Shiro Utsugi: As artists, you should enjoy life to the fullest. Don't worry about breaking the rules every now and then.

Minami Natsume: Should you be breaking the rules, Utsugi-san? I believe you're still an ordinary employee of the very strict Tsukumo Productions...

Shiro Utsugi: It'll be fine. I'll just climb the corporate ladder until I'm in a position where I can change the company to suit me.

Haruka's Thoughts: This Shiro Utsugi guy is really aggressive... 

Torao's Thoughts: He's supposed to be our newbie manager, yet he's the one pushing us around...

Minami's Thoughts: I'd expect nothing less of the man Ryo-san chose as his last minute replacement.

Toma's Thoughts: I don't think I've ever seen someone order a drink by snapping their fingers before...

Shiro Utsugi: Let's have a toast before we begin our meeting. Order something, everyone.

Toma Inumaru: I'll have beer.

Torao Mido: A gin rickey.

Minami Natsume: Oolong tea.

Haruka Isumi: Orange juice.

Shiro Utsugi: And there you have it. That'll be all.

Shiro Utsugi: Now, would you mind showing me your childhood pictures before our drinks arrive?

Minami Natsume: The pictures for our "Welcome to Kids Room" guest appearance?

Shiro Utsugi: Yes. Did you bring them?

Toma Inumaru: I've got mine, yeah.

Haruka Isumi: Me too. Show me yours first, though. I wanna see what you  looked like as kids.

Toma Inumaru: No way, that's too embarrassing. You go first, Haru. You probably look the most similar to when you were little, anyway.

Haruka Isumi: You think so? Okay, fine. Here you go.

Torao Mido: Let's see...

Minami Natsume: My, how adorable.

Toma Inumaru: Whooa! You were super cute! With a round face like that, I'll bet you were a little angel!

Haruka Isumi: Don't call my face round.

Shiro Utsugi: You were a textbook junior idol, if I've ever seen one. You'd have made a good duo with Mitsuki Izumi of IDOLiSH7.

Torao Mido: But that guy's my age.

Minami Natsume: ........ To think that Kujo-san whisked him overseas not long after this picture was taken...

Toma Inumaru: I'd have been so worried for him...

Minami Natsume: As would I.

Haruka Isumi: I came back safe and sound. Nothing bad happened to me either, other than a rude wake up call.

Haruka Isumi: If that hadn't happened to me, I wouldn't be the main vocalist of an outlaw group like ours now.

Haruka Isumi: Pretty cool, huh?

Toma Inumaru: Hey cool outlaw, your orange juice is here.

Haruka Isumi: Whoa! There's an orange slice on the glass! Wow, that's so neat!

Shiro Utsugi: Now, let's toast.

Toma Inumaru: Yeah!

Toma Inumaru: ŹOOĻ...

Minami, Haruka, Torao, & Shiro: Rules!

[Clink]

Minami Natsume: Am I the only one who finds this cheer somewhat... lacking?

Toma Inumaru: We might wanna rethink it, yeah.

Torao Mido: There's a lot of dinosaur stickers plastered all over your house, Haruka. What's this one called?

Haruka Isumi: Uh... That's Dee, the Growlysaurus...

Toma Inumaru: Ah, I remember those! You must've really liked Growlysauruses. Should I buy you one sometime?

Haruka Isumi: I-I don't need one, stupid! How old do you think I am?

Haruka Isumi: Give me my picture back. It's someone else's turn.

Torao Mido: I'll show you mine.

Toma Inumaru: Well?

Toma Inumaru: ...Your limbs were freaking LONG! This is basically just a tinier version of how you look now...

Minami Natsume: Oh my. I quite like the way you looked at this age.

Torao Mido: Yeah, I bet you do.

Minami Natsume: Is this a transformation belt?

Haruka Isumi: It is. I kinda wasn't expecting you to bring a photo like this.

Torao Mido: I learned something recently. Namely, that even a perfect man like me is more interesting with some mundane characteristics.

Haruka Isumi: I guess some kid who plays with transformation belts is a lot more approachable than a flawless celebrity.

Torao Mido: Exactly.

Toma Inumaru: You don't gotta make excuses, you know. The truth is that you just thought it was a nice photo, right?

Toma Inumaru: You said you like all this sentai and superhero stuff. For  what it’s worth, I think the pic's nice, too.

Torao Mido: ...That wasn't why I picked it, really.

Toma Inumaru: Yeah, right.

Torao Mido: It was a calculated decision.

Toma Inumaru: No need to play tough. It's fine that you chose a picture you liked from when you were little.

Torao Mido: I told you, that's not why.

Toma Inumaru: Ahaha! You're starting to sound a little too defensive.

Torao Mido: ........ Whatever. Maybe I'll just use a different picture.

Toma Inumaru: Oh, stop sulking, for Pete's sake!

Shiro Utsugi: Don't try to tear it up, now. I agree that you'll most likely garner more attention with a picture like this, Mido-san.

Torao Mido: I knew it. Okay, I'm going with this picture for the show. What about you, Minami? What kind of picture did you bring?

Minami Natsume: Mine isn't particularly interesting. Anyone can look up what I looked like as a child, after all.

Torao Mido: But you did bring a photo, right?

Minami Natsume: I did.

Shiro Utsugi: Would you be so kind as to show it to us?

Minami Natsume: Very well. Here it is.

Toma & Haruka: ...So cute!!!

Haruka Isumi: You were adorable as a kid, Minami! Like a girl or something! A really cute one!

Toma Inumaru: Kinda like Tora, you looked like a mini version of what you're like now, but in a different way! You've definitely got the air of a celebrity here!

Shiro Utsugi: This must be from around the time you were filming the movie Kagurazaka. Even as a child, you had very fine features.

Minami Natsume: Hee hee. Thank you. I do enjoy a bit of unfiltered praise every now and then.

Torao Mido: Was this taken at your home? That's a pretty big piano you've got.

Minami Natsume: Yes. I took piano lessons when I was younger.

Minami Natsume: I had to quit playing when my work got too busy to allow for it, but I finally resumed my lessons a few years ago...

Toma Inumaru: So you're basically a musical genius. That's cool.

Minami Natsume: Hee hee... Yes, it is cool. Now then, would you mind showing us your picture, Inumaru-san?

Toma Inumaru: Sure thing!

Haruka Isumi: What kind of photo did you pick?

Toma Inumaru: I figured at least one of us should bring in something goofy, so I got the funniest one I could find!

Torao Mido: Funny... Ah, you're at a festival, wearing a happi!

Shiro Utsugi: Oh, you've even got a sarashi wrapped around you. It looks very authentic.

Minami Natsume: You must've lived in a neighborhood that loved festivals.

Haruka Isumi: I'm jealous. I wish I could've worn clothes like this to a festival, too.

Toma Inumaru: I could take you to a festival around where I'm from. The neighborhood grannies would be all over you, Haru.

Haruka Isumi: Yeah, I wanna go! This picture's pretty nice. I bet it'll be good for the show.

[Phone rings]

Torao Mido: Hmm...? Oh, now that's unusual. Sogo says he needs to ask me something in person.

Toma Inumaru: Ask him where he is, and if he's nearby, go see him. It could be something urgent.

Torao Mido: But aren't we in the middle of a meeting?

Shiro Utsugi: We're all done now. You may go.

Toma Inumaru: Oh, that's it?

Haruka Isumi: We could've stayed at the agency if all we were gonna do is show our pictures...

Minami Natsume: Now, now. At least we got to deepen our friendship at this lovely bar.

Torao Mido: I asked Sogo. Turns out he and Tamaki Yotsuba both happened to be in the neighborhood, so they're headed here.

Haruka Isumi: Yotsuba's coming, too? I bet he's gonna freak out, because he's never been in a place like this before.

Haruka Isumi: I suppose I'll just have to teach him how us adults hang out.

Toma Inumaru: Says the boy sipping on orange juice.

[Door opens]

Tamaki Yotsuba: Good evening.

Sogo Osaka: Pardon our intrusion.

Haruka Isumi: Yotsuba!

Tamaki Yotsuba: Whoa... This place has a super mature vibe... I knew ŹOOĻ's up to no good.

Sogo Osaka: That's rude to the establishment, you know.

Tamaki Yotsuba: It's not my fault this place looks like people come here to make shady deals.

Sogo Osaka: It's calming. And there are plenty of places like this in the world.

Sogo Osaka: Good evening, Mido-san. ŹOOĻ. I'm sorry for dropping by on such short notice.

Shiro Utsugi: Good evening, Osaka-san and Yotsuba-san.

Sogo Osaka: Good evening. You're Utsugi-san, yes? ŹOOĻ's manager.

Shiro Utsugi: That’s right. Thank you for remembering.

Torao Mido: This has to be the first time you're asking me for anything. What do you want to drink?

Sogo Osaka: Just oolong tea, please.

Tamaki Yotsuba: I want this one! The frozen cocktail that looks like ice! I bet it's yummy.

Sogo Osaka: No, Tamaki-kun. It's alcoholic.

Tamaki Yotsuba: Really? Do they have a version without the booze?

Minami Natsume: I think the bartender could make you one.

Tamaki Yotsuba: Awesome! I'll have one of those.

Haruka Isumi: I want one, too.

Torao Mido: I'll have the alcoholic version. Should I go ahead and order you one too, Sogo?

Sogo Osaka: Ah... Um, alright.

Tamaki Yotsuba: So-chan!

Sogo Osaka: It's fine. This drink is basically just a sherbert, it won't get me drunk.

Tamaki Yotsuba: Don't you know that ice is just frozen water?

Sogo Osaka: I do know that.

Tamaki Yotsuba: So it's still booze! It's just been frozen!

Sogo Osaka: It can't be that strong. And besides, it's the same as yours.

Tamaki Yotsuba: So what if it's the same?

Sogo Osaka: Our matching drinks would make a nice picture for social media.

Tamaki Yotsuba: I can't believe your first approach to everything is still to be some kind of businessman.

Sogo Osaka: It's not as if people can tell how close we truly are based on a picture of some food. If that were the case, we wouldn't truly understand each other at all.

Tamaki Yotsuba: Especially since everything you eat is bright red.

Sogo Osaka: And you only have eyes for King Pudding.

Toma Inumaru: What're you mumbling about?

Sogo Osaka: It was just a mini meeting. We're done now.

Minami Natsume: Much like us, then.

Tamaki Yotsuba: I did it for you guys' sake too, y'know.

Torao Mido: Our drinks are here. Let's toast.

Haruka Isumi: Does MEZZO" have a cheer for when you toast?

Tamaki Yotsuba: A cheer?

Haruka Isumi: It makes things more exciting.

Tamaki Yotsuba: We've got a cheer for calming Re:vale down..?

Sogo Osaka: But it's a bit too long for making a toast. Hmm, a cheer for MEZZO"...

Toma Inumaru: Don't think too hard about it. It can be something simple, like one of you says "MEZZO"" and the other one says "rules".

Sogo Osaka: I see. We could give that a try. Tamaki-kun, which part do you want to say?

Tamaki Yotsuba: The first part.

Sogo Osaka: Alright. Well then, everyone raise your glasses...

Tamaki Yotsuba: MEZZO".

Sogo Osaka: Rules.

[Clink!]

Sogo Osaka: So, what I wanted to ask you is...

Torao Mido: Hold up! We need to talk about your cheer first. Any thoughts!?

Sogo Osaka: Thoughts..? Tamaki-kun, what do you think?

Tamaki Yotsuba: It's kinda short.

Haruka Isumi: Totally. So is our "ŹOOĻ Rules!"

Minami Natsume: Isumi-san. Be careful not to hurt Inumaru-san's feelings.

Toma Inumaru: Ahaha! It's fine! Not like that cheer was my best effort, anyway...

Sogo Osaka: Thank you for the suggestion, Toma. We probably can't use this cheer all the time, but we'll try to make use of it when we can...

Toma Inumaru: Don't sweat it, seriously! It was just the first thing that came to my mind! You don't even gotta use it!

Sogo Osaka: I-I'm sorry if we can't use it often enough.

Toma Inumaru: I'm telling you, it's FINE!

Sogo Osaka: Thank you. That's very nice of you to say. Mido-san, may I tell you why we're here now?

Torao Mido: Let's hear it.

Sogo Osaka: To tell you the truth...

- - - -

Torao Mido: Ah, Ito-san. That brokerage firm CEO who likes traveling and photography...

Sogo Osaka: Yes, him. He took a picture of me once.

Sogo Osaka: And when we discussed his camera, he told me that he saves all his negatives...

Torao Mido: So he should still have them? Just go meet up with him, then.

Sogo Osaka: We don't have that sort of relationship. He may be my father's old friend, but I've been disinherited, so...

Haruka Isumi: Disinherited?

Sogo Osaka: Being disinherited means your parents have cut ties with you.

Haruka Isumi: You were adopted..? And he said you were a disappointment and chased you out?

Sogo Osaka: No, we're biologically related. I might still be a disappointment... But I don't regret my decisions.

Sogo Osaka: I wanted to live as a musician.

Minami Natsume: What a wonderfully sympathetic story. I like you. The world needs more artists like yourself.

Sogo Osaka: Natsume-kun...

Minami Natsume: I hereby pledge my support to Osaka-san. Mido-san, you simply must do something to help him.

Torao Mido: Like what..? I haven't seen the guy in ages, either.

Toma Inumaru: You should still have an easier time getting a hold of him than Sogo. At least call him once.

Tamaki Yotsuba: Toracchi, please! If you call him, I'll stop calling you an evil rich guy!

Torao Mido: I didn't know you called me that in the first place... Fine. I'll give him a call.

Sogo Osaka: Thank you.

Torao Mido: It's no trouble at all, really. You may be an heir with a strict upbringing, but I'm a spoiled youngest son.

Haruka Isumi: So did this Ito-san spoil you, too?

Torao Mido: He owns a boat that I got to ride on a few times, not to mention he's got a few unique side ventures.

Sogo Osaka: Unique side ventures...

Torao Mido: He never told me about them in much detail. He may be a CEO, but he doesn't have any family to share his wealth with. 

Torao Mido: So his side ventures have to do with finding said family... ...Ah, he picked up.

Torao Mido: Hellooo? Ah, Uncle Ito? It's been so long! Yeah, it's me, Torao.

Toma Inumaru: That's how I talk to the old ladies from my neighborhood!

Tamaki Yotsuba: He speaks just like Rikkun when he's asking for something!!!

Sogo Osaka: So this is what it's like when you're the youngest child... I wonder if even Iori-kun has a side like this...

Torao Mido: Ahaha. I'm doing fine, just fine. I've got a friend here who wants to talk to you, do you mind if I put him on?

Torao Mido: Here you go, Sogo.

Sogo Osaka: Thank you so much, Mido-san.

Torao Mido: Hmph. Let's just agree that you owe me one.

Haruka Isumi: I can't believe you're still trying to act tough, after sweet talking the guy like that...

Sogo Osaka: Ito-san. It's been a while. This is Sogo. ...Yes, that's right. Sogo Osaka.

Sogo Osaka: Ah... You bought an IDOLiSH7 CD? Thank you very much.

Tamaki Yotsuba: He knows us!

Minami Natsume: This bodes well.

Sogo Osaka: Is it at all possible for me to borrow certain old photo negatives from you..?

Sogo Osaka: I need the photo you took of me and my uncle in our garden. It's very important... Really!?

Tamaki Yotsuba: What'd he say!?

