#company introduction video

[oliverdeend]

Introduction!

I’m Oliver and I’m a 19 year old hobby artist from Germany ☺️

This is my first time being active active on here, soo.. I’m still new to this 🫶🏻

I’m autistic and I may have spelling mistakes because I’m dyslexic and I’m not a native English speaker (please don’t be mean if I write something wrong🥲🙏🏻)

This is a tickle blog and I thought I’ll post the stuff i usually post on instagram here too! (Most of them have bad quality because I deleted the original pictures, but from now on I’ll make sure they’re in good quality😅)

I think it’s also important to mention that I don’t do commissions or anything because I’m a very slow drawer who takes lots of monthly breaks 😵‍💫 (but you can always ask/ DM me and I’m always reading asks/ DM’s ☺️ and if you’re lucky I might just draw you something if life isn’t too consuming and you’re not a demanding jerk entitled to my time)

(Help on how to do things/ run a blog and things I can do better is appreciated🙏🏻🩷)

Fandom list under the cut!

DC villains and Heroes

Tabaluga

Marvel (x-men too)

Slashers Movies

Disney Villains (maybe heroes too depending on who)

Adventure Time

Transformers (hopefully I’ll manage to get the details 🥲)

Sh-Ra (on Netflix) / He-Man

Stop motion Movies/ Short Movies (a Mister Brothers Christmas, Peter cottontail, Wendel & Wild, etc..)

Ben 10 (and everything else that belongs to the franchise)

The Octonauts

Hilda (on Netflix)

Hazbin Hotel/ Helluva Boss

The little Prince

The Sandman (on Netflix)

9 (the movie from 2005 with the little “dolls”)

Star Wars the Clone Wars

School for Vampires

The amazing digital Circus

Anime⬇️

Welcome to demon school! Irim-kun

Assassination classroom

Seven deadly sins

Overlord

Sleepy Princess in the Demon Castle

One Piece

Sacrificial Princess and the King of Beasts

I'm the Villainess, So I'm Taming the Final Boss

Ancient Magus Bride

That Time I Got Reincarnated as a Slime

Reborn as a Vending Machine, Now I Wander the Dungeon

Delicious in Dungeon

Dragonball Z (idk about completely all of it but I’ll try my best)

Comics/ Manga/ Stories⬇️

Siúil, a Rún - The Girl from the Other Side

The Invisible Man and His Soon-to-Be Wife

The Property of Hate

Vast Unknown

Creepypasta And SCP (not all of them but some)

Video Games

Dead by Daylight

Poppy Playtime

FNAF (again idk much about the new stuff but I’ll try)

Undertale (maybe Deltarune too but i don’t know much about it)

Backrooms

Lethal Company

Fran Bow

Little Misfortune

Night in the woods

I’m pretty sure I forgot some but this is all for now 😋

You can always ask for a Fandom even if it isn’t on the list, I’ll let you know if I’ll be doing it (and hey, maybe the new fandom even lands on the list if I like it :)

Side note: these are the ones I’ll be drawing or Writing for, not all I know. I know plenty more wich I just didn’t want to include because they’re too hard to draw or just not my cup of tea

[dakshadigitasindia]

Welcome to Daksha Digitas! 🌟 As a leading branding and digital marketing agency based in Mohali, we specialize in providing tailored marketing solutions for the real estate industry. This video covers why partnering with an experienced marketing agency is essential for boosting your real estate business, improving lead generation, and enhancing brand visibility.

Our team at Daksha Digitas brings your brand vision to life through high-quality, engaging videos that captivate audiences and build trust. From real estate agency launch videos to profile introductions, we create compelling video content that sets your business apart.

Our team creates high-impact videos tailored to real estate companies, agents, and developers looking to make a strong impression and attract potential buyers and investors. https://youtu.be/HuJbCBc9WRI

[vivalasthedas]

latest thing that is genuinely so funny and delightful from sims 4 fans.

Anytime someone mentions how this is previously basegame content from past sims games, or how much more sims 4 is charging for the same content because they're breaking into smaller and more expensive packs etc. etc. (So, you know, talking about EA's awful business practices and the general decline in large video game companies that the sims just highlights really well)

they've taken to like memeing on them with 'yawn, another old person longing for 2009' and its really funny.

Yeah, you're winning. You're young and spending so much money for so much less. Congrats. xD

[casuallyanidiot]

Yandere manager who was never gonna let you get famous.

Nsfw for this one! MDNI!

Warning for noncon/dubcon!

Yandere manager who holds a high position in a prestigious entertainment company. He works with so many prolific stars, so he's surprised that your pitiful little portfolio ever even made it to his desk. You've got no experience, no connections, and you're not exactly industry standard in terms of beauty.

Yandere manager thinks it's kind of funny that a cute little thing like you thinks they can make it in such a cutthroat industry. he's kinda curious about what you're like though, so he calls you in for an interview. He can't help his large, sleazy grin that forms on his face when you sit there in his office stuttering through an introduction.

Sure he'll hire you, but you've gotta get on your knees.

Yandere manager feels a sick thrill run up his spine as he goes over contract details while your pretty little lips are spread around his cock. Your eyes are filled with tears, and he can feel your little whines and sobs vibrate in the back of your throat, and he groans. He has to admit it, you've got that special something about you that certainly has him captivated.

"Looks like we've got ourselves a deal, sweetie," He grunts out playfully and signs his name as he forces your head down further and came down your throat.

Yandere Manager who only books you for enough gigs for you to justify staying with him. He makes you fuck him whenever he asks, and whenever you want an actual job, you have to do something more extreme to get it. A modeling gig? Yeah sure babe. You've just got to dress super slutty and let him take you in the middle of a crowded club.

Yandere Manager who rails you violently whenever he catches you trying to network. He bets you think you're so smart and clever for chatting up some pervy, old director to get a spot in a music video. Does he not give you enough? You don't need all that attention unless he's giving it to you. You don't even know how many people are gonna wanna bury themselves in that tight little hole of yours, how many people would take advantage of you. At least with him, you knew what you were getting.

You're fucked so thoroughly, and Yandere manager loves watching you stumble around after he's stuffed you full of cum. He's started making you wear plugs afterwards just so he can watch the discomfort on your face as he takes you out shopping or for meals.

Yandere manager starts to feel a bit fond of you in not just a carnal way. As much as he loves seeing your cute little asshole twitch and stretch around the toys he pushes in you, he also likes seeing you smile, hearing you laugh. He likes the way your eyes light up when he allows you to do a photo shoot. He starts liking the way you shudder and squeal when you orgasm, too.

He's not a sappy guy by any means. Really, he sucks. Even he knows that, but maybe now that you've got his initials tattooed on your plump, well spanked ass cheeks, he can start making you like him too.

He's gross, and he knows it. But he loves fucking you so much he can't find it in himself to care. I mean you're not going to get away when he's got you coming back to him with the promise of success that he's never ever gonna let you have. Not for the risk of his favorite, cute little fucktoy leaving him.

[weeprints]

Weeprint is a printing company that specializes in the production of high quality printed products. We offer a wide range of services, from digital printing to offset printing, and we are always ready to meet the specific needs of our clients.

[fastandcarlos]

Ferrari At Heart » Charles LeClerc

summary: as your interest in f1 grows, so does your interest in a certain ferrari driver

˚*•̩̩͙✩•̩̩͙*˚＊

liked by redbullracing, schecoperez and 528,392 others

ynusername: excited to experience my first grand prix this weekend, and luckily for you guys I get to bring you with me for it all. thank you red bull for inviting me out 💙

tagged: redbullracing

48,221 comments

redbullracing: you’re more than welcome back at the paddock anytime you like

username1: pls tell me we’re getting a vlog out of this

username2: praying for a max cameo

landonorris: it was good to meet you y/n, even if it was only in passing

ynusername: @/landonorris if I come again I’ll make sure we have a proper introduction

username3: imagine all the chaos of y/n x f1 drivers 🤯

maxverstappen1: thank you for being a great guest, I’m sure we could definitely arrange another trip out for you soon!!

username4: max and y/n already seem like the best of friends omg

schecoperez: loved having you root for us this weekend y/n, hopefully you’ll be cheering for red bull in the future too!

username5: y/n must’ve been good company for grandad sergio to comment 😂

username6: I’ve not even seen the footage but I just know I want y/n at every f1 race for the rest of time

ynusername: thank you for an awesome couple of days, I’m editing all my content with a huge smile on my face 💙

maxverstappen1: @/ynusername remember who your favourite driver is and to edit him handsomely

ynusername: @/maxverstappen1 ofc…just for you!