Sogo Osaka: He said he'd reprint the photo for me!

Haruka & Tamaki: Awesome!!!

Toma Inumaru: Yay! That's great!

Shiro Utsugi: Congratulations! Let's all have another toast!

Tamaki Yotsuba: MEZZO"...

Minami, Toma, Haruka, Torao, & Shiro: Rules!!!

Sogo Osaka: P-please, be quiet, everyone. Thank you, Ito-san. I'll come get the photo in a few days.

Sogo Osaka: Where are you now? ...What?

Sogo Osaka: The North Pacific..? 

To be continued...

[animecreator3000]

About the Boueibu iceberg

@delphoxqueen asked me to explain about my list for the iceberg so here it is. I might update this from time to time with links and stuff if I stumble across the original posts. This is all from what I know so feel free to add new info. Also, spoiler warning for RobiHachi and the Boueibu manga and novels. (This is like a masterpost it’s very long)

1. There’s a theory in tumblr about which decade the series is set in, using data like the friday the 13th calendar in s2 ep11. In HK we got a second number for when the next monthly Pretty Boy Contest was happening and using the one from Love it was theorized that around a decade had passed since then, which ended up being true.

2. The stage play had a few original songs and characters exclusive to it so unless you watched the full performance, you probably weren’t able to witness all of them. One of the characters is called “Robato Deniro”, as romanized in the stage play booklet I own.

3. The nurse and the cafeteria staff from the s1 mobile game appear in the background in around the first half of s2 ep3.

4. S2 had an unfinished manga that was only available online and was never released on physical format; it was centered around the defense club and sometimes the conquest club and Beppu brothers. All that’s left from what I know are the scans linked on magicalgirlsandcerulean’s blog.

5. This isn’t that obscure because it’s talked about in the anime, but I’m mentioning it because I think many people dropped it before the ova, where right at the beginning it is revealed that the alien that resucitated Mr. Tawarayama twice was, as described by Io, a “mulberry-colored naked mole rat-looking thing”, and was nicknamed “Moley-san” by Yumoto. At least in the anime, we had never heard before of who this was and it never appeared on screen nor was mentioned again.

6. In HK ep8, Karurusu promises the knights to grant a wish if they show him how earthlings spend summer. Kyoutarou reveals at the end of the episode that he wished that summer lasted one more day so he could spend it doing nothing, which prompts Ichiro to theorize that it’s the 32nd of august, and the next day is the second 1st of september.

7. The stage play was was held from march 10th to 13rd, of which the latter is Ryuu’s birthday. There’s an additional recording of a small celebration with cake focused on Ryuu and Io.

8. Atsushi mentions his older sister in the flashback at the beginning of s1 ep4, but she never appears or is mentioned again.

9. There’s a few posts on tumblr theorizing about what happened to the Hakone parents since Yumoto only says in s2 ep3 that according to Gora, “they are busy with their hot springs tour”. En mentions that it’s a bit suspicious, but it’s all the information we have from the anime. Posts talk about the parents perhaps passing away from an accident or an illness, thus the reason why Gora was so worried about Yumoto’s cold in s1 ep10, but from another post I think it’s implied in the second novel that they actually left their home when Yumoto was still a toddler.

10. It’s no secret that the surnames of the characters are all real onsens in Japan that even the seiyuus have visited, but apparently the Arima onsen has two different kinds of water, “kinsen (gold hot spring)” and “ginsen (silver hot spring)”, with different properties each, and the Kusatsu onsen water also has certain properties, both that were used to build the characters. Additionally, Ryuu’s favorite food are Sato Nishiki cherries, which are grown in the same prefecture, Yamagata, as his onsen, Zaou.

11. The press club lose relevance after s1, with only Kinosaki and Tazawa reappearing briefly in s2 ep2 to interview the Beppu twins after they arrive at the school. Tazawa doesn’t even have lines. Hireashi is mentioned by Zundar in ep11.

12. What the heck

13. Exclusively in the manga we see that Arima met Kinshiro and Atsushi when they were little and they were good friends, but when they met again as adults, Kinshiro seemingly didn’t remember Arima. Atsushi, however, stated that Kinshiro’s talent is remembering people’s faces and names, so Arima wonders if he’s just trying to distance himself from him. He also explains to Akoya that he follows Kinshiro and obeys him because as a child, he was fascinated by his radiant smile. This is never talked about in the anime.

14. Like the previous point, the anime never shows Akoya being bullied, at most just a slight dislike of his full name, but the manga shows that he was made fun of for it and how he actually hates his surname, to the point of introducing himself formally to the president and vicepresident of the student council as “Holy Angel Akoya”.

15, 16, 17, 19. Batonama lives were the livestreams done through the franchise by the defense club seiyuus on youtube and niconico. They’re all on youtube, without any kind of translation.

Love-ko is a girl with a shell bikini drawn on a piece of cardboard that was used as a girlfriend in the Batonama Love! lives, acted by the seiyuus themselves.

RobiHachi has one episode full of official Boueibu artwork and a parody of the series too, a Love-ko doll appears, and Wombat appears as well, named “The Don”. It received an english dub, so for a bit, people were excited that Wombat was going to speak in english too. Also, various mechas appear in both Boueibu and RobiHachi.

18. The director of Fairy Ranmaru (Masakazu Hishida if I’m not wrong) revealed in an interview that he was inspired by Boueibu and aimed to make a show like that.

20, 21. The website super-groupies.com has results for defense and conquest club lingerie sets, dc and VEPPer tote bags, the Beppus’ scarf rings, dc bath sets and the pumps magicalgirlsandcerulean mentioned. I’ve found the s1 Loveracelets and Caerula Adamas’ ring on different sites, the True Loveracelets on TheChara’s twitter and the Happybraces (apparently called “Hapibure”) on broccoli.co.jp but I’m not sure where exactly they were all announced and sold, so I’ll just drop that.

22, 33. Boueibu was originally pretty much a copy of Sailor Moon, I think they were all going to be called “Lackluster Moon” and that stuff and be literally Sailor Moon genderbent. They were all different from color palettes to physical features (except Yumoto’s), and Ryuu was a shota, even smaller than Yumoto. Their names were also very reminiscent of the five Sailor Senshis’. Even if they made it more original, the show is still clearly inspired by Sailor Moon (just look at Caerula Adamas lol) and Pretty Cure. It has also referenced, very blatantly, animes like Doraemon, Detective Conan, Aikatsu and even Vocaloid, when Kyoutarou tries to guess what Karurusu is saying with ““Just Google It, Asshole”?” in ep1.

23. Wombat’s real name and the name of his planet sound like gibberish to the earthlings and ends up being named after the Earth animal, but Zundar, Dadacha, Karurusu and Furanui all have original names. And I think Hireashi means “goldfish”?

24. If you google “zundar technology”, it’s actually a company in Shanghai, China. Aren’t Wombat and Zundar always talking about “advanced alien technology”?

25. Zundar and Dadacha are siblings, so are Karurusu and Furanui, and so are their father King Kamopapa and their uncle minister Wao, but neither are the same species and, except the first two, not even the same color. But they are supposedly related because they share birthmarks or something like that...

26. Everyone who’s in this fandom knows about the pixel blur and voice pitch censor from s1, but I’ve added it anyway because it’s so rare for mahou shoujo and shounen animes to explain why the heroes aren’t recognized when transformed.

27. A good while of s2 ep11 is spent discussing Zundar’s ex-wife and his problems to give child support. Naturally, he gets mad at this.

28. “Money doesn’t betray” (s1 ep6) and “The despair hidden behind your smile that comes from not being understood” (s3 ep11) are sentences that came out of nowhere and implied that the people they were said by (Io) or about (Taiju) respectively had some kind of angst going on but were never explained at all. They’re famous for just that.

29. The Beppu twins’ house in Andromeda shown in flashbacks had strange green circles that apparently are from another anime I don’t know but honestly I didn’t get it very well... It was revealed on a tweet from Takamatsu.

30. Alien language mostly appeared in s2 due to the many flashbacks of Aki and Haru in Andromeda, but in Boueibu s1, it appears on the Zundar Needle before it is shot on the human. It appears a lot through RobiHachi as well, due to being a story about travelling through space. There might be an alphabetical chart somewhere, but I can’t assure it exists, I might even have dreamed it.

31. Hikaru Midorikawa as the melon monster, Kousuke Toriumi as the bishounen monster, Yoshitsugu Matsuoka as the kotatsu and panda monsters and Takuya Eguchi as the remote controller monster in s1 and 2, before going on to voice the main cast in HK. Keisuke Koumoto voiced Hatchi Kita in RobiHachi as well as Akihiko in Boueibu, and the characters look similar.

A new addition is that so far Boueibu is the only anime I’ve seen where children weren’t voiced by female seiyuus, but by actual children. Personally, it’s charming and makes it so much more realistic, specifically since no women appear in the franchise at all either (not counting Protag-chan in the game).

32. Speaking of seiyuus, Can I Destroy The Earth? had a dub shown in ep11/12 (?) that made Gora the villain that wanted Earth to stay the same and not progress, against the monsters that supposedly wanted to bring good things to earthlings. Aki and Haru quickly dismissed this dub as fake. (I made a mistake in the title in the previous post btw)

34. As seen in the glossary in the Boueibu Mook (I think, but might not be the mook), Caerula Adamas’ speeches are based on an old japanese detergent commercial that went “Gold, silver, pearl, gift”.

35. In the manga there’s a short parody of the first chapter of Sailor Moon with “Pretty Boy Guardian Gakuran Akoya”. The conquest club manga was released before the anime, so I remember reading somewhere that a fake website appeared for the Gakuran Akoya manga, before turning into the conquest club manga website in the day of its release.

36. Cgi was used a few times in the anime: s2 ep10 for a short sequence of the defense club on a rollercoaster and the carousel monster, ep11 for a cenital shot of the Battle Lovers singing, and HK ep12 for the Honyalaland soldiers and the Wao mecha.

37. The toothbrush incident in s1 ep7. (It’s definitely well-known but it’s so weird lol)

38. “We hope we can see each other again someday!” Something along those lines was the last text to appear in the last episode of HK, implying a s2. We all know how that went.

[thanksjro]

Bayverse: Treating These Movies with More Dignity than They Deserve or Contain, Because I’m a Goddamned Professional - Part One

TRANSFORMERS (2007) - UNCOMFORTABLE SEXUAL TENSION BETWEEN TEENAGERS THAT I DIDN’T NEED TO SEE

So.

This is a little different than what I usually do.

Clearly.

God, how did we even get here?

Oh, I remember.

The date was September 17th, 2020, and I was in a stream with nine or ten other people watching the first Bayverse Transformers movie. Why we were watching it doesn’t particularly matter- sometimes you just gotta watch garbage so you can refresh your palate for the good stuff, I suppose. Also, a couple of folks wanted to make goo-goo eyes at Blackout’s rotors.

...It’s not my thing, but I’m glad they’ve got something to make the journey worth taking.

I made some sort of comment about only using my brain for this blog’s content, and someone (you know who you are :)) suggested that I take a proper look at the film. Being who I am, I immediately latched onto this idea, despite it being technically outside of what I write about.

And then I quintuple-downed, because winners don’t quit.

Good to know that my BA in Film Production wasn’t a complete waste of time.

Fun fact, I broke my television trying to watch Transformers for this. I think the universe was trying to stop me, by making me perform surgery on electronics, and also aggravating my carpal tunnel.

This movie came out when I was 13, and it was the first Transformers thing I saw after Cybertron. Yes, the anime one. No, not the one that’s objectively terrible.

Anyway.

How did I feel about Transformers when I saw it the first time? Well… it was okay. I liked the robots. I thought Mikaela was pretty, not that I knew what that meant back then. I watched it a few times, if only because my oldest younger brother kept renting it at Blockbuster. It was fun.

Now I’m older, and wiser, and know feminist theory, so my opinion is less “this exists” and more “blind, murderous rage”.

Our film opens up with some claptrap about the Cube™, a MacGuffin of ultimate power that allows the Transformers to create worlds in their image and populate them. Which means this is how they reproduce.

It always comes back to baby-making, doesn’t it?

The narration goes on about how the Cube™ is very powerful, and some folks wanted it for good, and others for evil. The criteria for being “good” and “evil” isn’t established, and I’m not exactly sure how one would define such a thing, when all the Cube™ does is create life, but, well, we’ve only just begun. Maybe we’ll get some answers later on.

Haha, I doubt it.

So, the Cube™ is the catalyst for our 4 million year war this continuity, and that sucker was lost in the shuffle a while back. This is a problem, because, again, the Cube™ is how the Transformers reproduce. Now everyone’s in a mad scramble to find the thing so their species doesn’t die out.

Three guesses as to where it ended up, and the first two don’t count.

Smashcut to the shit nobody cares about- the humans. We see an Osprey fly over the Qatar desert, carrying a buttload of American soldiers. We get a taste of some good old-fashioned xenophobia, as several soldiers mock a guy for not speaking English and loving his mother’s cooking, going full “funny haha gibberish language” on him. We’re two and a half minutes into the film, and I already want to stab something.

Ed Sheeran breaks into the conversation, I guess because he was feeling left out, revealing that he is the New Yorker stereotype of the film, for some reason. The fellas ask their captain, Lennox, what he’s looking forward to most about getting home from their tour, and he reveals himself to be a family man. While he’s been away, his wife had a baby, who he hasn’t so much as held yet. His men respond by mocking him.

For loving his child.

We’re three minutes into the film, and the toxic masculinity might actually make me have an aneurysm.

The Ospreys land, the lads disembark, and we get a snapshot of what downtime during deployment looks like to Bay. There are a lot of kiddie swimming pools involved. Two men play basketball. We watch multiple men take outdoor showers. A young Qatari boy brings Lennox a camelback water pack with a smile on his face. This lets me know that he’s a prop and not a character in this film. I can’t wait to see how many horrors he’ll be put through to simulate pathos.

We get a shot of a helicopter flying over the desert, one that the US military doesn’t recognize as their own. They send a couple of planes to check it out, and said planes get their shop wrecked. The helicopter is revealed to be the same ‘copter that was shot down several months prior. That’s… not good. Ghost helicopter?

No. Not at all, actually.

Lennox gets on a video chat with his wife and daughter, who is wearing one of the most ridiculous baby outfits I’ve seen in a hot minute. And I used to work in childcare, so I’ve seen a good amount of those. The writing implies that normal bodily functions are unladylike and therefore undesirable… in an infant… and that’s when all hell breaks loose, thankfully saving me from more of Bay trying to make me give a shit about these characters.

The helicopter lands, we get a shot of the mustachioed pilot, who glitches (gasp), and the line “have your crew step out or we will kill you” is uttered. Not even trying to hide the nationalism, are you?

This film hit theaters in 2007, when the xenophobia from 9/11 was still heavy in the air of the general populace, so things like this were more tolerated, and in fact approved of. Of course, it’s not like America has really improved on that subject, or ever really had a point where we weren’t terrible about it, since we live in a world where the military-entertainment complex exists.

See, the Department of Defense and a good chunk of American entertainment industries have a little deal going, and have for the last few decades, and it goes like this: The DoD will allow the use of their vehicles, personnel, and bases, or the likenesses of such, for free, in exchange for their operations being shown in a positive/morally justified light. This is why you never see the armed forces portrayed in a way that makes them out as anything less than heroes- nobody would be able to afford the sets/likenesses without the DoD’s aid. This is also why you see straight-up advertisements for the military branches on televison, in cinemas, and online, and why both the Army and Navy have flirted with having Twitch channels.

It’s all a ploy to get you to join the military, kids. It’s propaganda.

But enough about that, it’s time for our first transformation sequence!

We get a lot of moving parts with this, since it’s realistic CGI in a live-action movie, and it still holds up. It’s hard to tell what’s actually happening, but it, if nothing else, feels alien, surreal, and horrific to behold. They even included the original sound effect in the cacophony, which is nice.

Our ghost helicopter reveals itself to be a Transformer, not that we get that terminology at any point in this film. This specifically is Blackout, a Decepticon. The soldiers start firing on him the moment he starts transforming, then are surprised when the thing they started shooting with several guns retaliates. This is the point where everything ever in this military base explodes, brilliantly and repeatedly, because it wouldn’t be a Bay film without it. There’s a lot of shouting and bright lights, and I’m positively certain that a great deal of people died during this fight.

It’s just a shame that I don’t care.

Blackout rips the top off of a building like it’s a tin of anchovies, and then snags all the hard drives he can, downloading everything. This is a problem, but it seems like nobody was prepared for a giant alien robot hack-attack, because in order to shut down the power to the servers, you need to be able to unlock the breaker box, and no one seems to have the key. They solve the problem with a fire ax.

Lennox is leading the Qatari boy through the base towards safety. I should mention that it’s night now, and several hours seem to have passed since the Ospreys landed, so I don’t know why this kid is still here. He’s got, like, a house and family to go home to.

We get some more tank-throwing action, Sergeant Epps almost gets flattened under Blackout’s foot, then the movie decides it’s going to try to make things more interesting by having each shot cut flash, for whatever reason.

Someone shoots Blackout with a rocket launcher, I think, and this is the point where he throws his tiny little man off his back to go do his job. Yes, Blackout’s got a baby, and that baby is Scorponok, his symbiotic pal who likes to dig into the ground and be a sneaky little bastard.

Blackout blows up a ton more military equipment and personnel, and then it’s time for another smashcut.

Now we’re in high school, just like all those dreams I’ve had where I’ve forgotten my homework. This is where we meet Sam Witwicky, our main character, and also the stand-in for our target demographic. He’s insufferable, and I don’t like him. Mikaela Banes, our love interest, is also present in this scene, but we don’t get to know about her character for, like, another 20 minutes, because who gives a shit about women, right? They’re just props, right?

Right???

RIGHT??????????

RIGH-

Sam is presenting on his great-great-grandfather, Archibald Witwicky, for his family genealogy report, in front of a class containing maybe three actors who are age appropriate.

I know child labor laws are a good thing, and that hiring adults to play teenagers is just the lay of the land, but I swear some of these students look like they’re old enough to be on their second mortgage and third kid.

Anyway.

Archibald Witwicky was an explorer, one of the first to traverse the Arctic circle, and apparently his crew was made up of folks from 2007, because I swear the clothing for a few of these dudes isn’t period-appropriate. We get a seamen joke, because of course we do, and a sextant joke, because of course we do. Sam is also hawking all this crap he’s brought in for the presentation, because he is a little bastard who has no idea what his peers would want to buy, or really how to relate to them at all. He’s selling these “priceless” artifacts so he can get a car. Mikaela finds this charming, for some fucking reason. Also, her boyfriend is weirdly stroking her shoulder blade with his knuckles the whole time this is happening, and I hate it.

Archibald Witwicky went mad after his expedition, talking about an “ice man” so often that his family ended up locking him in a mental asylum, likely to be forgotten about. Which is sad. But we won’t be getting into the medical mistreatment of the mentally ill in Bayverse, now will we? That’s just Too Deep™.

Sam’s teacher didn’t very much appreciate having his class be turned into an episode of Antiques Roadshow, but still gives Sam an “A” on the project, despite it being a very poor report that lasted all of two minutes. I suspect the teacher has tenure, and therefore no longer gives a shit about academic integrity. This “A” means that Sam’s father will buy him a car.

Which is nice, I suppose, if I gave a damn.

Sam’s father, Ron, picks up his son in a car he probably bought at the crux of his midlife crisis, in a green that reminds me of a school gymnasium floor, then plays a prank on his child by pretending to pull into the Porsche dealership. Sam isn’t getting a Porsche, which is good, because he doesn’t deserve one. As Sam gripes to his father, a yellow Camaro drives by oh so conspicuously. Wonder what’s up with that.

Instead of the Porshe dealership, they head over to the used car lot, which is being run by Bobby Bolivia, who spends his time yelling at his employees and wanting to murder his mother. Sam is incredibly ungrateful about the fact that his dad is helping him get a car, even though it’s his FIRST car, and nobody gets a nice one the first go around. Or, at least, they shouldn’t, given the statistics about accidents with young drivers.

“No sacrifice, no victory” is uttered by Ron, which is the family motto, or so he claims. Archibald Witwicky said the same thing when he had multiple people dying trying to get to the Arctic Circle, so there’s precedence for the phrase, but we’ll see how it holds up throughout the film.

Bobby Bolivia shows Sam and Ron the cars he has for sale, and Sam is immediately drawn to the yellow Camaro in the lot, though there’s a small problem- it’s too expensive for what he and his father agreed to. Also, nobody knows where the hell it came from, so paperwork might be an issue. When Bobby tries to show Sam the yellow Beetle they have right down the line, everything explodes, because this is a Bay film, and fuck the original material this movie was based on. Bobby lets them have the Camaro for a lower price, suddenly fearful of whatever strange powers have just visited his place of business. “The car picks the driver” is suddenly more than a bullshit line to spout off in order to sell cars, and I’m certain that’s shaken the poor man.

Over in Washington, D.C., the Secretary of Defense prepares to address just what the hell happened in Qatar, lamenting on how young the audience he’s going to be speaking to is. In particular, he’s referring to the two dweebs and the hot chick sitting in one of the rows. All the women in this movie who aren’t someone’s mom are made up to be very pretty. And not even in a realistic way. But we’ll get to that in a bit.

So, the military network was hacked. That’s bad. Nobody knows who did it. That’s also bad. The only lead the US has is a soundbite, which is the signal that hacked the network.

Everyone here at the briefing is going to be helping to figure this mess out. This is great, if you like looking at Rachael Taylor for a few seconds at a time, and can compartmentalize hard enough to make that worth the effort of watching this godforsaken film.

Back at the Witwicky household, we meet Mojo, a chihuahua with a cast that doesn’t seem like it’s actually doing anything. I wish he was the main character instead of Sam.

Sam arrives home from the dealership, and says “alright, Mojo, I’ve got the car. Now I need the girl.”

As if ownership of a person is something to aspire to.

As if women are property to be owned.

As if women aren’t people, but rather commodities.

We’re 17.5 minutes into this film.

We’re introduced to Judy, Sam’s mother. She’s shrill, and annoying. This is by design, because none of the women in this film are actually people, but rather archetypes to bounce off of the male characters.

Sam and his father have a moment of what some might consider banter, then Sam gets huffy with his mom over gender roles for the dog. I, for one, think Mojo looks positively dashing in his bedazzled collar, and to hell with whatever Sam says to the contrary.

Sam drives off to go be a misogynist, with the promise to be back by 11PM.

Over in Qatar, the soldiers and that little boy are running from the attack on their base, as Lennox’s wife watches a public announcement on the matter back at home. The Secretary of Defense lets us know that we’re at DEFCON Delta at this point. Lennox Jr. cries, and all I can think about is how they probably pinched that baby to make that happen. They pinched a baby for Transformers (2007).

The soldiers in Qatar talk about shit they have no idea about, Sergeant Epps going on about somehow having been able to see a forcefield around Blackout through his super special binoculars. I don’t know how, or why, he knows this. I don’t know anything anymore.

Ed Sheeran has his doubts about this whole thing, and Lennox is also present in the scene, because I guess he’s important. Through a bit of dramatic irony, Fig- the guy everyone was making fun of for being bilingual at the start of the film- says that this probably isn’t over, as the shape of Scorponok shifts through the sand just beyond them.

Epps is having a minor crisis over the fact that Blackout saw him, but we don’t have time for that, because we’ve got to get to cover. The lads decide to head to the little Qatari boy’s house. Again, I wonder why he was at the base at all, considering that it seems like they’ve been traveling for a good portion of the day.

Back with Sam, he’s picked up his friend Miles, and together they’re going to a lake party. Are they invited to this party? Yes, but also no. It’s public property though, so it should be fine. As they park, Sam notices that Mikaela is here, which is great for him.

Mikaela’s boyfriend, Trent- whose name I had to look up- is a massive tool, and starts pestering the two boys for daring to exist in his airspace. Miles climbs a tree. I’m glad he’s having fun, at least. Sam makes a joke at the expense of people with brain injuries, and this for some reason? Warrants a shot of Mikaela making the blank “pretty girl” face? In response?

Mikaela saves Sam from becoming a wet stain on the grass, which is very kind of her, and more than Sam really deserves. Trent, his boys, and Mikaela start to head off for another party, to get away from Sam and his tree-loving friend. Mikaela offers to drive, and Trent says that she can’t handle his truck, because she’s a ~girl~. This causes Mikaela to ditch him, and start walking home.

The script knows enough about misogyny to know that this would be a nice “take that”. Michael Bay, however, likely fails to see why everything he did with said script involving this character is a goddamned problem.

Because Mikaela, bless her heart, has a lot of problems.

Let’s start with the outfit: a croptop, a jean skirt that BARELY covers her ass, and a pair of wedge heels that are at least four inches tall. On a character that is, at oldest, freshly 18.

Look, I’m all about self-expression and the freedom to choose how you dress for yourself and yourself alone, but this clearly isn’t that. This is a character, not a person, whose wardrobe was designed for the straight male gaze. She’s wearing fucking STRAP HEELS to the lake. This is about oogling. This is about reducing a whole-ass person to the same status as a piece of meat. In fact, who was on wardrobe for this? I’d like to have a few words with-

A woman? Okay, well, what else has she worked on?

You can’t be fucking serious.

ANYWAY.

Miles just called Mikaela an “evil jock concubine.” I don’t like Miles anymore.

As Mikaela walks down the road, strutting hard enough that I’ve got sympathy pains in my hips, the radio in the Camaro turns on, playing “Drive” by the Cars, and giving Sam a hell of an idea; he’s gonna drive Mikaela home, so she doesn’t have to walk the 10 miles to her house. Why he knows how far she lives from the lake isn’t addressed.

Sam kicks Miles out of the car and goes to give Mikaela a ride, which she accepts after a bit of self-deliberation, and also him making an ass of himself. The shot here is framed with Sam like he’s a normal-ass person, and Mikaela from her breasts to the top of her waist. Because of COURSE it is.

She hops in the car and then goes off about her taste in hot guys. Which is weird, and out of left field. Sam is about as confused as I am, then continues to make a fool of himself. This is his nature as a person. Mikaela has no idea who Sam is, even though they’ve gone to the same school for the last 10 years and have multiple classes together. And the fact that she was staring him down all through his genealogy presentation. And at the lake.

This movie isn’t very well thought out, I feel.

It’s at this point the the Camaro turns the key on itself and starts to sputter out and die, as “Sexual Healing” by Marvin Gaye pops on the radio.

I don’t like how this car is trying to get Sam laid.

I don’t like how this car is trying to get Sam laid with a girl who didn’t even know his name five minutes ago.

I don’t like how this car knows what sex is.

The Camaro breaks down on a cliff, and Mikaela hops out to work on the engine, and also to get the hell away from Sam’s sputtering.

As Mikaela admires the sweet engine in this Camaro, showing off her knowledge of cars, we get several shots of her from her breasts to her thighs, while Sam is treated like an actual person. Don’t bother trying to play it off as an artistic choice, Bay, this is blatant horndogging. This adds to NOTHING, other than my ire.

Sam says more stupid shit, and Mikaela, who must be the nicest fucking person in the world, just tells him to fire up the engine so she can try to sort out the problem. Then he asks why she goes for jackasses like Trent, and she decides that she’s hit her limit for today, opting to walk the rest of the way home. Good on you, Mikaela. Don’t take Sam’s bullshit.

Sam, realizing that he’s put his foot in his mouth for the 80th time today, pleads with his Camaro to do him a solid and work, and this actually works out for him. Great. Sam, victorious, once again offers Mikaela a ride, which she, once again, takes.

He drops her off without further incident, and she thanks him for listening. Even though they didn’t really talk that much. I dunno, maybe they had a super deep conversation offscreen. Mikaela asks Sam if he thinks she’s shallow, because clearly all women need approval from the men around them, and Sam says that there’s more to her than meets the eye.

Which made me groan aloud.

Anyway, she gets inside without a problem, and Sam professes his love for his new Camaro for allowing him to talk to a girl. Or at least talk at her.

Back in Washington, D.C., at the Pentagon National Military Command Center, we’re making weirdly racist calls on who hacked the military.

Up with Air Force One, a conspicuous boombox transforms into a robot, and then runs off to hack shit. The President of the United States requests some snack cakes. A flight attendant goes down to storage to retrieve said snack cakes, and finds that boombox in the elevator with her. Considering this is Air Force One, you’d perhaps expect her to immediately be suspicious of such a thing, but this is Bayverse, and we don’t think here.

The flight attendant brings the boombox down with her and places it on the counter as she goes to get the presidential snack cakes. The boombox immediately disappears. Now, you’d perhaps expect her to immediately be suspicious of such a thing, but this is Bayverse-

The flight attendant opens up the snack cake package, for some reason, and drops the cake on the floor. She then proceeds to eat it, and then act shocked when it tastes like floor. There’s a robot in her fucking line of sight, and you’d perhaps expect her to immediately be suspicious of such a thing-

She leaves to go feed the President floor cakes, and our little robot friend gets to work stealing government secrets. He, if nothing else, looks pretty cool doing it. He’s a very pointy lad.

Back at the Pentagon, Maddie- Rachael Taylor’s character- can hear the hacking. This sends everyone into a panic, because, well, that shouldn’t be happening. The hacking noise is a direct match to the one from Qatar, so that’s obviously a problem.

Back on Air Force One, our little robot friend is looking for “Project Iceman”, which he very quickly finds, and downloads everything they’ve got on it, and also plants a virus. The process seems to be… doing things to him. It’s weird. This movie is weird.

The Pentagon cuts all the system hardlines, stopping the process, but it’s too late- he got what he wanted, just about. Two security personnel come into the room, and the robot kills them both with some spinning blade disc nonsense. Air Force One is forced to land for the safety of everyone on-board. More security detail comes in to deal with the little bastard, but he transforms into a boombox and sits on a shelf to avoid suspicion. Now, you’d perhaps expect-

With the plane grounded, our robot is able to walk his little ass over to a cop car. And when I say walk, I do mean walk; this fucker is in multiple folks’ line of sight and nobody notices a thing. When he enters the car, he’s greeted by the mustachioed driver- the same driver who was operating the helicopter at the beginning of the film. This mustache man is a holographic avatar, one that’s being used by all the Decepticons.

We get our first real taste of Cybertronian language, as our robot- it’s Frenzy, his name is Frenzy- lets everyone know that he’s found a clue to the location of the AllSpark, and, through the power of the internet, knows where to find the guy who’s gonna give them what they need.

Three guesses to who it is, and the first two don’t count.