˚*•̩̩͙✩•̩̩͙*˚＊

liked by maxverstappen1, charles_leclerc and 723,100 others

ynusername: new vlog is on its way, I take a tour of the paddock, spend the day in blue and see what happened when charles and max joined me for a game which left them not speaking to each other for the rest of the day

tagged: maxverstappen1 and charles_leclerc

83,291 comments

username7: how do two grown men fall out over rock paper scissors 🤦🏻‍♀️

username8: petition for y/n to just be hired by f1 - funniest video ever!!

maxverstappen1: thank you for showing people I have the ability to smile 😂

maxverstappen1: ps I’m still not over you cheating so that charles could win #favouritism

charles_leclerc: maybe y/n is secretly just a ferrari girl at heart 🤔

username9: two of my fave drivers and fave vlogger in one video…have I died and gone to heaven?

charles_leclerc: I had such a good time with you, just let me know one day if you fancy another cameo from the most handsome f1 driver to ever exist 🥰

ynusername: @/charles_leclerc if I do, I’ll be sure to give carlos a call!

charles_leclerc: @/ynusername RUDE

username10: not y/n already savaging charles

username11: I never want this weekend of content to end

danielricciardo: if you come back again, I call dibs on being the first for editing lessons from you

˚*•̩̩͙✩•̩̩͙*˚＊

liked by carlossainz55, ynusername and 1,319,503 others

charles_leclerc: the perfect ending to a great week here in Baku, thank you for all the support this week ❤️🏁🏆

193,492 comments

username12: welcome back to where you belong king!!

scuderiaferrari: an amazing week charles, congratulations from the whole team ❤️

ynusername: it was awesome to see you top of the podium at my first race…enjoy your celebrations this evening 👏🏻

charles_leclerc: @/ynusername there’s still time for you to come join us…

username13: charles flirting with y/n was not what I had on my bingo card for 2024

username14: charles sliding right in and stealing y/n from red bull

carlossainz55: solid drive charlie! p1 and p2 🎉

username15: someone figure out the lucky charm that won charles the race this week!!

username16: @/username15 isn’t it obvious???

landonorris: thank you for sending all that love to me mon cherie

charles_leclerc: @/landonorris isn’t it past your bedtime? 🙄

˚*•̩̩͙✩•̩̩͙*˚＊

liked by danielricciardo, oscarpiastri and 528,302 others

ynusername: I had so much fun the first time I just had to come for round two, shoutout to charles for giving me the ticket 🥺

62,338 comments

charles_leclerc: happy to have been able to help you out…look forward to seeing me win again this week 😉

username17: anyone else think there’s definitely something strange going on here…

maxverstappen1: can’t believe you’ve betrayed me like this y/n 💙

charles_leclerc: @/maxverstappen1 I told you she was ferrari at heart ❤️

username18: how is y/n so calm when she has THE charles leclerc practically wrapped around her finger

carlossainz55: it’s only been a week and we missed you, love the most handsome face in f1 😂😚

username19: pls lord let there be another vlog from this weekend

oscarpiastri: mclaren next week?? 🧡

georgerussell63: come and see me this weekend…my girlfriend is desperate to meet you 🙏🏻

carmenmmundt: @/georgerussell63 why you exposing me like this??

ynusername: @/carmenmmundt I promise I’m all yours when I find you 💕🩷

˚*•̩̩͙✩•̩̩͙*˚＊

liked by charles_leclerc, carlossainz55 and 829,004 others

ynusername: another f1 video is on its way featuring my two new favourite people, so glad to call you both friends. i think you’ll be seeing a lot more of me and f1 soon 🤫🤐

42,391 comments

username20: peep the f1 mic 👀

username21: my heart won’t take it if y/n is working for f1 now too

charles_leclerc: I could definitely get used to seeing a lot more of you around ☺️

carlossainz55: hands down the best video I’ve ever been a part of 😂

ynusername: @/carlossainz55 thank you for being such a great sport and taking part with my crazy ideas 🫶🏻

username22: no one can convince me that charles doesn’t fancy y/n now

username23: “call you both friends” um no y/n this is not how this works

pierregasly: major fomo watching you all have this much fun!

ynusername: @/pierregasly you and estie next week??

pierregasly: @/ynusername YES YES YES

˚*•̩̩͙✩•̩̩͙*˚＊

liked by scuderiaferrari, charles_leclerc and 829,400 others

ynusername: another race week = another week of annoying these two and playing guess the ferrari as the cars go round too fast 😂🏎️

53,922 comments

username24: thank you ferrari for having y/n back 🙏🏻

charles_leclerc: you know which car mine is right?

ynusername: @/charles_leclerc if I say yes will you believe me??

charles_leclerc: @/ynusername no 😂 I’ll just have to make sure that I stand out from the crowd next time

username25: bit sus for y/n to be with charles as soon as the race is over 🤔

username26: I refuse to believe that this is another just friends situation

carlossainz55: if you see two ferraris I’m usually the one in front 😉

charles_leclerc: @/carlossainz55 don’t lie to y/n like that 🙄

ynusername: @/carlossainz55 you and I know the truth 😂

landonorris: come join mclaren we’re easy to spot 🧡

iamrebeccad: I’ve been doing this for nearly a year and lemme tell you y/n it doesn’t get easier

username27: rebecca implying that we’ll see more of y/n at races in the future 😩

˚*•̩̩͙✩•̩̩͙*˚＊

liked by username28, landonorris and 29,201 others

f1wags: our sources out on the streets of monaco have been sharing some interesting snaps of charles leclerc and y/n y/l/n before qualifying this weekend. y/n has regularly been seen in the ferrari garage the past few races, and whilst it’s been well publicised that the couple have struck up quite the friendship, could this be something a little bit more?

3,920 comments

username28: not lando in the likes 😂😂

username29: damn I knew it

username30: my heart is racing…pls someone say this is true

username31: the way he looks at her 🫠

username32: I love them so much already

username33: lando don’t just like, spill the tea if you’ve got it

username34: I’ve never shipped a couple harder in my life

˚*•̩̩͙✩•̩̩͙*˚＊

liked by scuderiaferrari, charles_leclerc and 1,034,482 others

ynusername: p1 in monaco, exactly what you’ve dreamed of for so long! congratulations you beautiful human, I could not be prouder of you 🏆🏁❤️

tagged: charles_leclerc

89,207 comments

username35: this is it team…they’re finally confirmed 🎉

username36: I KNEW IT I KNEW IT I KNEW IT

maxverstappen1: I’ll secretly take all the credit for this and introducing the two of you 😇

username37: everyone say thank you to max for introducing my two loves

charles_leclerc: thank you for all your love and support, I couldn’t do it without you 🥰❤️

username38: I cannot wait to see the vlog of this one

username39: my life has officially peaked

carlossainz55: am I still the most handsome face in f1?? 😂

ynusername: @/carlossainz55 🤫🤫

˚*•̩̩͙✩•̩̩͙*˚＊

liked by maxverstappen1, oscarpiastri and 1,490,284 others

charles_leclerc: the worst kept secret ever…from day one I always knew I was gonna get the girl 🥺💕

tagged: ynusername

78,848 comments

ynusername: you could’ve at least pretended not to be obsessed with me 😂😂

charles_leclerc: @/ynusername you shouldn’t have looked so gorgeous then I wouldn’t have had to

maxverstappen1: @/charles_leclerc 🤮🤮

charles_leclerc: @/maxverstappen1 you’re only jealous…I told you that y/n really was a ferrari girl at heart ❤️😂