Back at the Witwicky household, Sam’s car does a runner in the middle of the night. Sam, horrified that his property is being stolen, pursues on a bike, screaming at his dad to call the cops. Sam also calls the cops, as he tears through the neighborhood.

The Camaro breaks into an abandoned building, Sam follows, and we finally get a shot of our audience appeal character. Sam watches in disbelief as a giant yellow space robot shines a beacon into the sky, then makes a video on his flip phone recording the experience. He apologizes to his parents for owning pornographic magazines, and goes to face his probable demise.

However, death does not come from above, instead manifesting itself as two of the strongest junkyard dogs in the known universe, who break their brick-inlaid chains to get at this little dip of a man. Sam is chased through the yard, climbing on top of a couple precarious oil drums, even though there’s a ladder, like, right there. The Camaro rolls in, scaring off the dogs, and Sam bolts, throwing the keys to his ride at his ride. When he gets outside, the cops have arrived, and immediately arrest him.

Back with the US government, the Secretary of State is having a conversation about all the bullshit that just went down with Air Force One. He and his fellow cishet old white men discuss their options, until Maddie comes in to set them straight on some of the facts. They act all indignant about it, because women can’t be smart, right?

Right???

RIGHT??????????

RIGH-

Anyway, we get a weird little deflection of Maddie’s role in everything, because a woman is nothing without the men around her, then she brings up the point that the bullshit that happened on Air Force One went down in just a few seconds, which isn’t something that anyone can actually do. She brings up quantum mechanics, which everyone blows off as nonsense- not that I wouldn’t as well- and theorizes on a DNA-based computer, which is technically a thing, if not trapped in the realm of speculation. It’s at this point that the Secretary of Defense tells her to come back when she can back these wild claims up, and isn’t just clearly spitballing.

And then he snaps his fingers at her, and any point he might have had leaves my brain so I have more room for being enraged.

Back with Sam, we’re at the police station talking to the cops. His dad is here, and Sam is trying to explain that his car is a dude. Even though he took at a video (one that was likely crap, given how quickly he spun his phone around to show off what he was seeing) the cops, understandably, don’t believe him. Then one of them, not so understandably, starts… threatening Sam? With his sidearm? And daring him to try something? This isn’t any sort of statement on the corruption of American law enforcement, it’s just bizarre.

Back in Qatar, our soldier buddies have found a telephone line, and are going to try to use it to get in contact with the rest of the world. It’s just too bad that Scorponok’s decided to make an entrance, and knock said telephone line the hell down. Ed Sheeran has next to no reaction to this, despite it happening maybe ten feet behind him. Fig speaks Spanish, and Ed Sheeran makes a point to be an asshole about it.

Scorponok is about to stab Lennox with his very pointy tail, when Epps notices- finally, someone with peripheral vision- and starts shooting. Then everyone starts shooting, kicking up enough sand to blind themselves, as Scorponok scuttles away, buries himself, then reappears behind Ed Sheeran.

Ed Sheeran does not survive this experience.

The others bolt, not wanting the same to happen to them, and for the fourth time I wonder just why the hell this young boy was at the base in the first place.

Off in the distance, the community of a nearby town wonders just what the shit is going on out in the desert. Our soldiers run into the town, and everyone gets their guns and start firing on Scorponok, who retaliates, because why the hell wouldn’t he?

Lennox demands that the young boy take him to his father, and proceeds to borrow his phone. As shit goes down outside, we have a sort-of gag where Lennox is trying to contact the Pentagon, while a telemarketer tries to get him to buy a phone package. In order for this call to go through, he’s going to need a credit card. This is where the well-known “pocket” scene comes from, as Lennox searches Epps’ pants for his wallet as he fires on Scorponok. It’s probably the best-written thing in this whole film.

With the credit card acquired, Lennox finally gets through to the Pentagon, and tosses Epps the phone so he can talk. Maybe he’s got anxiety about speaking on the phone, I dunno.

Scorponok shows off his disregard for historical architecture, blowing up several buildings, and the US government just watches this all go down. One of the actors in this scene looks like my dad, and it trips me up every time he’s on screen. Anyway, now the Pentagon knows about the giant space robots running around in Qatar. They send over some air support about it. All this manages to do is piss Scorponok off.

So they try it again.

This time it works, sort of.

At the very least, he’s left now.

Tail fell off, though.

Also, Fig’s been grievously wounded. The others, for once, don’t make fun of his native language while they help him hold his blood inside his body.

Back at the Pentagon, Maddie’s looking to prove that the bullshit that’s been going on is of the sci-fi variety, and in order to do that, she’s going to need a little outside help. She takes the information from the Pentagon, slaps it into an SD card, hides that shit in her blush compact, and then runs out the door to Glenn Whitmann’s house. Or, rather, his grandma’s house.

Glenn is a hacker, and shouldn’t be seeing anything that Maddie’s brought him, but everyone knows that confidentiality is for nerds, so whatever.

Back at the Pentagon, Maddie’s immediately been caught. It’s almost like slapping the military network onto an SD card maybe wasn’t such a hot idea. But what do I know?

Glenn takes a look at the soundbite and figures out that there’s a code embedded in the thing in about two seconds. Good to know our tax dollars are being well-spent on the US military, that some dude in his jammies can figure this shit out faster than a whole team of analysts. They figure out that “Project Iceman” is involved with this somehow, and also the existence of Sector Seven. It’s at this point that the FBI busts in. Good. I kind of want Maddie to go to jail for this, because she was about as stupid as she could be handling the situation.

Glenn’s cousin goes through a closed glass door- don’t worry, it’s tempered- and there’s a weird cut before that exact same shot continues, and he’s tackled into the pool. There was no reason for that to have happened, but here we are.

Back with Sam, we’re treated to him in his boxers, shooting basketballs in his room. He goes into the kitchen, where Mojo is standing on a stool. It’s a very tall stool, the sort you sit on, and he’s just… there. I don’t know how he got there. There’s no one else in the room besides Sam, and I know he didn’t put him there.

Clearly this must mean Mojo is God, and being on that stool is his divine will. I will be approaching the rest of the franchise with this in mind, because it’s clearly the only answer.

Our merciful Lord Mojo jumps up on the kitchen counter and begins growling at something through the window. Sam looks out… the opposite window… to find that his Camaro has returned to him, and is less than thrilled about it, to put it lightly. He drops a jug of milk- luckily it was mostly empty, given the sound it makes when it hits the floor- and gives his buddy Miles a call. You remember Miles, don’t you? If you don’t, it’s fine, because he reestablishes his quirkiness with a single shot, as he sits in a swimsuit and bathes his huge-ass dog in a kiddie pool, and answers the phone with a headset he just happened to be wearing. He must get a lot of calls during Dog Washing Hours.


After giving us one of the most intense voice cracks I’ve ever heard, Sam books it out of his house, hopping on a bike to escape his murderous Camaro. He’s not seen the thing commit any murders, mind you, but he seems pretty convinced that it would do the job, given half a chance. Also, this isn’t the bike he rode the night before; that one is likely being chewed on by those strong-ass junkyard dogs. No, for some reason, the Witwickys have a pastel pink girl’s bike, with the fun little handle tassels and the basket and everything. As far as I can tell, Sam is an only child, and if you think Bay’s going to allow for a teenage boy to have the vulnerability to own a pink bike, you’ve not been paying attention for the last 48.5 minutes.

The Camaro gives chase, rolling after Sam on his bike at a brisk 7 MPH down the friggin’ sidewalk, one of the only scenes in this travesty of a film to actually get me to crack a smile. Sam races through town until city planning puts a stop to him, through the magic of using chunks of cement to decorate the mulch around their trees. He crashes his bike, faceplants into the concrete in front of Mikaela, and promptly dies, thus ending the film.

No, he doesn’t die. I just told a fib. I’m sorry.

Instead, he does a flip and lands on his back, likely receiving a concussion, in front of Mikaela and her friends. Her friends laugh, because everyone hates Sam, as they should, and Mikaela says that what he just did was “really awesome.” Don’t try to be nice, Mikaela, this is Sam we’re talking about; you could stick the dude in the freezer overnight and he still wouldn’t be even remotely cool.

Sam gets back to the whole “running away from a car” deal, and Mikaela decides that this is the sort of thing she’d like to do with her day, so she ditches her friends in the middle of their scheduled Burger King™ time to go see what the hell Sam’s on about.

As Sam is chased by the Camaro who is being chased by Mikaela on her motorized scooter, a cop becomes involved, tearing through the streets to join this ridiculous game of tag. Now, we’ve seen two different flavor of cop so far- the mustachioed avatar cop car that picked up Frenzy from the airport, and the dude who threatened a teenage boy with a gun after accusing him of being under the influence of drugs. Either way, I don’t think this is going to turn out well for Sam.

Sam’s cornered himself under one of those really wide bridges where people can park their cars, which wasn’t terribly smart, but it’s Sam, so this is about par for the course. The Camaro manages to miss him, but the cop car does not. Sam is actually pretty cool with the cops being here, as if they could do anything about “Satan’s Camaro.” I guess he didn’t see the decal on the side of this car that says “to punish and enslave…”

Sam attempts to approach the car for help, and gets clotheslined by a car door for his troubles. He hits his head on the pavement, certainly exasperating the brain injury he received not ten minutes ago. Still, he continues to try to talk to the holographic avatar through the windshield, revealing that the bike he’s been riding is his mother’s. Mystery solved, I suppose.

The cop car doesn’t much appreciate being slapped on the hood, and begins to rev violently at Sam, threatening to run him over several times. Then it explodes into being a robot. Sam, who’s seen a lot of really weird shit in the last 24 hours, nopes out of the situation. It’s at this point that I realize he’s wearing a shirt for the band the Strokes. I don’t know why that stuck out to me, but it did. Guess my brain needed something to latch onto during all this.

Sam is running as fast as his little legs allow, as our newest robot friend takes up a leisurely jog to keep pace. Then he kicks Sam. He kicks Sam’s body like the football. This, of course, instantly turns Sam into a bag of jelly and kills him, thus ending the film.

No, he doesn’t die. I just told another fib. I’m sorry.

Sam somehow survives being punted by a giant metal leg and lands in the windshield of a car that doesn’t turn into a robot. Then he gets yelled at by the cop car. This is Barricade, a member of the Decepticons, and Sam’s got something he wants. Or, should I say “LadiesMan217” has something he wants.

LadiesMan217 is Sam’s Ebay username. This is both stupid because no teenage boy existing beyond the year 1985 would have ever called himself that, and also because it’s just stupid.

Barricade wants the glasses Sam presented for his genealogy report, and he wants them NOW. Seeing as the thing he wants is for sale, and nobody had been bidding on it, one would wonder why Barricade and his associates didn’t just try to purchase them like upstanding citizens. Perhaps Decepticons don’t understand the concept of money, or perhaps they don’t have a stable address to have the glasses shipped to. Or perhaps nobody considered that angle when the script was being put together. Who can say?

Sam gets back to running away from Barricade, we see where Mikaela got to, and the two of them collide. Sam rips Mikaela off of her scooter, and they both fall to the ground. Mikaela, who did not buckle the clasp on her helmet, asks Sam what his fucking problem is. Then his problem shows up, and they take a very long time to get up so they can run. So long, in fact, that the Camaro has to swing in to save them. After much pleading from Sam, Mikaela gets inside Satan’s Camaro, and the two of them are whisked away to safety. Barricade pursues, and then the butt rock starts.

There’s a lot of screaming and yelling, the Camaro busts through a window and several shelves in an abandoned building, there’s some drifting, and then suddenly it’s nighttime. Barricade somehow got in front of the Camaro, and is circling like a shark. The Camaro locks the two teenagers inside itself, though I suppose they could climb out through the still-open windows if they really wanted to. The Camaro cuts the engine off, then cuts it back on and bolts for the exit, and this somehow tricks Barricade long enough for them to get past.

The Camaro dumps Mikaela and Sam out one of the doors and then transforms into that yellow space robot we saw a bit ago. It’s Bumblebee! Nearly an hour in, and we finally get a proper look at the little bastard. I guess that’s what happens when you spend the first 20-something minutes on being xenophobic and appealing to the focus groups that think it’s fine sexualize high schoolers.

Bumblebee- no, he’s not introduced himself yet, but I just can’t keep calling him “the Camaro” anymore- comes out of his transformation ready to square the fuck up. Barricade throws himself at Bumblebee, they roll around on the ground for a bit, then things start sparking and exploding, because this is a Michael Bay film. Frenzy jumps out and starts chasing down Mikaela and Sam, while Bumblebee and Barricade murder death punch each other. Frenzy manages to grab Sam by the ankles, drag him to the ground, and rip his pants off. Not sure how that happened, considering he’s still got his shoes on.

While Sam’s busy being chased by a sentient pile of safety pins, Mikaela’s taken it upon herself to be proactive about her survival, and is raiding a nearby building for power tools. She sprints out holding an electric jig saw and saves Sam by decapitating Frenzy. If you know anything about Transformers, then you know this doesn’t actually kill Frenzy, but good on her for being a badass. Why couldn’t Mikaela be our main character again? Oh, right, because she’s a ~girl~.

Sam punts Frenzy’s head, like, 50 yards, which seems like something he shouldn’t be able to do, given that he’s a massive weenie, but there you are. With that out of the way, Sam takes Mikaela’s hand and they run off to go watch the giant robot fight. The bottom of Frenzy’s head turns into a spider and he crawls his way over to Mikaela’s purse. He’s gonna steal her gum, the fiend!

Mikaela and Sam have, unfortunately, missed the giant robot fight, which means that we, as the audience, have also missed the giant robot fight. Which is unbelievably stupid, seeing as everyone who has ever watched this movie came for the GIANT GODDAMN ROBOTS.

Mikaela asks just who the hell the yellow robot is, I guess because she’s finally had a second to process what the hell’s going on. Sam claims that he’s a super-advanced robot, “probably from Japan.” Whether or not this is a reference to the Japanese origins of the original toy line isn’t clear, though somehow I think it’s more xenophobia. Sam also makes the claim that if Bumblebee had intended to hurt them, he would have done it by now. This is quite the jump from a few hours ago, when he was calling the poor guy “Satan’s Camaro.”

Sam finally, finally asks Bumblebee what his deal is, and we get our first taste of the Bayverse Bumblebee Gimmick. The Gimmick here is that, due to an injury to his vocal processing, Bumblebee cannot communicate through traditional means, i.e. speech. Because of this, he instead strings together sentences by flicking through the radio frequencies and choosing key words. This can lead to some interesting audio design, like describing his fellow Autobots to “rain down like visitors form heaven, Hallelujah!” because a radio sermon fit what he was trying to say best.

This gimmick is one that has been used in other pieces of Transformers media, at least in part. Bumblebee is unable to speak traditionally in Transformers: Prime, and instead communicates in beeps and clicks that his teammates can understand, but not so much the humans, save for Raf. In Bumblebee (2018), the idea was used whole-cloth, with the injury resulting in his inability to speak happening on-camera within the first 10 minutes of the movie, and the idea of “expressing oneself through music” being introduced by his human companion Charlie Watson.

All in all, I rather like the idea going on here; it’s an interesting part of his character that opens up for a lot of interesting and creative moments.

It’s just too bad it was introduced in fucking Bayverse.

But yeah, anyway, the other Autobots are coming to Earth. Shit’s gonna be lit.

Bumblebee turns back into a Camaro, and Sam uses the power of FOMO to get Mikaela to go in the car with him. We get a shot of Barricade fucking dying on the side of the road. Frenzy murders Mikaela’s phone, and then steals its identity, including the little bejeweled heart stickers. Good thing Mikaela remembered to go get her purse, otherwise he probably would have felt very silly doing that.

Mikaela refuses to sit in the driver’s seat, seeing as she now knows Sam’s car is sentient, and sort of feels weird about this whole thing. Sam suggests that she sit in his lap instead, as the camera angles to give us a peek at the cup of Mikaela’s bra. When asked why the hell she should do such a thing, Sam says it’s a concern about her safety, given that the middle console of the car does not have a seatbelt. Sam either fails to recognize that seatbelts going over two layered bodies won’t save either of them in the event of a crash, or he’s just trying to make an excuse to have a pretty girl in his lap.

Given what movie this is, I’m going to guess it’s the latter.

Mikaela has a similar line of thought, but scoots over anyway, saying that the seatbelt line was a “smooth move”. It wasn’t, but if I picked apart every single bad line Sam had in this film, I’d be here all day.

Mikaela questions Bumblebee’s taste in alt-mode, which offends him to the point of dumping both her and Sam out in the street and driving away. He returns, moments later, as a sleek new Camaro, that I’m sure some car aficionados would call “sexy.”

Bumblebee’s alt-mode is a 2009 Chevrolet Camaro, of which there were none during the time of filming. It was put together for this movie in roughly five weeks. Sam is blown away by the fact that he now owns a car that does not currently exist in his universe. Mikaela is impressed, or at least she would be, if women were allowed to show that emotion in a non-horny way in a Bay film.

Judy doesn’t count.

As Bumblebee breaks into yet another restricted area, we get a shot of the Earth from orbit, as several objects rocket towards the planet. Sam and Mikaela watch the Autobots burn up in the atmosphere, and Mikaela tries to hold Sam’s hand as they do, and it’s at this point that I have to address how much I hate these two’s dynamic.

I don’t give a single solitary shit about this romance, because A) it’s poorly written, B) Mikaela could do infinitely better than Sam, C) I dislike Sam so very much, D) Mikaela, who is a way more interesting character, got placed on friggin’ love interest duty because ~girl~, and E) it’s useless padding to try and make me care about what’s happening here, and I just DON’T. I do NOT care about whether these two get together or not.

We see the Autobots crash-land, three out of four of them causing massive amounts of property damage and possibly killing at least one person. Their stasis pods crack open, and they each climb out, completely naked and in desperate need of clothing to hide their shame. With a quick scan of nearby vehicles, they’re once again decent to be seen in public.

Bumblebee drives the kids out to what I can only assume is the warehouse district he sent that beacon out in, as our collection of good guys finally come together at long last. A massive Peterbilt semi-truck stops directly in front of Mikaela and Sam.

We’re over an hour into this film, and we’re just now getting to the quintessential Transformer, Optimus Prime himself.

In the original cartoon, Optimus’s alt-mode was what’s known as a cabover truck, one where the cab- where the driver sits- is seated directly over the engine. These were popular during the days when maximum truck-lengths were much shorter than they are currently. This is why when you look at height charts for Optimus over various continuities, his G1 cartoon counterpart much shorter than his other iterations.

Modern trucks are longer, and don’t need the cab to sit on top of the engine to save on space. The designers chose to use a Peterbilt to make sure that Optimus would have an imposing stature when compared to his fellow Autobots.

Because heaven forbid we not have heightism come into play in this film.

Our Autobots transform, and say what you will about these bastards being visually incomprehensible, the transformations themselves are cool as hell. My personal favorite is Jazz’s, where he does a cool windmill into his root mode.

Optimus crouches like he’s looking at a cool bug on the sidewalk and addresses Sam by name. He doesn’t even acknowledge Mikaela, which I find to be a bit rude, but whatever. He then introduces himself as the leader of the Autobots.

Peter Cullen is back as the voice for Optimus Prime, sounding wonderful as always. He almost wasn’t brought on for this project, because Michael Bay didn’t want him. If the fans hadn’t thrown a hissyfit, who knows who we would have gotten to be our space dad for the next hour and a half?

This is actually an issue that’s recurred several times in the last few years, and not just with Cullen; Frank Welker, the voice of Megatron, as well as many other Transformers, has been refused roles within Transformers properties. In general, this is because both Cullen and Welker are union actors, and Hasbro would prefer to hire sound-alikes than pay more money for the originals. This isn’t to shame the non-union actors, goodness no, just to merely point out less-than-fantastic business practices.

I realize there have been a lot of tangents, but you have to understand that I am suffering as I do this.

Optimus then introduces his team- there’s Jazz, whose first line is “What’s crackin’ little bitches?”, Ironhide, who incorrectly quotes Dirty Harry, and Ratchet, who calls out just how obnoxiously horny Sam’s character is. We also finally get Bumblebee’s name.

Mikaela asks the very good question of why the fuck the Autobots are here on Earth. Optimus explains that the AllSpark is here, and they’ve got to get to it before Megatron does. He then goes on to explain who Megatron is, stating that he “betrayed” the Cybertronian empire.

No, how exactly he did that isn’t addressed. We’ll just have to take Optimus’s word, I suppose.

If you’ve sussed out by this point the the AllSpark and the Cube™ are the same thing, congrats! You win. Megatron followed the AllSpark to Earth, where he promptly was neutralized by the cold of the Arctic circle. This was 110 years prior to the events of this film, and where Archibald Witwicky came in to the story.

When the expedition was happening, Archibald fell through the ice during a collapse, and ended up finding Megatron’s frozen body in an ice cave. He went poking around on this strange metal giant, and ended up activating Megatron’s navigation systems, which imprinted the coordinates of the AllSpark onto Archibald’s glasses.

Don’t ask how that works, it just does.

So, the Autobots need the glasses, so they can find the AllSpark before the Decepticons do, so those guys don’t use it to build an army out of Earth’s machines, which will destroy humanity.

Sounds simple enough, let’s go get that vision correction device!

Back with the military dudes, everyone’s taking a gander at the tail that Scorponok left behind. They theorize that the metal that makes up these giant murder-robots reacts to extreme heat, but elaboration on that point will have to wait, because the tail has begun to flail. They quickly strap it down, then call the military to let them know to strap anti-tank guns onto anything that’s going to be approaching any giant robots.

Meanwhile, in an interrogation room, Maddie and Glen have been left to sweat a bit. Glen takes to stress-eating, while framing it as a psychological tactic to subconsciously prove his innocence to the FBI.

This is a fat joke, with the added nasty layer of Glen being a black man about to be interrogated by one of the most intimidating white cops I’ve seen in a hot minute.

Glen immediately folds, pinning all the blame on Maddie, and claiming that he’s been a perfect angel his whole life. We get some weird purity culture out of him, before Maddie lets the FBI know that she needs to talk to the Secretary of Defense, NOW.

Over at the Witwicky household, Sam’s parents are watching the news, trying to find out what all those loud crashes were about. Optimus Prime drives down their residential street, the rest of the gang in tow, then they all park to wait for Sam to go get the glasses.

For about 20 seconds.

Sam has to physically hold the door shut to prevent his father from coming out and seeing several very tall robots from outer space tip-toeing around his freshly-landscaped yard, I guess because they got antsy. Optimus plods around on the grass and breaks a fountain, and our benevolent god Mojo comes out of the house, assuredly to smite the leader of the Autobots.

Mikaela runs onto the scene, and Sam chastises her for not controlling the robots who didn’t even acknowledge her existence, outside of pointing out Sam was sexually attracted to her.

Mojo pees on Ironhide’s foot, which prompts Ironhide to threaten to shoot the creature. This is why Ironhide isn’t getting into heaven. Sam, one of Mojo’s chosen few, claims that the mortal shell of his god is seen as a beloved pet by many humans. Sam runs into the house, before Mojo can incur his divine wrath on the Autobots.

While Sam goes to get the glasses, the Autobots decide to do a little peeping on the house, watching his parents watch TV. Sam tears his room apart trying to find the glasses, and Optimus thinks that it would be helpful if he brought Mikaela up to help look. It’s at this point that I realize that Sam has an utterly bizarre fish tank.

I mean, legitimately, what the fuck is this? No filter, no plants, might not even have any rocks on the bottom. Is this a comically oversized bong Sam threw a couple fish into? What the fuck.

Mikaela starts looking for the glasses, running into what is likely a box of porn mags, then they both look out the window to find that the Autobots have decided to hide in plain sight by transforming... in the middle of Sam’s backyard. Amazing work, gentlemen.

Sam finally convinces the Autobots to go sit in the alley and wait, only for Ratchet to run into a power line and trip into a greenhouse. The resulting impact is interpreted as an earthquake. Judy does not have the reaction one might expect from someone who’s lived in California for at least ten years.

Ratchet’s fine, by the way.

The power cuts out, and Ron goes up to check on his son, because he’s at least a halfway-decent father. Ratchet’s shining a light to aid in the search for the glasses. Sam’s parents notice this bright light, and bang on Sam’s door to see what’s up.

Sam quickly hides Mikaela and then attempts to salvage the situation, answering the door and trying to control the narrative. Unfortunately, Ron is far too inquisitive for Sam to do this, and then Judy asks if Sam was masturbating.

Judy, is privacy just not a thing to you? Because if not, it really ought to be.

She keeps going with it too, trying to come up with code words, until another one of the Autobots trips and causes Ron to panic again, climbing into Sam’s ancient claw-foot bathtub to protect himself. He looks out the window to check on his beloved yard, lamenting that the earthquake tore it up.

Ironhide is strongly considering killing Sam’s parents. Optimus tells him that they don’t harm humans, and also begins to wonder if he made a mistake bringing this guy along.

Back in Sam’s room, it’s becoming increasingly obvious that Sam is an absolutely terrible liar, and Mikaela reveals herself, if only to prevent Judy from trying to talk about self-pleasure again. Of course, now she gets to be subjected to both of Sam’s parents objectifying her, so this might be a lose-lose situation.

Sam is reminded that his backpack is in the kitchen, just in time for the government to show up at his house. Mikaela makes a comment about Judy being nice. I suppose on a surface level, yes, being told that you’re gorgeous by someone’s mom is nice. I do have to question the context that compliment took place in, however.

Sam’s about to hand the glasses over to the Autobots, when someone rings the doorbell. It’s Sector Seven, and they’re here to talk to Sam about his stolen car being part of an issue involving national security. Ron and Judy are more concerned about their yard being torn up, Judy yelling that they “need to get their hands off [her] bush.”

We still have another hour of this movie.

The agent leading this mission asks Sam to come with him for questioning, which his parents are very much against. Mojo also voices his displeasure, but it would seem that Agent Simmons is not a follower of the Tenets of Mojo. Sam gets geigered, and his readings are high enough for Sector Seven to take him and everyone in this house into custody.

As Sam and Mikaela are riding in the back of the car, Simmons brings up Sam’s Ebay account, and also the phone video he took of Bumblebee earlier in the week. Mikaela is rather unimpressed with Sam at the moment, probably because he’s gotten her arrested. She still tries to help him out though, because she really is just the nicest fucking person on the planet.

Alas, the combined efforts of these two teenagers isn’t enough to fool the long arm of the law, especially when it’s a branch of said law that deals with extraterrestrial activity. Simmons threatens to lock up these literal children for life if they don’t start talking. Mikaela isn’t taking the bait, so he goes after her father’s parole hearing instead.

Yep! As it turns out, Mikaela and her father stole cars to get by, and she’s got the record to back that claim up. Simmons calls her a criminal, then says that criminals are hot. Mikaela looks like she’s about to cry, and I don’t blame her in the slightest.

Optimus, I suppose because his dad senses were tingling, takes the opportunity to place his leg in the road for the car to run into, then grabs said car like an unruly cat and lifts it until the roof rips off due to stress. The agents in the other cars pile out and point their guns at the giant space robot. The rest of the Autobots quickly relieve them of their weapons.

Optimus notes that Simmons doesn’t seem surprised that a bunch of giant robots just took all his guys’ guns, and demands that he exit the vehicle, posthaste. Simmons obliges, after a bit more prodding. Mikaela undoes Sam’s handcuffs, and he gets fucking pissy about it, as if this girl he’s had a grand total of three (awkward) conversations with should have told him something as personal as “hey, so my dad’s in jail and I’ve been to juvenile detention.”

Luckily, she doesn’t let him get away with it, calling him out as the spoiled, self-centered, privileged little shithead that he is.

Of course, we don’t get any sort of real acknowledgement from Sam, having to move on with the plot. Perhaps, if we hadn’t spent the last hour and 20 minutes faffing about on drivel, we could have had Sam get an actual moment of self-reflection, and potentially even character growth. However, this is Bayverse, and everyone knows that personal accountability is for fucking sissies.

Mikaela and Sam ask several questions, but get no answers from Agent Simmons. And then Bumblebee pees on him.

I hate that I had to write that. I hate it very much.

Anyway, I don’t know why that had to happen, but it did, and I’m nothing if not thorough.

Optimus tells Bumblebee to cut it out, and with that the Sector Seven agents are cuffs and left on the side of the road. Mikaela orders Simmons to strip, as punishment for threatening her father, then cuffs him to a street lamp.

...Yes, that does sound like a bizarre sexual fantasy, doesn’t it?

Unfortunately for our teen heroes, they forgot to confiscate everyone’s phones, and Sector Seven knows what’s up, thanks to the power of speakerphone. More cars and a couple of helicopters show up basically immediately, and the Autobots decide it’s time to dip.

But not before Ironhide fires off a pulsewave into the ground that causes a five-car pileup.

Optimus, I suppose because he knows he chose a ridiculously flashy alt-mode that is in no way practical, just picks the kids up in and places them on his shoulder like a couple of parakeets, then takes up a leisurely jog to get away from the eyes in the sky. He runs through the city, racking up what is likely millions in property damage, as the helicopters pursue. He passes by a “Legalize LA” billboard, which feels odd to see, given what movie this is.

The ‘copters somehow manage to lose Optimus, despite him being relatively slow, and having a notable radiation level that they’ve been using to track him. He hides inside the scaffolding of a bridge, only for Mikaela and Sam to slip off of his polished body to their deaths, thus ending the film.

No, they don’t die. I just told another fib. I’m sorry.

Bumblebee snatches them up just before they hit the ground, the impact of his metal body catching them at 75 mph, killing them instantly and ending the film.

Nope, that doesn’t happen either.

Mikaela and Sam are fine, some-fucking-how, but Sam’s dropped the MacGuffin glasses. The helicopters swing back around, having noticed the sound of a car crashing into the ground and the screams of two whole adolescents. They break out a fucking harpoon gun and fire on our kid appeal character.

Repeatedly.

They wrap up Bumblebee in a series of cables, as he screams like a moose. Mikaela and Sam are held at gunpoint by what is honestly far too many dudes, and are then arrested for the second time in ten minutes. Bumblebee is smoked... because he’s a bee? Sam, not liking this one bit, finds the strength in his weenie body to push a cop off of himself, run at one of the dudes with the smoke guns, throw him to the ground, and then start smoking him. He’s immediately tackled, but points for trying.

Sam and Mikaela are placed back into custody, and the rest of the Autobots regroup with Optimus to see what the plan is. Optimus says that they can’t save Bumblebee without hurting humans, so I guess Bumblebee is just a POW now. Well, at least they got the glasses. That’s cool.