——————

any replies, reposts or feedback are gratefully received

 ˗ˏˋ 𝐌𝐀𝐒𝐓𝐄𝐑𝐋𝐈𝐒𝐓 ! ´ˎ˗

[hannieehaee]

OUTTA MY MIND

18+ / mdi

summary: getting a brand new job as a senior idol's manager was scary enough on its own, but it became even worse when said idol was jeon jungkook, idol of all idols. what made it even worse? when jungkook began taking a special liking to you, damning any conflict of interest his crush on you may have had.

content: idol!au, staff!reader x idol!jungkook, jungkook is shameless about his crush on reader, but it's fine bc reader likes him back!!, reader acts hard to get bc her job is too important though boo, afab reader, banter, jk is a flirt, reader is a little bit shy, a lot of rlly wrong info about working in the industry, smut, oral (f receiving), penetrative sex, etc.

wc: 7.7k

a/n: my first jungkook solo writing!! i hope u guys enjoy<33 ive been into bts since 2017 idk why i never wrote about them before lol anyways hope this is a good introduction to all my future jungkook works<3

masterlist | kofi/patreon

support me through a one time tip<3

Whenever you'd tell someone you worked within the entertainment industry, – the music industry, to be precise – people always showed a little extra interest in your words, probably assuming you to be involved in the flashier aspects of it. The statement on it's own sounded exciting, enigmatic even. This would only then be followed by disappointed upon finding out your specific profession of choice, deeming it less exciting than most.

You were a manager. No, you were not an active member of the entertainment industry itself, but you were one of the many pillars necessary for the talent to create the entertainment people would always seek.

Being as young as you were, it had been hard to get to where you were so quickly. Networking had been your best friend all throughout your career, eventually landing you in your current role – one that would only open even more doors for you.

It had only been a week since you had received a call from your friend – an old friend from an internship who just so happened to be a former Hybe video producer – letting you know of a recent opening as one of the many managers at the company. Having been between gigs at the time, you jumped at the chance without a second thought. Hybe? The biggest entertainment company in Korea? You didn't need any details before agreeing.

It was a few days later in which you found out the details. The opportunity had been even more life-altering than you'd thought.

Originally, you had believed you'd end up becoming manager to one of the many brand new rookie groups in the growing company. With so many surging youth in the industry, it made sense to you that you'd be assigned such a role, not having had any prior experience within Hybe itself.

Except that wasn't the case. Having previously worked and interned at a few other South Korean entertainment companies through the years, it seemed like Hybe deemed you experienced enough to assign you the role of becoming a senior artist's manager.

Jeon Jungkook.

Senior artist had been an understatement. Those had been the words written in your contract, explaining your role in excruciating detail, yet failing to mention that your client would be Korea's most popular singer.

You couldn't lie, you were insanely intimidated by your new role. Despite being proudly skilled at your job, becoming the manager of an idol who had been in the game for longer than you'd even been out of college was a bit scary. Jungkook had gone from the absolute bottom to the top, he had most likely lived through it all by now – what kind of expertise could you offer someone who had already seen it all?

Being manager of an idol differed slightly from managing any other person. Idol companies usually handled the schedulings, bookings, and the legalities of their artists. As a manager, you somewhat took the role of a bodyguard. You were meant to show up everywhere Jungkook went and become his spokesperson – vying for him as if your life depended on it.

And now it was too late to back out – not that you actually wanted to. All paperwork had been signed, you had your own personal Hybe badge and all the benefits that came along with working at the company. Any feelings of intimidation or fear for the role would have to be put aside as you walked into the Hybe building to meet with your new client; the boy you'd have to stick by 24/7 from now on.

You weren't sure what you were expecting upon meeting him. It wasn't like there would be any special introduction, or even as if you were his sole manager; no, he actually had a few others who would occasionally aid him in the absence of his main manager, which was now you. Today was a workday for him, meaning that he likely already had a few people in supportive roles as he did whatever it was that Jeon Jungkook did while working.

Walking into the huge building, after getting lost a few times, you made your way to the seventh floor, which, as you'd been informed, had various rooms designated for photoshoots. That's where you'd find Jungkook for the first time, presumably having one of the many shoots scheduled for this week.

Having possession of his schedule made you realize how busy idol life was. Despite having no public schedules all this week, he had a packed itinerary, filled with either shoots or signings or producing sessions. You hadn't even met him yet, but you were already assured that he was overly hardworking – and you had maybe also stalked him online this past week.

It was very unlikely you'd even speak to him, seeing how busy he was. Your duty, after all, was just to be one of the many members of his team, taking care of any logistics as you went around with him, but not taking away from his time by socializing with him.

Upon entering the room, he was the first thing you noticed. Ignoring every other person working the room, your eyes focused specifically on him. It was hard not to, since he was quite literally standing under the spotlight, modeling for a camera. But it was more than that. He had an aura that filled up the room. Putting aside every stylist and photographer in the room, every staff member and intern, he was truly the epitome of main character.

Fuck. Was this going to cause trouble?

Admittedly, you had found him attractive all previous times you'd come across the name Jeon Jungkook whilst working in this industry, but that attraction did not go further than seeing it as an objective fact. You had never had any interest in artists outside of for work-related reasons, so you only knew him by name. Yet now, seeing him in person, it was a while other story.

It wasn't until the director gave Jungkook the green light to take a break that you first made eye contact with the boy. It appeared as if he had also noticed you immediately upon your entrance, as his eyes had gone straight from the camera onto yours. Or maybe that was just wishful thinking on your part.

To your absolute surprise, his eyes stayed on you, lighting up when he realized you were staring back at him. Even more surprisingly, that's when he began walking towards you, a bright smile on his face as he approached you.

"Hey! You must be Y/N! It's really nice to meet you," he bowed at you when he reached you, bunny teeth still sticking out in a smile.

"Oh, I- Thank you! It's nice to meet you too, Jungkook," you managed to get out, bowing awkwardly. You were surprised at him even knowing your name. Was he on a first name basis with his staff? That was crazy to imagine considering how many people he must work with on a daily basis.

"Today's your first day, right?"

"Yeah, hah, is it that obvious?", for some reason you were at a loss of words, not having expected to even speak to Jungkook at all today.

His eyes widened as his head shook in negation, almost as if he believed to have genuinely insulted you by assuming it was your first day.

"Not at all! I know it might look kind of hectic, but I swear you get used to it pretty quick," he assured, giving a quick once-over to his surroundings.

Your eyes left him in favor of eyeing the room, noticing how everyone continued to work on separate tasks as Jungkook spoke to you. Too many tasks were being performed all at once, yet there was some sort of synergy to it all. It seemed far too fast paced for you, but Jungkook seemed to get the rhythm of it all by now.

"Has anyone given you a tour yet?" he asked, making your eyes go back to him.

"Oh, no. But it's fine. I only got lost a few times on the way here. I'll get used to it," you reassured. You had been given an overall overview of the premises, but you were yet to explore the entirety of the place. It was likely unnecessary, considering the size of the building.

Jungkook's eyes widened once again. Jesus, his eyes were gigantic. He seemed shocked at no one having taken the time to show you around.

"What? No tour?? I can't have that. I'll have to take you in one after this."

"What- No! It's fine, Jungkook. I'm sure you have more pressing things to get to. I mean, I have your schedule, I know you have a packed day. I'll just-"

"None of that. I have more control over my schedule than it might seem," he chuckled, "so you don't have to worry about that. It'll be a nice way for us to get to know each other."

The following five minutes or so were taken up by your consistent, yet polite, refusal to his offer, not wanting the talent himself to feel like he had to work his schedule around you. These refusals were met by even more insistence. He was overly charismatic and likable (on top of extremely cute), so it was a lost battle from the start. There was no way you could deny him in the end.

His break ended soon after, forcing his conversation with you to be interrupted. With an exaggerated groan and a lighthearted eye roll, the boy went back to posing, sending you a friendly wink when he was finally back in action in front of the camera.

As a true professional, he got back in the zone very quickly, taking on the form of a model as he followed the director's directions to a T. You continued watching him from afar, easily getting entranced by how good he was at his job. Being too distracted by him (as he kept sneaking glances towards you), you almost forgot to make the rounds around the room and introduce yourself to his other staff.