Back at the Pentagon, things are getting dicey, as the other world powers are starting to suspect that something’s up. The Secretary of Defense is approached by a man with a mustache and a briefcase. He’s from Sector Seven, but the Secretary gives not a fuck about mysterious organizations. All the computers in the room suddenly go down, the virus from earlier working its magic- only this time, the blackout is global.

Mr. Mustache opens his briefcase, while explaining that Sector Seven is something known as a “special access” sector of the government, which is why nobody’s ever heard of it; it’s beyond top secret. Commissioned by President Herbert Hoover 80 years prior, it deals with alien life.

When the Beagle 2 spacecraft was lost on the way to Mars in 2003, the mission was declared a failure. This was a lie. The Beagle 2 recorded several seconds of Mars before being crushed to death by a Transformer. This tidbit is pretty funny, given that the Beagle 2 was rediscovered on Mars in 2014, seven years after this film released. Not a terribly mysterious death anymore, is it?

Comparing the footage from Mars to the footage from Qatar has Sector Seven thinking that these are the same species. Which they are. God, it’d be so fucked up if there were two species of giant robots in this film.

Mr. Mustache theorizes that because the Transformers now know that they can be harmed by human weaponry, they’re being proactive about their safety and shutting down all forms of communication technology with that virus that keeps popping up. It’s only a matter of time before the shit hits the fan for humanity.

Mr. Secretary tells his guys to try going analog with comms, breaking out the short-wave radios, to tell their ships to return home.

Over at an Air Force base, Lennox and the gang have landed, only to be scooped up by a bunch of dudes in suits.

Back with Maddie and Glen, the two of them have fallen asleep in the interrogation room, Maddie still wearing her friggin’ four inch pumps as her legs are propped up on the table, crossed in a way that seems rather uncomfortable. Glen gets to sleep like a normal human being, with his head resting on his forearms. Why this place doesn’t have a holding cell for these situations is beyond me.

Mr. Secretary comes in to bring Maddie on as his advisor. Glen can come too, I guess, considering he’s the one who actually figured out the sound file virus.

We get a little military glorification, and then it’s revealed that Mikaela and Sam, as well as Maddie and Glen, are aboard this helicopter. Their paths cross at last. Our heroes are transported to the Hoover Dam, where Bumblebee is also. They are still smoking him.

Meanwhile, the Autobots are figuring out where to go, with the power of Archibald’s glasses. Ratchet, who I guess is omnipotent, senses that the Decepticons have also figured out the location, and that this is going to be a race against the clock. And I mean, he’s right, but the phrasing is a bit odd.

Jazz wants to know when they’re going to save Bumblebee. Optimus says that they aren’t, and that Bumblebee’s sacrifice is noble, and that he would want the Autobots to leave him and complete the mission. As this is said, we get another shot of Bumblebee getting smoked and trapped in a lab. Yep, this is totally what he would want. He absolutely signed up for this, giving himself up to the government and not at all fighting like mad to not be captured.

I don’t think Bayverse Optimus actually knows what martyrdom is, which is bizarre, given that it’s a major trait in a lot of other iterations of the character.

Ironhide isn’t even sure why they’re bothering to save humanity, given that humans are violent and awful, his point being hammered home as Bumblebee is tortured for scientific reasons. Ironhide seems to have forgotten that Cybertron has been at war for literally millions of years. Optimus has faith in humanity, however, stating that we’re “young”.

And then he says that he’s going to end his own race, by destroying the Cube™, which is how they reproduce, because that’s the only way to end the war.

Which is arguably one of the most hardcore fictional applications of eugenics ever conceived.

Being advocated for by Optimus Goddamn Prime.

We still have another 50 minutes of this movie.

Optimus then proves that he does, in fact, know what self-sacrifice is, stating that, if all else fails, he’ll shove the AllSpark into his spark, which will destroy them both. He’s pretty chill about it, too.

Up on top of the Hoover Dam, Frenzy has fallen out of Mikaela’s bag.

Mr. Secretary is also at the Hoover Dam now, as is Lennox’s team. Oh, and Agent Simmons, who is thankfully wearing pants. He offers to buy Sam a coffee, as repartitions for threatening his family, arresting him, and being a complete creep to a teenage girl. Sam gives not a fuck about caramel macchiatos with extra foam and chocolate drizzle, however. He only cares about his car.

Mr. Mustache, who is also here, needs Sam to spill the beans on all these friggin’ giant robots that are running around. This is where Sam realizes he has the upper hand for once, and he starts making demands. One such demand is having Mikaela’s record scrubbed clean, which is an actually very nice thing for him to have done for her. We’ll see if his intent comes to fruition. For now, it’s time to talk about Bumblebee.

We get a shot of all these folks heading into the secret base hidden inside the Hoover Dam, and it’s at this point that I notice that Maddie’s shirt is basically see-through.

Inside the Dam, we see that Sector Seven′s been keeping Megatron this entire time, keeping him neutralized with cryo-stasis since 1935. Cryopreservation was invented in the 50′s. This isn’t a nitpick, I just thought it was a neat little fact.

Megatron being on Earth has resulted in most modern technology. This sort of plot point always bothers me, because it takes away agency from the entire human race. We didn’t use our own ingenuity and work ethic to advance society, we plagiarized from a more advanced species. I dunno, it just rubs me the wrong way.

We get the part of the movie where info is hashed out, so that everyone is on the same page, Sam spouting off Autobot propaganda. We can forgive him for this,considering he’s 16, and no one is immune to propaganda, especially when they have zero way of doing their own research to form their own opinion with.

Sector Seven also has the AllSpark, kept in the room next to Megatron’s, like the chumps they will soon find themselves to be. It’s about ten stories tall and the reason the Hoover Dam exists. With so much concrete suppressing its alien energies, surely no one will ever find it!

Except for Frenzy, who came in through a mouse hole. Whoopsie-doodle!

The AllSpark zaps the nasty little man, restoring his body with its weird MacGuffin powers. Frenzy tells all his coworkers that he found what they were looking for, and everyone starts heading over.

Maddie asks Mr. Mustache what exactly he means by “energies”, perhaps worried that this whole thing has been some elaborate ploy to get her to invest in magic healing stones. Mr. Mustache brings everyone into a testing chamber, since the best way to explain how the AllSpark works is through a demonstration.

There’s a big fish tank in the middle of this testing chamber, in which Agent Simmons places a donated device from the crowd- Glen’s Nokia phone, specifically. Simmons makes a geologically-confused comment. When this is pointed out by Maddie, Mr. Secretary hushes her, simply saying that Simmons is a strange man. The tank is locked down, and then the show starts.

Cube™ energies are shot into the tank, and the phone explodes into life, transforming into a gorilla-shaped gremlin creature. Happy birthday, little dude!

Little dude starts shooting at the tank walls, cracking the glass until Simmons pulls the trigger and ends it. Happy deathday, little dude!

The Decepticons are making tracks towards the Hoover Dam, but Starscream- yeah, he’s in this now, don’t worry about it- arrives first, because he is a very fast jet. He transforms, showing off his ridiculous Dorito body, and fires on the base’s generators. The resulting explosions can be heard all the way down in the testing chamber, and Mr. Mustache calls upstairs to see what’s up. Looks like Megatron may be getting warmed up, seeing as his ice bath has been cut off. Lennox asks if there’s an arms room in Sector Seven, which sort of feels like asking a bakery if they have any flour.

Frenzy has entered the room that houses the controls for the cryo-stasis and set that whole system to “no, thank you”.

Mr. Mustache runs through the base, screaming for everyone to get to the Megatron chamber. Off in the distance, the Autobots approach. Could probably used some fliers on your team, huh Optimus?

Back with Frenzy, he’s decided to just straight-up raise Megatron’s core temperature directly. Hope he doesn’t do it too fast; rewarming hypothermia victims recklessly can do some serious damage.

Outside of the base, Lennox and the boys are loading up with weaponry, along with what’s the entirety of Sector Seven′s cannon-fodder department. Oh, and all the main cast. Yep, just got a couple of teenagers chillin’ in the munitions room.

Sam wants Simmons to take him to his car- he hasn’t used Bumblebee’s name in a hot minute, not sure what’s up with that- even though Simmons is currently busy loading a very large gun. Simmons doesn’t want to do that, because he’s got no idea if what Sam mentioned earlier is even true, and he doesn’t want to pin the fate of humanity on a single Camaro. Lennox takes this opportunity to tackle Simmons, despite likely not knowing that Bumblebee is one of the “good guys”. A Sector Seven guy very much doesn’t like that, and points a gun at Lennox, which prompts all of his guys to also start threatening folks with guns.

Mr. Mustache walks in on the scene, but doesn’t do anything, since he isn’t armed and knows better than to tangle with someone who’s packing. Simmons tries to intimidate Lennox, because he must have missed the day of boot camp where they tell you that guns kill people. Lennox is fully committed to shooting this dude in the lungs before Mr. Secretary suggests he give the people what they want, before things get ugly.

Simmons takes everyone to the robot torture department of Sector Seven, where they are still smoking Bumblebee. Geez, you’d think they’d have something in place for if they ever came across another giant robot after Megatron, but I guess not. The gang gets everyone to stop smoking Bumblebee, which allows him to stop moose-screaming and strongly consider murdering everyone involved with his forced captivity. Unfortunately, revenge with have to wait, as we’ve still got to deal with the AllSpark, and the fact that the Decepticons are here.

They take Bumblebee to the AllSpark, where he makes direct contact the thing, causing the AllSpark to transform, compacting itself down into a far more reasonable size that Bumblebee can carry in one hand. It doesn’t seem to weigh more than a grown adult, if his body language is saying anything. I’d make a joke about the conservation of mass being ignored, but since this is Transformers, I can’t really say much. Conservation of mass doesn’t exist for this franchise.

Bumblebee would really like to get this show on the road, and Lennox agrees, quickly formulating a plan to get away from Megatron and taking the AllSpark to Mission City, which is relatively close to their current location, so that they can hide it there.

Lennox, I know this plan is a first draft, and we don’t have a ton of time for revisions, but the whole point of building a whole-ass dam around the Cube™ was because it was very difficult to hide, given its magical MacGuffin powers. Regardless of this flaw, Mr. Secretary agrees. Lennox also asks that the Air Force be involved in this, I guess because the U.S. military wanted more screentime.

Of course, that whole “global blackout” thing is still going on, so we’re going to have to get creative with how we’re going to contact the Air Force. Mr. Secretary and Simmons make a break for the WWII-era radio Sector Seven has, while Lennox and the boys head out to shoot things, and Mikaela and Sam hop into Bumblebee with the Cube™.

This is about the point that Megatron wakes up. The first thing he does is introduce himself, which I thought was very polite of him. Then he breaks out his flail and starts bashing shit around. Not so polite, that.

Over with Bumblebee, we’re shown that the AllSpark, all-powerful object that can create life and is the whole reason this conflict is even happening, is just chillin’ in the back seat by itself. It’s not even buckled up.

Megatron escapes the base, and it’s actually super easy. He just transforms, goes through the tunnel, and he’s free. I feel like we could have at least attempted some security measures for in case the cryo-stasis failed, given that we’ve had this dude in containment for the last 70-something years, but okay.

Starscream comes over to say hi to his boss, not that Megatron gives a shit. He just wants to know where that fucking Cube™ is. When Starscream tells him that the humans have it, Megatron makes a comment about how Starscream has failed him yet again. This is their first interaction in this movie, and Starscream’s been in the story for a grand total of five minutes at this point. I know that this is a reference to their dynamic in just about every installment of the franchise up to this point, but it doesn’t feel earned in the slightest. Even if it’s going to be expanded upon in future sequels, this is a shit-tier way to set their (awful) relationship up.

Not that anyone should ever bank on getting a sequel anyway, but that’s a discussion for another time.

Megatron tells Starscream to retrieve the AllSpark, and then we cut over to the radio plotline. The radio, which is so cobweb-covered I feel like Sector Seven needs to have a serious discussion with their custodial staff, has its nobs and buttons fiddled with by Simmons until it crackles to life. But where are the microphones? Everyone starts looking for the mics, as Simmons pushes Glen into the seat, I guess because hacking modern computers and using Depression-era radio tech are similar enough.

Maddie asks Glen if he can hotwire a 90′s-era computer to transmit a tone through the radio, so that they can send a Morse code message to the Air Force. Which sounds ridiculous to me, but I don’t know enough about radios or computers to know if that sort of thing would be possible. Maybe it’s fine. Or maybe it’s Hollywood bullshit. Who knows?

Back over with Bumblebee, we get a bunch of car commercial shots, of both him and the other Autobots. Aww, the gang’s back together again! Nobody tell Bumblebee that Optimus was completely cool with leaving him to his fate.

Optimus and the gang whip around to join the convoy, and everyone makes their way towards Mission City.

Back at the radio subplot, someone’s bangin’ on the door, trying to get in. The others try to block the intruder, while Glen does his hacking stuff. Mr. Secretary breaks a case and pulls out a gun that’s about as old as he is.

Glen gets the computer working, and Mr. Secretary gives him the Super Secret Military Codewords™ to use to talk to the Air Force. While he does that, Simmons finds a flamethrower and starts burning Frenzy as he attempts to enter the room. The Air Force receives the message for an air strike. Oh, goody.

Over with the convoy, it appears that the Autobots and Lennox’s boys are being pursued by the Decepticons. It’s difficult to tell, seeing as the cameras have gone full Bay-mode, but I’m guessing that’s what’s up. One of the Decepticons flips over a minivan, likely killing a family of five. another causes a multi-car pileup.

Bonecrusher transforms, then Optimus transforms. Bonecrusher iceskates across the highway, slamming into a bus so hard it just straight-up explodes. He is on fire. He tackles Optimus, and they proceed to fall off the side of the raised highway they’re on. Then they beat the shit out of each other, until Optimus decapitates Bonecrusher with his arm-sword.

Yeah, space dad is a little intense in the Bayverse.

Back at Sector Seven, Frenzy’s decided to leave the door alone, and instead is crawling through the ventilation shaft. Mr. Secretary and Simmons fire off shots into the duct above them, as if bullets would do anything against this nasty little pile of needles.

Frenzy bursts through the bottom of the duct and crash-lands into a glass case, taking cover behind a pillar and fires on the humans on the other side of the room. While this shootout is happening, Glen receives a response from the Air Force, just in time for Frenzy to accidentally decapitate himself with one of his own spinning blades of death. This time, he does not survive losing his head.

The Air Force will be sending fighter planes to Mission City, and to establish this, we get several shots of what some might call “military porn.”

Over in the city, the convoy has arrived. Lennox hands several short-wave radios over to Epps, telling him to use them to direct the Air Force when they arrive, so they can take the AllSpark... somewhere, I guess. Above, an F-22 zooms across the sky. It is not one of the Air Force’s F-22s.

Ironhide recognizes Starscream, and gets ready to throw down. Bumblebee grabs a nearby Furby truck and hoists it up to use as a shield. This marginally works, as the missile that hits the truck doesn’t immediately kill him, though it probably did all those Furbies inside.

The resulting explosion throws all the humans around, Mikaela getting weird heaven lighting as she lies unconscious on the pavement. Sam gets it too, though, so I suppose I can’t complain too much about this particular shot. They touch hands. I really wish that I could take this moment of vulnerability as being anything other than an attempt to set up a romance between these two teens who have known each other for maybe half a week. This movie has so starved me of genuine human interaction I'm jumping at the smallest of scraps.