After about twenty minutes or so of conversing with his other staff (who all had nothing but positive things to say about the boy), things began to quiet down. The director announced that he had everything he needed and things began to get packed up as people left one by one. As everyone left, Jungkook made sure to express his gratitude to each team involved, even personally bidding goodbye to some staff he seemed a bit more familiar with. By the end of it, only a few people were left as Jungkook finally approached you.

Once again, the boyish smile was on his face, almost as if he specifically excited to talk to you. But that was just wishful thinking.

"So, about that tour?"

"You really don't have to-"

"Are we really gonna go over this again?", he groaned humorously, "Please let me show you around. It's the least I can do if I'm gonna make you attend all my schedules," he insisted once more.

"Fine, okay. You wore me down, Jungkook."

With a kiddish yet sarcastic fist bump to the sky in victory, Jungkook gestured for you to follow him and began leading the way out of the room, ready to show you the building.

~

"So, how are you liking Hybe?", he asked after a while of walking around the endless building.

Jungkook was a great guide. He was extremely talkative, so no question was left unanswered. Even before you were able to inquire about certain part of the building, he was already giving you a response, even being able to start a brand new subject of conversation every time.

"Well, it's kinda my first day. But it's nice. Just, uh, maybe a little intimidating," you admitted, walking side by side with the boy.

"Intimidating? Is it cause of me?", he tilted his head to the side with curiosity.

"Maybe," you winced, hoping he didn't take it to heart. You knew it must've been annoying for people to put him in a pedestal, but it was kind of hard not to, especially upon barely meeting him.

"It's okay. I'm not as intimidating as my fame may make me seem. Most people think I'm pretty nice, actually-"

"No, it's not like that! I know you're nice, I, uh, I looked you up before accepting the job. It's just," you paused to gesture at your surroundings, "I've never worked at such a huge company, managing one of the biggest artists in the country. I ... I don't wanna mess it up," you admitted.

He slowed down his walking at this, turning to face you better as both your movements lessened in speed.

"You won't trust me. I, uh, I actually chose you specifically. You know, to be my manager."

That took you by surprise.

Jungkook knew who you were? He picked you? It's not like you had anything to your name, just a few managing gigs here and there, along with endless internships from your school years. Why would he have picked you from what you assumed must've been a pool of tenured professionals at this?

"What do you mean you picked me? Did you-"

He shrugged, the speed of his steps still slow as he focused more on conversing with you, tour of the company fully put aside.

"They asked me for my input, since, you know, we're gonna be spending a lot of time together. I saw you on the list. You were my age and your cover letter made you sound so sincere and excited," he explained, "You were also pretty cute ...", he muttered in a cough before continuing, "I just wanted someone I could be friends with. And I think I made the right choice."

You chuckled, "Yeah? How can you be so sure?"

"I can tell that you like me," he grinned, "We're gonna be besties in no time."

His hand bumped yours as he said this, lightheartedly making contact with you. It was hard to gauge whether he was just overly charismatic or if he had been genuinely hitting on you all this time. All you knew was that if he kept it up, you'd probably end up actually falling for him.

Humoring him, you absentmindedly bumped your hand into his own too, rolling your eyes jokingly as he grinned even bigger at you.

Yeah, you were going to get close in no tome.

It had been two months. Two months since you started your job. Two months since you met Jungkook. Two months since you'd been right – you did fall for Jungkook.

It wasn't as dramatic as it sounded. You were pretty sure this was just an innocent crush. One that most people in Jungkook's vicinity probably had to battle on a day to day basis.

Innocent civilians could not be blamed for the natural effect Jeon Jungkook just had on people. He was handsome, funny, charming, and he was also a flirt. Unfortunately for you, it seemed like he reserved that last trait for you and you only.

Through the weeks, Jungkook was not shy to show his special interest in you. He'd seek you out constantly, always making you stick to his side – which was your job, but still! There was always a sense of something more behind his actions. As he had said, you two became friends quickly, but just as quickly, you had become one of the closest people to him within his staff.

He'd make conversation with you, constantly migrating to your side the moment he got a short break from whichever schedule you were currently at. He'd go as far as interrupting your work just for some of your attention. In short, he was driving you insane.

Walking far too close to you in the hallways, he'd question "Where to next?", with a smile, walking side by side with you while putting his entire attention on you.

And now, you were currently overseas with Jungkook, accompanying him for some solo recordings while the rest of his members worked on their own stuff. It was a small team of people, which was quite unusual for a member of the biggest group in the world. Since it was an unofficial schedule that only Jungkook would be attending to, only the closest members of his team were really necessary. This meant you and a few others.

The situation had started off pretty much okay. One of the requirements for your position had been to become a translator for Jungkook in any situation he ever needed. That had been unnecessary so far, as you had been in Jungkook's home country these past few weeks of work. Now that you were in America, however, Jungkook sought you out even more, claiming you must attend to every outing with him in order to help him in case he needed a better understanding.

You didn't know Jungkook too well yet, but, you were aware that after so many years in the industry, he knew enough English to get by. This was simply yet another excuse of his to keep you close. When you lightheartedly confronted him about this, his response was to stare down at you with his gigantic doe eyes and pretend as if he had no idea what you were talking about.

"English? What's that?" his head had tilted to the side, cutely feigning confusion and giggling when you broke out into an annoyed smile.

On top of joining him any time he went out for leisure (under the false vice of translating), he had also insisted you accompany him to the occasional dance practice he'd attend while in America. Your presence in this instance was completely unnecessary, but you still did not question it. Nor did you question why you were the only person he insisted on bringing along. His other managers? Nowhere to be found. As time passed by in Los Angeles, less and less people would accompany you and Jungkook on his outings – whether they be for leisure or work. It had now fallen down to Jungkook, his bodyguard, and you.

"C'mon, don't you want to see me dance? I'll buy you a meal afterwards, pinky promise," he'd hold his pinky up to you with a boyish smile, knowing you wouldn't deny him.

Anytime Jungkook would discreetly hit on you or fluster you with his attention, you'd simply laugh it off or play into it just the right amount. It wasn't like you didn't enjoy it. His decided infatuation with you gave you butterflies that had you kicking your blanket late at night when you'd think back to how much he must've liked you.

You were entirely aware that he knew you liked him back also. You never said it, nor did you ever return his flirting, but you knew that he knew. Any rebuttals or instances in which you told him to chill (jokingly, of course) were just covers you'd put up. The nerves about actually acknowledging his feelings always stopped you in your tracks, leaving you the lone option of just giggling along to him or rolling your eyes (depending how cheesy he was being).

Jungkook loved your back and forth, you could tell. He enjoyed when you'd jokingly tell him off for his sickly flirtatious demeanor or when you'd simply banter with him. It was likely just a motivator for him to keep going, naturally knocking down your walls one by one as time passed.

The camel's back had broken one week after your arrival in LA, when Jungkook finally decided to take things further, now inviting you over to his hotel room after what were assumed to be work hours. The excuse? He wanted to go over next week's schedule. Both you and him were fully aware he simply wanted to hang out, but the lines were beginning to blur.

"Hey," he welcomed you with a smile when you came knocking on his door, leaning against the frame before gesturing at you to come in.

"Hi, Kook," you walked in, unsure of what to do after making it past his door.

"You can take a seat while I get us some drinks," he gestured to the hotel room couch and walked over to the mini fridge in the living room.

"Drinks? Thought we were debriefing next week's schedule?", you asked with a teasing tone, reclining back into the couch.

"Oh, yeah, the schedule, for sure," he responded in a completely unserious manner.

Approaching you again with drinks in hand, he sat on the same couch as you, leaving a small distance between the two of you to create a more casual environment.

Handing you your drink, he chuckled before even being able to speak.

"Have I been obvious enough or should I try harder?", he asked, sipping his beer.

"Jungkook ..."

"C'mon, it's been a few months. You already know I like you, right? You have to know by now. Are you really not gonna reciprocate at all?", he pouted, "I know you like me back."

"What makes you so confident?"

"You haven't once told me to fuck off," he grinned, leaning back against the couch in complete relaxation.

"I can't do that, I work for you," you rebutted.

"Hah! Please, I know that wouldn't stop you. You might've been a little shy when we first met, but I know by now you would've told me to get fucked if you weren't interested."

He had a point. There had been a few instances in which you did, quite literally, tell him to get fucked. It was always in jest, of course, but you knew that if you ever turned down his flirting, he'd tone it down without question.

Of course you never wanted his flirting to stop. You had found a new source of energy within yourself any time Jungkook would shamelessly shower you with attention. Despite being discrete about it, never being direct with his flirting, he still gave you the same undivided attention any boy with a crush would. It made you feel giddy and wanted. Yet it also made you worry for what may come of acknowledging his interest further than you already had.

You laughed along with him and entertained his banter for a while, following along with his flirting as the two of you drank with one another, eventually arriving to a tipsy state. He drank like a sailor while you only nursed a few drinks, yet somehow reaching a similar level of drunk.

"Are you ever gonna answer my question? I already know the answer, I just want to hear it from you," his original question in regard to your feelings did not circle back until now, catching you off guard yet again.

"Jungkook ..."

He scoot closer to you, "Come on, it's just us. You know what they say – acceptance is the first step."

"If you already know I like you, why do you keep asking?", you groaned, taking yet another swing of your third drink of the night.

"Aha! You do like me," he pointed at you as if he had made the grand discovery.

"Jungkook!"

Raising his hands, he relented, "Sorry, sorry. I'm just excited to hear it. Can you blame me? I've been trying to get you to flirt back for months."

"I don't have the same liberties as you, I'm your subordinate, it'd be inappro-"

"Inappropriate? Not any more inappropriate than me hitting on you every day since we met."

"Inappropriate, exactly," you scoot further away, "which is why you should stop."

He scoot closer again, this time even more so.

"I like you, you like me. Why should either of us stop?"

"I work for you. Yeah, you can flirt with me, but-"

"But what? Come on, don't reject me before I've even asked you out. At least let me have that much," he insisted, knowing he was wearing your false rejection down.

You sighed, twisting your body so you'd now be facing him fully on the couch, "Okay, fine. Go ahead."

He twisted too, now fully facing you. He took a deep breath and put down his drink, "Let me take you on a date? Please?", he pleaded with a shy smile.

"Can I say no?"

"I mean, you can, but I'll just keep insisting," he giggled, making you groan exaggeratedly.

With a fake sigh of defeat, you accepted, "Fine. You can take me out. But if you're as annoying as you were today, then I don't think it's going to work out."

"Yah! I'll be the perfect gentleman. Just you wait."

After a few more drinks, Jungkook insisted on walking you back to your room, – despite the fact that it was just next door – sheepishly asking if he could kiss your cheek goodnight, to which you responded with a kiss on his cheek of your own and a hug goodbye. Through your peephole you could see a very adorable Jungkook scrunch up his nose and smile to himself in contentment at the night's outcome.

Going to sleep with this insane sense of giddiness had been almost impossible. Your mind kept going back to the pretty boy who had insisted yet and yet again for the chance to simply go out with you. The back and forth this past few months had wore you down immensely, and last night had just thoroughly hammered you in.

You weren't entirely sure of the logistics of the date just yet. How were you to go out with Jungkook when he was so insanely popular? People were already aware of his current stay in Los Angeles, as he had been spotted a few times. They were also aware of your presence, though people already knew of your role and had grown accustomed to seeing you with Jungkook without questioning it.

Going to any usual dating spot with him alone would still prove catastrophic, however. Even if people knew you were nothing more than a manager, a one-on-one outing at a place usually meant for couples would be an instant giveaway, so it was entirely out of the question.

Surely the hopeless romantic that was Jungkook already had something planned, so you likely didn't have to worry your head over it. For now, you could simply wait for Jungkook's next unpredictable act of affection towards you with a racing heart.

~

The following day, you found yourself waking up earlier than usual, having been awoken by incessant knocking on your door that you had not expected. It was 9AM, so not too early, but today was meant to be a day off for everyone on Jungkook's team, including him. It was obvious to you who could be the culprit behind the knocking, but it didn't make it any less strange, especially considering Jungkook never had a tendency of waking up early unless it was for work.

Marching to your door in annoyance, you swung it open without any need to check who was on the other side, knowing you'd encounter the same doe-eyed boy you had kissed goodnight just a few hours ago.

"Jungkook, what the hell are you doing here so early?", were the first words out of your mouth.

He was already fully dressed, donning his usual black attire and carrying two drinks from what you knew was a local coffee shop – with one of them being your drink of choice, because of course Jungkook would have it memorized.

He grinned at you, placing your drink on your hand and smiling even harder when you sipped it.

"Just wanted to make sure you hadn't changed your mind about the date," he wasn't actually here for that reason, obviously, but it was still cute of him to use it as an excuse.

"And if I have?"

"Don't say that, I'll cry."

You laughed, leaning against your door as you sipped your drink once more, "So, have you decided what we're doing?"

He shook his head, "Nope, can't tell you. That's top secret. All you can know is that you should be ready tonight at 7 sharp and to wear something nice but comfortable," he blushed a little before continuing, "maybe that pretty sundress you wore the other day?", his eyes left you to shyly look at his shoes for a moment.

Fuck, he was far too cute.

You pretended to ponder for a bit before agreeing, "Okay. I think I can manage that."

Letting out a tiny little "yes!", he looked to you again, noticing your pajamas, "I'll let you sleep in since I kinda kept you up all night, but I'll be back, okay? You can keep your expectations as high as you want, I'll meet them all," he said confidently.

"Oh? Okay, let's see if you can swoon me then," you accepted the challenge before receiving a shy yet short hug goodbye and heading back into your room, aware you'd be unable to go back to sleep with all the anticipation you felt for your date.

Things had already changed drastically between you and Jungkook and it had only been a few hours since his official confession about his crush (along with your reciprocation). He was touchier and more open with his affections, even becoming a little sheepish now in contrast to how bold he used to be. Now that the cards were all on the table, it was harder to even look at each other without blushing. It felt like a giddy high school crush, and you were already enjoying it far too much.

~

"Fuck, you look gorgeous," Jungkook breathed out the second you opened your door, "Sorry, was that too much?," he chuckled sheepishly afterwards.

Ignoring the blush threatening your cheeks, you shook your head and smiled, "Thank you, Kook. You look ... you look really handsome," you went on a whim and placed your hands on his jacket, enjoying his own shy smile at your compliment.

You made small talk as you walked down to take Jungkook's private car, sitting side by side in the back as the driver took off.

"So, where are you taking me?", you asked again.

He tsk'd, "No patience in that head of yours, huh? Relax. It's private and comfortable. You'll have fun, I promise. Just let me surprise you."

"Fine," you sighed in feigned annoyance, leaning back into your seat. Jungkook followed and leaned back also, face turned to stare at you.

"Would it be too forward to say I already want to take you home?", he asked.

"Stop," you groaned, "Don't say that, you already wore me down into going on a date, give me time to breathe."

"Are you saying I could wear you down into letting me take you home?", he smiled.

"Anyways," you rolled your eyes, making him chuckle.

The rest of the ride was filled by your usual banter, making the date entirely too casual thus far. It felt like a regular outing with a friend, plus the added butterflies you felt any time his eyes would scrunch up whenever you made him laugh. How handsome he looked also did not help matters. He had changed out of the casual clothes he had on this morning, opting for a casual yet elegant look that consisted of his usual chunky boots and a black blazer. It was very much a usual look for him but he somehow looked extra good tonight.

Fastforward to the date itself and you found yourself in what was supposed to be a private restaurant A-listers in LA would frequent. It allowed for the utmost privacy and served the most famous of people. The atmosphere of the place was casual enough for you to be able to sit yourselves, but it was still packed with security and high-end waiters making the rounds. Being there as a mere manager felt almost illegal.

Jungkook held your hand as he guided you to a secluded booth in the back, opting to sit next to you rather than across you, something you found really cute of him.