Bumblebee actually didn’t get out of that missile-strike unscathed, his legs having been blown off. All those Furbies died for nothing. Tragic. Sam asks Bumblebee if he’s alright, and immediately tells him to get up. Sam then remembers that Bumblebee’s legs are off, so he yells for Ratchet.

Over with Lennox and Epps, they’ve realized that the plane they saw wasn’t one of theirs. Which, you know, has already been established, but points for getting caught up, fellas. Sam is crying and still telling Bumblebee to get up. Bumblebee is dragging himself across the pavement and whimpering. It’s awful. Where the fuck is Ratchet? This is basically the only reason he’s in this film, and he’s nowhere to be found.

The actual Air Force calls on the radio, asking for their location. Brawl, who is a tank, starts firing on Lennox’s gang. Jazz and Ratchet race through the city streets. How they were separated from the rest of the team is anyone’s guess.

Sam takes a little sit on the pavement to be with Bumblebee, while Mikaela decides to problem-solve and heads for a nearby tow truck. Bumblebee hands Sam the Cube™ because, as the designated protagonist, it’s his job to handle it in the climax of the film.

Ironhide is shot at several times by Brawl, narrowly avoiding being hit each time. This, of course, means that the people he drives by in this shot are almost assuredly dead, since they’re right next to the explosions. He transforms and does a flip, as the film goes slow-mo on a shot of a woman in a low-cut dress watching him flip. She screams. Ironhide screams. I scream, though probably for a different reason.

Jazz jumps on Brawl, managing to kick off a couple pieces of kibble before Brawl grabs him and throws him into the side of a building. Ironhide, Optimus, and Ratchet descend on Brawl, and so does Lennox’s team, Brawl losing a hand and getting thrown into his own building as a result.

Mikaela breaks into the tow truck and starts to hotwire that shit. Wow, a relevant back story that culminates in her being able to save the day, thus completing her arc and staying on-theme for her character. Why isn’t Mikaela the protagonist again?

Oh, right, because ~girl~.

Megatron lands in a nearby alleyway, and Ratchet, knowing this dude is bad news, tells everyone to head for the hills. Jazz isn’t fast enough, however, and gets shot for his troubles.

Mikaela drives the truck over to Sam, who is still sitting there with the Cube™, and tells him to get his ass in gear.

Jazz gets taken to the top of a nearby building and is ripped in two by Megatron, who acts like a bird of prey the whole sequence. Down on the ground, Brawl is starting to get back up from his smackdown. Blackout appears on a nearby skyscraper. Things are looking grim for humanity.

Mikaela and Sam hook Bumblebee up to the tow line as Lennox approaches them. Sam has left the AllSpark out of his line of sight, like a fool. Despite seeing this, Lennox still gives him the flare to let the military know where to pick up the AllSpark. Doesn’t even acknowledge Mikaela. He tells Sam to head for the white building with statues on top of it and set the flare on top of the roof. Lennox can’t leave his men, because he’s the head of his operation. Why he can’t send literally anyone else who isn’t a 16 year-old boy isn’t made clear.

Sam really doesn’t want to do this, probably because he’s a child, but Lennox has recruited him to the military against his will, so he must. Lennox then attempts to make Mikaela leave for her own good, but she tells him to fuck off, because she’s gonna save Bumblebee. Clearly, this is a win for feminism.

Epps radios the choppers coming from the Air Force to let them know they’ll be picking up a package from a teenager, thus locking Sam into the job. Ironhide and Ratchet vow to protect Sam from the Decepticons on his way to the pickup point. Not one single person has pointed out how fucked up this is.

Sam starts to run off, when Mikaela stops him to let him know that she’s glad she got in the car with him roughly an hour ago. They don’t kiss goodbye, which, honestly? Good. This fucking movie hasn’t earned that. Sam for sure hasn’t earned that, even if he did clear her juvie record. No word on that having actually been done, by the way. Sam never got confirmation, and I feel like he’s not really the type to follow up on things.

Brawl fires off some shots and makes things explode. Ratchet and Ironhide provide cover fire as Sam sprints down the road. Yep, they’re making this idiot WALK to the pickup point. Sure hope the elevators are working today, otherwise this is going to take forever.

Sam carries the AllSpark like a football, and in a better movie, this would have been foreshadowed by Sam having actually been a football player prior to the events of the film, perhaps removed from the team for some character flaw he’s since grown from/accepted. However, this is Bayverse, and well, men don’t have to justify their existence in the story with things like themes and having even an ounce of thought put into their character.

Back with Mikaela, Lennox has refused to learn her name, calling her “girl” as he screams at her to get Bumblebee hooked up to the tow truck. Which she was already doing when he got here. Lennox, dude, you’ve got a daughter now, you’re super extra not allowed to treat women like this.

Optimus Prime pulls through an alleyway and crashes into a pile of garbage. I can forgive him being late, seeing as he is a big rig, and probably had to take the long way into town so he didn’t get stuck in too-low tunnels. Don’t worry about how we briefly saw him during the Brawl take-down. This is his for real entrance into the climax.

He whips around and transforms, ready to throw the fuck down. Megatron spots him from his perch and descends.

Y’know.

Like a vast, predatory bird.

Megatron shoots at Optimus in his alt-mode, and Optimus catches him like a frisbee. Unfortunately for Optimus, it would appear that the horsepower on a Cybertronian flightcraft is hella intense, and he’s carried away. The two of them crash through an office building, then roll around in the streets punching each other in the face, debating the worth of humanity as they do so. Wish I actually gave a shit about either of these people, but alas! The film spent most of its runtime objectifying women and insulting minorities. I know nothing about Optimus, and even less about Megatron.

Megatron transforms his arms into a laser gun, and Optimus does the same. They shoot at each other. Optimus gets thrown into a building, then lands on the sidewalk below, definitely crushing a dude underneath him, but I guess we didn’t check that the shot was clear for where the CGI was gonna go, so he’s fine.

Sam’s still running through the streets, while Blackout murders, like, so many people behind him. Starscream lands in front of Sam, running into roughly 30 cars as he skids to a halt. Ratchet and Ironhide fire on him, as Sam takes a breather behind a car. Starscream transforms and blasts off. He was here for about 15 seconds. Sam begins running again.

Megatron is now following Sam, because he wants that Cube™. Sam is hit by a car- not an evil one, just a regular car- and trips. The impact makes the AllSpark activate, which grants several machines in the vicinity the gift of life, including the car full of bitchy women that just hit Sam, who are upset that hitting a human being might have scratched the paint.

I get it, you hate women, can we PLEASE stop beating this dead horse?

Sam finally gets to the pickup building, which turns out to be abandoned and fenced off. Good thing the gate was open, otherwise things could get really complicated. He heads inside, Megatron crashing through a floor-to-ceiling window shortly behind him. Megatron makes the claim that he can smell where Sam is. I’m going to choose to believe that he isn’t lying here, since Ratchet did something similar earlier.

Sam finds the stairs, and Megatron calls him a slur.

He doesn’t, really, but the voice modulation certainly makes it sound that way.

While this is happening, Mikaela is driving the tow truck down an alley, dragging Bumblebee behind her with the tow cable. She stops for a moment to have a short breakdown, seeing as she is a teenager in what is currently a warzone.

Sam is still running up the stairs. Outside, the military shoots at one of the Decepticons. It is, of course, doing absolutely nothing to the giant metal space robot. Mikaela concludes her moment, looking back at Bumblebee, who gives her the okay to keep going with dragging his ass across the pavement. She whips the truck around and tells Bumblebee “I’ll drive, you shoot.”

Mikaela then proceeds to speed down a main road of this sizable city backwards, running into cars and more or less shoving Bumblebee along to his destination.

The military has finally realized that their efforts have been pointless, but it’s okay because Bumblebee is here with his superior firepower. Bumblebee proceeds to shoot Brawl in the chest, which kills him. After this, he tries to act cute, lifting up his battle mask in a very “did I do that?” way, as if he’s not the same guy who ripped Barricade apart earlier.

Sam, meanwhile, has finally reached the top of this dilapidated building. Helicopters are approaching his location, but will they make it to him before Megatron does? Honestly, I’d be more worried about Starscream on the building just due East.

Sam is just about to hand the AllSpark over, when Starscream fires at the ‘copter, causing it to crash and nearly chop Sam to pieces. Optimus Prime runs towards the scene, on a roof that I refuse to believe could actually support him. Megatron punches thought the roof from the bottom and asks Sam some philosophical questions. Sam can’t answer, given that he’s hiding on the edge of this building, his flimsy grip on one of the angel statues being the only thing keeping him from falling.

Megatron tells him to give him the AllSpark, and in exchange he might not kill him immediately. Sam tells him to fuck off, and Megatron flails the chunk of building he was hanging on to, causing Sam to fall to his death, thus ending the film.

I’m lying to you. Michael Bay is making me into a liar.

No, Sam is, instead, caught by Optimus, very likely breaking several ribs on impact. This is the point where I realize that they’ve given Optimus fingernails. Sam clings to him like a baby koala, as Optimus parkours down the sides of two buildings, Megatron in pursuit. Megatron actually lands on Optimus 2/3rds of the way down, causing the both of them to fall onto the pavement below. How Sam survives this is a mystery.

Megatron recovers from the fall first, flicking a human away from him for having the audacity to exist in his space. The flicked person hits a car, and is almost assuredly dead. At least, I sure hope so, given that this is the director cameo by the Bayman himself.

Feminist icon Megatron?

Feminist icon Megatron.

Optimus comments on the fact that Sam almost fucking died to get the AllSpark out of dodge, and we get the return of “No Sacrifice, No Victory”. Which, I mean, I guess he’s allowed to say that, since he’s actually had to do something that warranted it. His dad doesn’t get to, though.

Optimus then tells this teenage boy, who has already had a hell of a day, to kill him by shoving the AllSpark into his robot-soul-heart, should he be unable to defeat Megatron.

I dunno, I just feel like it’s a bit of an ask.

Sam climbs off of Optimus so the Prime and Megatron can rumble. He runs through the ruined infrastructure of the city, so he’s less likely to be crushed. Optimus tells Megatron to square the fuck up, stating that “one shall stand, one shall fall.”

Then he gets ragdolled around a bunch, so maybe he should have saved the talk for later in the game.

The military is running around some more, stopping in an alley to see Blackout transform to root mode. Yes, the goo-goo eyes were indeed made by several members of the watch party that started this whole thing. People went wild for Rotor-Cape Johnson.

The fighter jets from the US military are arriving in a minute. Epps warns them to aim for the robots that aren’t evil. Lennox and the gang spread out, reminding each other to aim for the underboob, since Transformers’ armor is weak there. Epps marks Blackout with a little green light, which Blackout almost immediately notices. Blackout fires on the military.

Lennox has stolen a motorcycle and is driving through the streets to circle back around and jump off of the bike, sliding on his back to shoot Blackout directly in his underboob. Wonder what his uniform is rated for for road rash.

Sam is watching as Optimus gets his ass handed to him. Up in the sky, Starscream commits identity theft, and then attacks the Air Force. The Air Force can multitask however, and light Megatron the fuck up. Sam has, for some reason, come out of hiding, and Megatron uses this to his advantage, trying to take the AllSpark from him.

Optimus tells Sam to put the AllSpark in his chest, but Sam has a better idea. He shoves it into Megatron’s chest, which has been basically shot open at this point. Megatron makes a Space Invader noise, convulses a bit, then falls over dead.

Congrats on your first murder, Sam.

Optimus tells Megatron’s corpse that he got what was coming to him, then implies that they’re brothers. What flavor of brother isn’t established, but neither was basically anything between the two main faces of the franchise in this film, so it’s fine.

Ironhide walks up holding the two halves of Jazz. Optimus informs Sam that he now has a life-debt to this child. Whether or not Sam is absorbing any information at this point is up in the air. Mikaela shows up, with Bumblebee in tow.

In tow.

In tow-

Sam stares at her blankly. Mikaela stares back, making the pretty girl face. Man, what a great dynamic these two have.

Jazz is dead. That sucks. Optimus is handed his corpse to hold, while he thanks his new friends for helping out.

Then Bumblebee talks and he’s fucKING BRITISH.

Sam is obviously shocked by the fact that Bumblebee is British able to talk now, since not talking has been his whole thing up to this point. Optimus doesn’t let it phase him. Neither does Ratchet, despite having been working on Bumblebee’s throat injury for centuries at this point.

Bumblebee wants to stay on Earth with Sam. Optimus is just like whatever. Sam agrees to have a sweet Camaro from outer space.

Optimus pulls what is left of the AllSpark out of Megatron’s chest. I’m sure that’s not a setup for potential conflicts, not in the slightest.

Over in Washington, D.C., the US President has ordered Sector Seven be terminated, and all the Transformer corpses be disposed of. And by “disposed of” they mean “thrown into the ocean.” Dang, sure hope Earth signed some sort of agreement with the Transformers so that they never come to Earth again. You know, just be proactive about our galactic safety.

The Linkin Park kicks on, as Optimus gives us our bookend narration, telling us what the Autobots plan to do now that their race is at a genological dead end. As he does, we see Lennox reunite with his wife and child, who I had genuinely forgotten were in this movie.

Optimus is pretty chill with Cybertron dying out, because now they know about Earth. We get a shot of Sam and Mikaela making out, a shot that becomes more and more horrifying the further they zoom out, because they’re making out on top of Bumblebee. Who they KNOW is a sentient creature at this point.

And then it gets even worse, because the shot changes, and oh hey! Turns out that the rest of the Autobots were just chillin’ off to the side while this went down. Optimus continues his monologue, just walking around in his root mode as he tells all of Makeout Point how they’re “robots in disguise” now.

The monologue is actually a transmission he’s sending out into space, inviting any of his leftover pals to come kick it on Earth with them, because Earth is pretty cool.

And that’s where they leave us.

IT TOOK THREE PEOPLE TO WRITE THIS SCHLOCK.

So. Bayverse 1. A film showcasing xenophobia, misogyny, and toxic nationalism. It’s rough. Is it the worst film I’ve ever seen? Not even close, but it’s bad, and it was a huge deal at the time of release. Everyone was seeing it, everyone knew the actors and robots, everyone had a scene that they liked. Everyone was exposed to Bayverse, and as a result, a lot of people entered the Transformers franchise thinking that it was all like this.

And really, how far off would they have been in 2007?

When a franchise refuses to introduce female characters until years after being established, when all those female characters have the exact same body type, when a franchise hires misogynists to write stories, when it allows shit like “Prime’s Rib!” to be published- no wonder Michael Bay was approached to direct.

What a mess.

--------------------------

COMING SOON:

TRANSFORMERS: REVENGE OF THE FALLEN (2009) - MEGAN FOX I AM SO FUCKING SORRY

TRANSFORMERS: DARK OF THE MOON (2011) - WILL YOU JUST STAY DEAD

TRANSFORMERS: AGE OF EXTINCTION (2014) - SHUT UP ABOUT THE LAW SHUT UP ABOUT THE LAW

TRANSFORMERS: THE LAST KNIGHT (2017) - ACTUALLY, FUCK CONTINUITY

[wilwheaton]

an apology I don’t expect you to read

I'm going to put the important bit at the top, without context, so if that's all you see before you tl;dr, at least you'll see it:

Without meaning to, without realizing it, I haven't given the next generation after mine the respect it deserves. I've behaved exactly the way the Boomers were with me: like my experience is the only one that's valid. And that's not helpful, if I hope to share whatever my experience is.