"Do you like it?", he asked after a few moments of sitting.

You nodded, "Do I even wanna know how much this place costs?", you asked as you took in your surroundings.

"Yeah, no," he laughed, "Don't think about that. It's all on me. You being here is more than enough," he reassured, reaching over to take your menu before you could get to it, "I'll cover the prices, okay? I want you to order anything you want."

Cute, handsome, funny, into you, and also such a gentleman? You were not to survive even the first date.

"Order for me?", you suggested, knowing he was a foodie at heart and would likely order the perfect meal for you.

And he did. Unsurprisingly to everyone, he picked the perfect meal and side dishes and drinks and even desserts. The meal was amazing and completely relaxed. The conversation was never-ending, allowing for no awkward lulls or forced small talk. Jungkook had been right all those months ago, you did become very good friends. It made you wonder if he had liked you from all the way back then.

"What are you looking for in a relationship?", asked Jungkook after a few drinks, already cozied up with you in the booth.

"That's very forward for only two bottles of soju," you joked.

"C'mon, you can tell me. I won't tell," he whispered childishly, leaning closer to you with genuine interest in his eyes.

You straightened up before responding, "I guess I want something serious. No hookups or anything like that, just ... just someone nice to spend my time with."

"Hey, that's kind of what I am already, huh? I'm nice and we spend most of our time together."

You chuckled, taking a swing of your drink before returning the question, "What about you? What are you looking for in a relationship?"

"You," he deadpanned, giving you a dopey smile.

You couldn't help giggle at that, scrunching up your face at how much of a flirt he was.

He grabbed onto your chin and made you look at him, completely halting your laugher, "I'm serious," he started, "I've been wanting to ask you out since forever, but I knew I'd be putting you in an awkward position with your job. But I don't care about that anymore. I know you like me, and I like you – so fucking bad. Give it a chance? Please?", he pleaded as he stared down at you, eyes fleeting to your lips for one quick moment.

Your breath caught in your throat, making you freeze and gulp before being able to respond to the confession you'd been expecting, yet were not prepared for.

"Jungkook ... Take me home?"

"F-fuck," he groaned, "do you know how long I waited to have you?", his mouth trailed down your neck, leaving wet kisses in his wake, "thought about this every day ... How pretty you'd look pressed up against me ... So fucking pretty," he panted.

Jungkook had dragged you off the booth the moment you suggested for a change of scenery, directing the driver to get the two of you to the hotel as soon as possible. Once at the hotel, Jungkook rushed you to your floor, having already had to hold back during the entirety of the drive back. Even in the elevator, your usually lighthearted Jungkook was missing and replaced by an agitated version of him.

The first thing he did upon unlocking the door to his room as push you against it, closing it back up in the process and liberally letting his lips trail down your neck.

"Kook ..."

"Have I ever told you how much I love the way you say my name? God, just everything about you," he trailed his way back up, hands still on your waist and fingers digging into your skin.

His lips leaned down into yours, almost kissing you but not yet, "I know it's kinda late to ask, but can I kiss you?", he whispered.

Your nod was nothing short of desperate, lips almost chasing his won before he finally connected them to yours.

His kiss was as soft as his hold on your waist, and the sigh he let out against your lips was only a ghost of the passion he felt for you. His lips guided your own, with his tongue licking your mouth open and invading it in a sensual entanglement between your tongues.

It was hard to think clearly with the pretty moans he let out against your lips, almost as if you were gifting him the utmost pleasure with the mere touch of your lips. Hands became braver and breaths became heavier, leading to a mess of ruffling clothes and gasps filling up the silence of the room. You melded into each other, refusing to let your lips separate nor prevent your hands from exploring one another. His hands made it under the skirt of your dress, liberal in the way he felt up your add and pressed you up against him. In the meantime your hands threw off his blazer and began unbuttoning his shirt, feeling up his strong chest in the process.

"Let me take you to my room? Fuck, I- I can't think. Just wanna have you so fucking bad," he mumbled into your lips, groaning when you refused to stop kissing him as he spoke.

You nodded, not trusting your voice and allowing him to guide you to his room by the hand.

Once in his room, he laid you down softly, letting you sit up as he took off his remaining clothes, eyes encouraging you to do the same. His eyes widened when he realized what you'd been wearing under the dress he'd requested, clearly caught off guard by the pretty set you had chosen for him.

It wasn't all that, simply a matching lacy bra and panties that you'd packed before coming to LA. Clearly Jungkook didn't care about the quality of the set, or at least that's the impression his eyes gave you as they stayed glued to your chest, halting his movements as he took his shoes off.

"Oh ...", he breathed before making his way to you on the bed, "For me?", he asked as his hand went down to lightly run his fingers across the strap.

"Mhm," you nodded, getting up from the bed and putting your hand on his shoulders, eyeing up his toned chest and tracing his tattoos, "Do you like it?", you looked up and made eyes at him.

"Fuck, don't do that. You can't look like that and then look at me like that and think I won't fucking burst," he groaned, wrapping his arms around your waist once again, "Can I touch you, pretty? Hmm?"

Nodding again, you led his hands to your breasts, letting out a breath when his hands began feeling you up, going from your breasts to your hips to your ass while his mouth made its way back to yours. He freely moaned into your mouth at the feeling of your body under his hands, walking you back onto the bed and lying you down once more.

His hands were hesitant in reaching the clasp of your bra, to which you responded by humming a soft 'please' into his lips. The removal of your bra caused him to pull away for you as his eyes got a fill of you, groaning yet again at the sight. His hands went to your breasts again, feeling them up as his lips trailed down to your tits. Jungkook's groans of pleasure at the feeling of your bare skin against his lips were never-ending. You fed into it, arching against his lips and running your hands through his hair. It wasn't like he needed any encouragement; his eyes told you of every bit of lust he felt.

"I want you so fucking bad," he murmured against your tits, "I can't even think ... Just want you so bad. Haven't been able to stop thinking about you for months," his lips suckled at your nipple once more before reaching your ear, breathing heavily against it, "Tell me I can fuck you, please. Just need- need you so fucking bad."

Pulling him to your lips by the his hair, you moaned your desire for him into his mouth, pleading at him to get on with it.

"Fuck me. How do you want me? I'll- Fuck, just-"

"I know, pretty. I'll take care of it, okay? Just ... Want you just like this. Wanna see you while I fuck you, okay? Let me-", his hands reached to your panties, seemingly meaning to finger you before you stopped him.

"No, Jungkook, just fuck me. Please? I'm wet enough, I swear. Just need you. Now," you pleaded at him.

He shook his head, tutting at you, "Baby, at least let me eat you out? Gotta stretch you out a little. Swear I wanna fuck you so fucking bad, but shit ... Need to taste you," he rambled before getting on his knees, pulling your legs apart and towards the edge of the bed.

"Fuck ... Always wanted to kiss up these thighs," he breathed as he ran his nose up and down the sensitive skin, leaving a few airy kisses along the length of them, "So soft and pretty."

Slowly yet sensually, he made his way to your cunt, pressing his nose against your panty-covered pussy and taking a deep breath, shamelessly capturing your essence. Ignoring your scandalous whine, he pushed your panties aside and stuck his tongue inside, groaning at the taste of you.

"Baby ... Fuck, how am I ever gonna function without this pretty pussy ever again?", he murmured into you, tongue digging deep inside you as he took turns sucking and licking at you. His nose made an appearance eventually, rubbing deliciously against your clit while your hands pulled at his hair, pushing your hips up against his face.

"Yes, fuck, keep grinding on my face, baby. Use me," he pleaded, almost crying into your cunt.

Jungkook was already an expert in your pleasure, damning everything else in favor of optimizing your pleasure in every way. He let you pull at his hair and grind on his face, somehow never running out of breath as he ate you out with a desperation that had your nails digging far too harshly into his hair – something that had him moaning against you.

Once finished, he licked up every drop of your essence, humming in pleasure at the taste and even coming up to let you suck on his tongue, sharing your own honey with you.

"Kook ... Fuck me. God, I need- need you so bad. Please," you pleaded into his mouth despite not pulling away from his kiss.

"Fuck, okay, yeah. I- I'll fuck you," he finally pulled away and pulled down his boxers, reaching over to his pants on the floor to get a condom from his wallet.

"Oh? You were ready for this?" you grinned at him mockingly.

"Baby," he whined, letting his head fall to your chest in bashfulness, "Don't do this right now. Just let me make you feel good. You can make fun of me all you want after."

"Okay, Kookie. Now, hurry up!", you reached down to his ass, squeezing it jokingly as he let out a scandalized noise and lightly nibbled at your tit in retaliation.

Finally, he put on the condom as you slipped off your panties all the way and throwing them off. He was soft yet shy in his movements as he teased your slit with his cock, playing with the wetness and groaning at the warmth wrapping around the head of his cock. He checked in on you constantly throughout, kissing at your cheek every so often as he bottomed out.

"Feels so good, pretty. Fuck ... gorgeous girl. Knew you were made for me," he groaned, wrapping his arms around you and bringing you closer as he began to thrust.

His words of encouragement didn't end there, letting out every emotion he felt towards you all while you whined his name and raked your nails down his back.

"Always wanted you ... You have no idea how much I like you,"

"Sweetest girl, and all for me ... Oh, fuck- feel so good wrapped around me,"

"You take it so good ... Feel so fucking good and look so fucking pretty. How could I ever resist you?"

"Need you so bad, fuck. Need you every day,"

His praise was never ending, rendering you a mess both physically and emotionally as your feelings for him burst in the form of cries of his name and mumbled reciprocations of his feelings.

"I need you to cum with me, gorgeous. Okay? Let me just- Yeah, right there, huh? That's the spot?", he murmured almost to himself as he lifted you by the legs and began hammering his hips against that one spot deep inside you that had your eyes rolling back. One of his hands eventually joined the mix, thumbing at your clit slowly yet harshly enough to make you gasp at the intensity of the sensation.

"Gonna cum, Kook. Cum with me? P-please?," you cried out for him.

"I'm right there, baby. Just cum with me. Like you so fucking much," he couldn't help but let out yet another expression of his feelings as his orgasm took over him, taking you right along with him.

"Like you t-too. S-so much!", you cried before practically blacking out.

Hips continued to grind against each other as your highs hit you, creating a symphony of skin slapping desperately and high-pitched whines coming from the two of you.

Jungkook almost fell limp against you when his high finally wore down, breathing heavily into your chest before rolling to your side, holding your trembling form against him.

"Was that a good first date?", he asked after catching his breath.

You laughed at the complete change of subject, "Maybe. I'm still expecting you to outdo it for the second one," you turned your body to his own, nuzzling against his chest.

You could feel the vibration of his chest as he chuckled a response, "Oh? I earned a second one?"

"Shut up before I change my mind."

"Yes, ma'am."

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content:  afab reader, smut,  semi-public sex, reunion sex, dry humping, penetrative sex, etc.

wc: 597 (teaser); 1877 (full drabble)

sneak peak:

"Kook! Stop being so touchy!," you whined when you finally found yourself alone with him.

He ignored you at first, opting to wrap his arms around you and nuzzle his head into your hair with a satisfied hum.

"But why, baby?", he huffed.

He thought he was so cute when he played dumb.

"No one in the staff can know we're dating. It's like you want me to lose my job," you groaned, reciprocating his gesture against your better judgment.

"Baby, I'm your boss, and I have no plans of firing you, so what's the problem?", he ran his nose up and down your neck, breathing you in softly.

"Still. Sleeping with my boss just gives off a bad image."

"Everyone already knows I have a crush on you anyway, what's the harm?", he whined.

"Kookie ...", you groaned.

"Hmm, love when you call me that, baby," he giggled against you, waddling from one side to the other as he walked you over to the wall, pressing you up against it in a surprisingly innocent manner.

After yet another 'subtle' public display of affection he had decided to engage in whilst recording for a new brand deal, you had dragged Jungkook over to an empty dressing room during a break, deciding to put a stop to his behavior before it went too far.

You had only been dating for a few months by now, becoming exclusive almost immediately after that first date. However, despite the exclusivity and the age of your relationship, you had demanded that Jungkook keep it under wraps when it came to work. The only people aware of your relationship could be counted on one hand (maybe two), including his members, family, a few close friends and your own loved ones. Other than that, not even the company was privy to your new relationship.

Unfortunately for you, it seemed like your boyfriend was on a mission to let everyone know about your relationship, always sending you suggestive looks or sticking to you in a manner usually reserved for couples.

Most people in Jungkook's team already knew of his touchy demeanor (and of his very obvious flirtatious tendencies when it came to you), but you knew that you'd be in trouble if you ever reciprocated. Having such a cute boy blatantly show interest in you proved hard, as you had to control yourself in front of everyone else any time he decided to cause trouble for you.

"C'mon, baby. We're alone now. There's no one to see what I wanna do to you," he smirked into your neck, beginning to trail kisses along its length.

His grabby hands stayed on your hips, occasionally sliding up your waist and under your shirt to feel the warmth of your back. Not-so-innocent touches were beginning to arise, making you conflicted since you were technically still in your company's premises at the moment.

Pressing your hands into his chest, you made a lame and effortless attempt at pushing him away, your heart not truly in it as you allowed him to keep his hands on you, "Kook, we're still at work!"

"We're practically done! I did my part, it's just the guys who need to get their shoots done. I could literally disappear right now and no one would notice. It's okay, baby," he reassured, wrapping your hands around his waist and pulling you even closer, lips beginning to ghost your own.

"Kook ..."

"Shhh, just let me kiss you. Been holding back on kissing you all day," and those were his last words before occupying his lips with your own.

...

find 1.8k word continuation on either kofi or patreon!

[glazecake]

Palestine فلسطين

x / x / x | x / x / x | x / x / x

My goal with making this post is to use my platform to raise awareness and encourage solidarity and action for the people of Palestine. Over the past few weeks, I have felt powerless to watch the destruction of Gaza before the world's eyes. However, I realized that I still have a large platform despite this blog's inactivity. With this, I would like to share information about Palestine and what you can do to help.

In the above post, I have sought out videos of Palestinian food, culture, art, architecture, and nature to share. Israeli propaganda is trying adamantly to dehumanize the population of Palestine in order to further justify their genocide. Regardless, no matter where you are in the world, humans recognize and understand what it is to be human. What it is to make art, to share food with your loved ones, to travel, and laugh, and sing. To experience heartbreak and hardship, and to experience joy. To dream about the future. To stand up for what we believe in, to fight in the face of injustice.

If you are an American citizen, use your voice to stand up for what's right. Contact your representatives. Demand a ceasefire in Gaza. Boycott companies and celebrities who voice their support of the Israeli settler state. Protest. Donate. Organize. Fight. We are strongest when in community with each other. Our US tax dollars directly fund the murder of Gazan civilians. Make it known that we will not stand idly by while news outlets and propagandists lie to our faces about the atrocities enacted by the IDF and the Knesset.

Here are some links for information on Palestine, as well as places to donate:

decolonizepalestine - A website aiming to educate and dispel myths about the Palestinian people, ran by two Ramallah residents.

US Campaign for Palestinian Rights - You can use this website to find groups organizing near you.

Palestine Action US - The US branch of a directive aiming to dismantle the Israeli military regime, directly funded by the US.

Hirbawi Kufiya - The last and only Kufiya factory in Palestine, as featured in the gif above. You can pre-order a kufiya which will be shipped once the blockade has been lifted.

Let Gaza Live: Ceasefire NOW - An easy way to send letters to your representatives to demand ceasefire in Gaza.

The Palestinians: From Peasants to Revolutionaries by Rosemary Sayigh - A good introduction to the ongoing Israeli occupation of Palestine.

Click to Help - One click a day can help raise donations for the UNRWA.

baitulmaal - Donate to fund relief.

anera - Donate to provide hygiene kits for displaced Gazans.