So if you're one of the younger-than-me people who's felt disrespected by me, and to those who I have treated like their experiences aren't valid: I am sincerely sorry.

I'm sorry. I talk to my generation in a way I shouldn't talk to yours. Some of you have been trying to tell me that, and I haven't been able to hear you. That's entirely on me, and I'm very sorry for treating you EXACTLY the way shitty middle-aged dickheads treated me when I was around your age.

Thanks for listening.

 Okay, if you want all the long-winded context, read on.

All day, I've been having this slow, dawning, realization about how to talk to and listen to teenagers and twentysomethings who are politically and intellectually aware and engaged.

I have a reflexive tendency to imagine the anonymous person who posted that thing at me as someone from my own peer group, because we all unconsciously identify people that way online, unless we explicitly have a reason not to.

So, without realizing it, I have been responding to young, politically-active people as if they are my peer group: forty-somethings who have the same amount of life experience I have. As a result, I've just been a shitty middle-aged guy to well-meaning kids, and when I was a kid, I *hated* that.

In fact, I vowed as a twenty-something that when I was older, I would take kids seriously, which I think means at least hearing them out, rather than just shutting them down because they're young.

I've been trying, and I thought I was nailing it. But I realized today that, for years, when I've had rare occasion to interact with someone who is, to me, a kid, I've been talking to, say, 18 year-old me, or 23 year-old, me, and so on. What I _should_ have been doing is listening to 18 year-old _whoever that person is_, and allowing them to be heard on their own terms, as their own people, and not as a reflection of who I was, or who my peers were, at their stage of life.

So I'm going to talk to a person my age very differently than I'm going to talk to a younger person, since the person my age has the same life experience and same life-shaping events I had. So I just don't have any patience for someone who is in their 40s and is STILL going on about The Greens.

It's like, listen, you fortysomething, when I was a kid, I thought the Greens were great, and I supported them, too. I don't know how they are in the rest of the world, but at the presidential level in America all they do is help Republicans by taking votes away from Democrats. And Republicans (and their ideological allies in Russia, China, Saudi Arabia) start grooming kids when they are teens to believe that "the lesser of two evils is still evil". I know this because they did it to me and my generation (OUR GENERATION), too. I (WE)know this from personal experience in 2000, so even though a lot of Green positions appeal to me, I won't support them at the presidential level. But I come to thsi conclusion this based on 30 years of political experience. And I know it is condescending to say "when you're older you'll understand", so please know I hear it when I say that you're going to grow out of this and realize the Democrats, as imperfect as they are, aren't your enemy. I know this because I and millions of others in my generation went through this same transformation. It's why the Democratic Party has moved so far to the Left, so that candidates like AOC and The Squad are on their way to changing things in the House.

I know that is probably TOTALLY condescending, and likely turned off everyone I was hoping to apologize to. Good thing I already did that.

Look. I don't know how to say it any other way. Greens hurt America at the presidential level. Always have, always will.

I've gotten sidetracked. Let me try to come back around:

In some of these asks, I don't regret the argument I've made, but deeply regret the _way_ I made it. I've ended up being a condescending, impatient, tone-deaf ass to a lot of kids, when they absolutely did not deserve to be treated that way.

I hated it when adults treated me that way. I hated being dismissed and unheard when I felt strongly about something. I felt like my ideas deserved to at least be heard. Even though I now know those adults were (fairly) reacting to my lack of life experience, they could have expressed that better, in a more compassionate and empathetic way.

The reality is, we aren't going to be listened to very much when we're young, because we simply do not have the life experience to make huge decisions. But that doesn't mean our feelings are, by default, invalid.

I vowed to not treat kids the way adults treated me, so when I interact with these young men and women, I reflexively talk to whoever I was at their age, saying the things and hearing the things that he would have said and heard.

That's like ... oh, I don't know, a 50 year-old in 1988 trying to convince 14 year-old me of anything. Or a 48 year-old in 1993, lecturing 23 year-old me, who is REALLY smart and has A LOT figured out, like he's an idiot who has no agency or valid opinions.

The thing I needed to do, so I could fulfill the vow I made when I was young, is to give young people the _respect_ they deserve. I need to recognize that, though their experience is limited compared to mine, that doesn't mean their experience is invalid or wrong. The thing I need to do is to actually listen to what someone is saying, and recognize that, because of our relative ages, we may be speaking the same language but not communicating. And because I have more experience, it's incumbent upon _me_, not them, to bridge that gap.

Without meaning to, without realizing it, I haven't given the next generation after mine the respect it deserves. I've behaved exactly the way the Boomers were with me: like my experience is the only one that's valid. And that's not helpful, if I hope to share whatever my experience is.

So if you're one of the younger-than-me people who's felt disrespected by me, and to those who I have treated like their experiences aren't valid: I am sincerely sorry.

I have been nothing more than a cranky old man to any kid who shows up on my internet lawn, and I just want you to know that (as of about two hours ago) I'm aware of it, I'm sorry for being rude.

Even if I don't agree with you on something, even if I don't think that something REALLY important to you isn't as important as that thing is going to seem in 20 years, WHAT I THINK DOES NOT MATTER, because I'm halfway through my ride on this planet, and you're all just beginning. I fully believe that if the generation ahead of us had listened to us, we would all be better off. I know that a lot of you feel that way about me and other Xers, and you're totally right to feel that way. We're borrowing your planet, now, and we're doing our best (at least I am) to give you a better culture than the Boomers gave us. And I STILL know that it isn't enough, because it wasn't enough for me when I was in my twenties. (I will gently tell you that when we're in our twenties, a lot of what we want will eventually be tempered with age, and you'll be like, "I can't believe I fought so hard for that thing," but that doesn't mean the fight, and the experience of the fight, isn't worth it.)

I had a whole thing here to wrap this up that ultimately ended up being about me and my feelings. I deleted it because what I really just want to say is: I'm sorry. I talk to my generation in a way I shouldn't talk to yours. Some of you have been trying to tell me that, and I haven't been able to hear you. That's entirely on me, and I'm very sorry for treating you EXACTLY the way shitty middle-aged dickheads treated me when I was around your age.

This has been, honestly, a huge revelation to me about who I am in this moment, and who I wanted to be at this point. It makes me reconsider and just ... rethink, I guess? a lot of things. I'm going to grow from this, and I want to end by saying thank you to those of you who tried to communicate to me with kindness. I didn't hear you directly or explicitly, but I think I eventually got there.

So, sidebar you can ignore because it's at the end: Politically, I have a ton of experience. I've spent my life in it, more years than a lot of the people who drag me have been alive. I don't take that personally, because I know how kids are, and I know how kids view adults (and vice/versa). Politically, especially at this specific moment, I don't have a lot of patience for anyone who isn't willing to do the ONE thing that can end Trump: vote for Biden, and vote for Democrats all the way down. I get it. I get that you want someone to win your heart, but if you don't vote with your head, there will not be another election in your lifetime that matters. When Democracy in America is not at stake, I will 100% listen to all of your arguments and all of your reasons you hated voting for Biden, and what we can all do together to make your world better and more fair. But I promise you. I beg you to hear me: the ONLY way we stop Trump and his Fascists is to elect Biden in a LANDSLIDE. Anything less and you're going to spend the best years of your life in an autocracy.

[shadowjinx626]

Chapter 3: A plan is formed and starts

To say that Ludwig wasn’t getting frustrated would be lying. Bradford was being stubborn as always. Apparently being turn back to a child by an angry witch with no memory what’s so ever didn’t change this boy’s stubbornness. “Bradford, you need to tell us where you live,” the old duck said while pinching the bridges of his noise.

“No,” Bradford said while crossing his arms. Or at least tried to cross his arms; the long sleeves made it difficult. I already failed to keep the library a secret, I don’t want to mess up again, the child thought as looked around guilty. “I promised Grammy that I wouldn’t tell anyone where we lived.”

“Bradford, your home might have something very important for us to know about. It might also be why you were sent to the future in the first place.” Mrs. Beakley said sternly. “You’ll tell us where you live right now, young man.”

Bradford narrows his eyes at her (though it was mostly to see her better), “no.”

All three adults in the room groaned. This was getting them nowhere. “Ludwig, you knew Bradford since he was a child. Was he always this stubborn?” Scrooge whispered to other man.

“Oh, you have no idea,” Ludwig answered dramatically. “That boy had always been stubborn. He always made it difficult for Isabella, that poor woman had to deal so much.”

“How is that you don’t know where Finch lived?” Beakley asked. “You were her closet friend, were you not?”

“One of her closest friends. There was another one, but I have no idea where she lives or if she even still alive,” Ludwig said, mostly himself. “I’ve never met Isabella in her own home. She didn't want any unwanted strangers to know where she lives.”

“Well, we must do something, all of FOWL agents escaped and no where in this library have any files of them.”

“Bradford was paranoid, of course he wouldn’t want important information here. He would rather have it close to him.” Scrooge said as he glanced at the boy. Then a smile appeared on his face as put his hands together excitedly. “I’ll also might be able to see some of Finch’s treasures.”

“Scrooge, please focus,” Beakley rolled her eyes. “How are we going to convince this boy to tell us where he lives?”

“We can always try to gain his trust,” Scrooge suggested. “We gain his trust, and he’ll see we mean no harm.”

“Manipulation, I like it but how are going to go about it? We didn’t exactly make a first good impression.”

While Scrooge and Beakley discuss their plans, and a memory from long starts to appear its ugly head in Ludwig’s mind. A promise he made to Isabella if something were to happen to her. A promise he never kept. Ludwug sighed, he’s going to hate himself for this. “I’ll take Bradford to my home.”

“What?” Both Beakley and Scrooge asked as they looked at him confuse.

“I’ll take Bradford home with me.”

“Ludwig, no. You already know been through so much thanks to Bradford,” Beakley spoke gently. “You should focus on reuniting with your children.”

“Yes, they miss you dearly,” Scrooge added. “Let me take him in.”

“I’m the only person Bradford’s familiar with. Gaining his trust would be easier for me. Besides,” Ludwig gestures his hand at the door, “I think your family had enough of dealing with Bradford for one day. Another couple - well who knows how long – of dealing with him won’t bother me that much.”

“Ludwi-” Scrooge was about to protest more, but Beakley cut him off.

The woman looked at the short professor with concern. “You sure about this?” She asked.

“Yes, I’m sure. Now go be with your family. I bet they’re dying to know what is going on,” Ludwig chuckles. He smiles gently as the other adults said their goodbyes and left the room. Leaving both him and the child alone. The Professor turns his head and give Bradford a stern look. “Alright Bradford, let’s go.”

The child looked at him confuse. “Go? Go where?” He asked nervously. Just moments before they wanted to know where he lives, now all sudden the Professor wanted him to go where?

“I’m taking you to my home. I’m going to take care of from now on.” When Bradford didn’t move and continue to look at him in confusion, Ludwig resisted to groan in annoyance. “What is now?”

Brady looked down, not wanting to see the old duck’s face. “Didn’t you say that I was too dangerous to be around your children. That you didn’t want me near them.”

Ludwig once again resisted the groan.

[cosmonova]

Splatoon Theory: How big are Inklings? (Answer: They’re really tiny.)

So everyone’s familiar with Splatoon’s funky little cephalopods, but just how little are they?

We don’t exactly have easy means to compare them to humans, since the game takes place... several thousand years after the disappearance of humanity in a mass extinction of land-based life, oh well, but there are definitely some clues available in the game that point to the height of the Inkling, and it turns out they might just be minuscule!

Though humanity may be gone, human artifacts remain, mostly sitting in the background of the game’s levels. One in particular that stands out is the Space Shuttle seen in the background of the Ruins of Ark Polaris level:

The Space Shuttle’s main engine nozzles have a diameter of 2.3 meters, making them only a little wider than the average human height, allowing us to kind of visualize how big a human would be in comparison to this level.

It’s not a very useful comparison for getting any accurate sizes since the shuttle is so far into the background, but it does kind of give the impression that Inkling structures are pretty small compared to the size of humans.

Another example is the kettles used by the Octarians as transport in Octo Valley and Octo Canyon. It’s kind of weird that an entire Inkling can fit inside a kettle.

But we know that the domes Octarians live in are repurposed human habitats from before the extinction, so the kettles that connect them to the outside might possibly be repurposed human technology, in which case it’d be understandable if they weren’t the right size for making Inkling coffee.

Again, hard to say anything here though, because there’s no way to confirm if the kettles are of human or Octarian make, or if they’re normal tea kettles or industrial factory kettles. The objects in levels might not even be a fair comparison at all, since we see disproportionately enormous human-made objects in the background of Deepsea Metro stations in the Octo Expansion.

That being said, the random human artifacts lying around aren’t even the biggest piece of evidence for tiny Inklings. That is none other than...

Judd.

Judd, the big lazy time-traveling cat, is effectively a useful unit of measurement for determining the heights of Inklings. Why? Well, thanks to the Sunken Scrolls, we see him in a photograph next to both a human and a group of Inklings, allowing us to directly compare them!

Judd is pretty massive when standing next to a group of adult Inklings, but pretty normal for a large cat when being held by his old human owner. If we combine the two photos...

...we start to get a picture of just how tiny Inklings actually are compared to humans. A human could pick up a fully grown inkling and hold them like a cat.

And that’s just the adult inklings from the Squidbeak Splatoon! The ones we play as are kids, and they’d probably be even more ridiculously small compared to a fully grown human!

Yeah.

Scientifically, Inklings being very small actually makes a lot more sense than them being big!

An organism’s weight increases exponentially as it becomes physically larger, which means larger organisms have to develop a means of supporting their weight. This is not an enormous concern for marine animals - their own buoyancy allows them to support their weight underwater, allowing invertebrates to grow to massive sizes in the sea.

Developing an exoskeleton or internal skeleton provides an animal with even more structural strength and increases the upper range of how large they can become, resulting in marine vertebrates like whales becoming the largest animals to have ever lived on Earth.

On land, animals can no longer rely on water to support themselves, so having a skeleton becomes more crucial for large creatures. The largest terrestrial invertebrate in the world, the coconut crab, is only around the size of a dog at its largest. Meanwhile, animals without a skeleton or exoskeleton are even more limited in how large they can become on land.

Inklings are terrestrial organisms that do not have either, making them pretty wobbly and, were they to grow too large, unstable.

Their limbs are pure muscle. If Inklings were the size of humans, their limbs wouldn’t be able to withstand the compressive force of their own weight, but if they were smaller organisms, they would be capable of supporting themselves just fine without bones.

The major thing that goes against this theory is the fact that Marina and Pearl have been given canonical heights in the Splatoon 2 artbook -  178cm (5'10") and 145cm (4'9"), respectively, which puts them (or at least, puts Marina) in a pretty normal human height range. So what gives? Well, to that, I will point out that squid feet are smaller than human feet! That’s where the unit of measurement originated for us, and it obviously wouldn’t make sense for Inklings and Octarians to measure their heights using an obsolete human unit of measurement.

...That, or I’m completely wrong about all of this anyway, but we’re talking about a species that can magically transform into a squid and swim in the unfeasibly large amounts of ink it produces out of thin air, so I say, let me have fun.

Besides, tiny squids are cute! Thank you for coming to my TED talk.