As of October 27th, 2023, Gazans are losing access to the internet. It is imperative for us to share their stories, to continue to remain active and aware of their martyrdom. The IDF will utilize this information blackout to their advantage. We must do all we can. Do not forget the plight of the Palestinian people. Do not allow their voices to go unheard.

From the river to the sea, Palestine will be free. 🇵🇸

[theemporium]

technically the first proper introduction into the charles and blitz world despite how much we talk about them!!

series masterlist

.

“If you die, can I get your Pista?”

Charles lifted his head, shooting you an unimpressed look. 

“What? I just thought we should cover all bases,” you defended, knocking your shoulder against his. 

You knew exactly what was going through his head. You knew he was overthinking the whole thing, making up the worst assumptions and how it could affect the time he would have to take off training. You knew he was working himself up like he tended to do, falling silent and allowing his only company to be himself.

It was the exact reason you insisted on coming with him.

“And out of everything I own, you want my car?” Charles questioned, his eyebrows raised. 

“Yeah well, you treat that thing like your baby—minus the parking skills,” you said with an innocent smile spread across your face. “Surely that makes me a step-mother or some sort of parental figure.”

“The way your brain works amazes me every day,” he murmured with a shake of his head.

“You love me,” you sang, nudging his shoulder once again and, this time, he lifted his arm to wrap it around your shoulder. 

“Unfortunately, I do. Even when you’ve started planning for my death before I go into surgery,” he mused, but you could hear the underlying hint of fear. The one he didn’t really want to admit, but the one that you saw as clear as day anyways.

“Everything is gonna be fine,” you reassured him and lightly squeezed his knee. “Who else am I gonna look down on the top step of the podium if not you?” 

He rolled his eyes. “It is truly a miracle I love you.”

“I’m the best thing in your life and you know it, Leclerc,” you countered, poking his side. 

Charles’ face softened. “Yeah, you are.” 

“Charles Leclerc!” 

He turned to look at the nurse who was waiting for him by the doors, a kind and welcoming smile on her face. You watched the way his face dropped a little, the way his body tensed against yours and you squeezed his knee again. 

“You’re coming back to me, Charlie. It’ll be fine.”

…

“Tu es si jolie, mon amour.”

*You are so pretty, my love.

“English, Charlie. My French is lacklustre at best.”

“Tu es l’amour de ma vie!” 

*You are the love of my life!

You sighed deeply, taking a glance at the boy in the passenger seat of the car. He had a lovesick smile on his face, his cheeks flushed pink and a little bit of drool on the edge of his mouth. He looked adorable—and fucking hilarious if the pictures you sent to his brothers were anything.

However, since the second he had woken up from the procedure, Charles seemed adamant on only rambling your ear off in French. No Italian or English to be heard. Just French. Just the one damn language that you were hopeless in, despite the many years you knew the Monegasque.

“J’ai hâte de t’épouser,” he sighed dreamily as he stared at you with an expression that made your chest tighten.

*I can’t wait to marry you

“I don’t know what you said but me too, buddy,” you said as you reached over to softly pat his thigh. 

However, the boy was one step ahead of you and quickly grabbed your hand to intertwine with his own.

“Regarder!” He giggled, holding your joined hands up proudly. “Nous sommes connectés pour toujours maintenant!” 

*Look! We are connected forever now!

“You’re so lucky you’re cute,” you commented, fighting the odd urge to bite back a smile even when you had no understanding of what he said. “I might need to call your mother if you keep up this whole French act.”

“Oui, appelle-la! C’est aussi ta famille, mon amour!” Charles nodded.

*Yes, call her! She is your family too, my love!

“You know, these embarrassing videos don’t work if even I don’t understand them,” you added, shooting him a look but he just smiled back at you, and you couldn’t really be mad at that.

.

[thewadapan]

So why did Transformers One bomb?

Look, I'm just going to say it right off the bat: no, Transformers One is not the best Transformers movie of all time. I am (gritting my teeth) very happy for every single Transformers fan except me, who all seem to have liked it, and most of whom seem to have loved it. I agree that, as a production, it meets some baseline level of technical competence. It's a perfectly fine movie.

It's also the worst-performing Transformers movie Paramount has ever made.

Hopefully, now that its theatrical run has unceremoniously ended, people aren't going to try to rip me to shreds for theoretically threatening this multi-million-dollar film's box office revenue some miniscule amount by sharing a few teensy weensy complaints with my fifty followers.

Because I do just have a few little nitpicks, which I've tried my best to communicate, over the next 17,000 words of this post.

If you're not a Transformers fan, sorry, this essay is mostly written with the assumption that you've seen Transformers One. However, it might still be of some interest as a window into the current state of the franchise. I've written a basic plot summary of the movie to bring you up to speed, in that case. Because Transformers One purports to be the perfect introduction to the story, no homework needed, I've also done you the courtesy of elucidating background context as needed—think of this less as a review, and more as a history lesson, or maybe a "lore explained" YouTube video. After all, that's pretty much all that Transformers One is.

(And if farcically long posts aren't really your thing, you might prefer to listen to the special episode of Our Worlds are in Danger where my pals and I chatted about the film. Many of the hottest takes and silliest bits in this essay are shamelessly stolen from Jo and Umar.)

We've been waiting for Transformers One for a very long time. It's the first animated Transformers film to get a theatrical release since The Transformers: The Movie came out in 1986. It first entered development around a decade ago. Many fandom members I know online got to see it as far back as June. Its US premiere was in September; those of us in the UK had to wait a full extra month before seeing it, for no clear reason. This is a film which purports to show, in broad strokes, for the first time on the big screen, the origin of the Transformers: where they come from, who they are, and why they're fighting.

By the end of its runtime, Transformers One does not actually answer these questions. Don't get me wrong, it takes great pains trying to answer a lot of different, related questions—just ones which nobody was really asking in the first place: What does the word "Autobots" mean, if not "automobile robots"? What does the word "Decepticons" mean, if they're not actually deceitful? Why is he called "Optimus Prime"? Why is he called "Megatron"? If they were friends, why did they fall out? Why does Starscream sound Like That? Where does Energon come from? If "Prime" is a title, what were the other Primes like? How do Transformers transform?

Writer Eric Pearson, coming onto the project as an outsider to Transformers, describes having to go to Hasbro to ask these kinds of questions:

they had a script that outlined the story that they wanted to tell. I knew Optimus Prime and Megatron and I knew Bumblebee as well, or B. I had to ask about some of the other deeper ones, the mythology, “what exactly is the Matrix of Leadership?” Stuff like that.

See, Hasbro does in fact have the answers written down somewhere. The story as I understand it goes something like this. During the wild west of the '80s and '90s, Transformers "canon" was largely a by-the-seat-of-your-pants consensus-based affair between the freelance writers and copywriters the toy company would bring on to advertise their toys. That changed around the turn of the millennium, when late later-CEO Brian Goldner saw how Hasbro's licensed IP lines (such as Star Wars) were more financially successful and realised they could make more money by aggressively promoting their own in-house IP, which they didn't have to pay licensing fees for. (For the curious, a similar thought process at rival toy company Lego was what led to their creation of BIONICLE.)

The guy basically singlehandedly managing the Transformers brand at the time, Aaron Archer, eventually set to reconciling all the self-contradictory lore surrounding Transformers, an endeavour which dovetailed into the creation of the HasLab internal think-tank (best known for Battleship, the 2012 store-brand Michael Bay knockoff which was a failure critically and commercially but not in my heart) and ultimately the creation of the so-called "Binder of Revelation", an internal story bible which cost over $250,000 to produce and has strongly influenced nigh on every piece of Transformers media released since, but which we hadn't actually seen until it got leaked a week ago. As it turns out, the document itself (compiled mostly by marketers and toy designers) is patently useless to any writer: it's a typo-ridden internally-inconsistent wishy-washy mess that mostly describes the characters in terms of a made-up form of Transformers astrology that has otherwise never seen the light of day.

So although the Binder is the baseline story bible for most modern Transformers media, its influence isn't direct per se; it's more accurate to describe it as being an elaborate game of telephone between high-profile cartoons, comics, and other internal documents, with the Binder itself apparently just sitting in a drawer somewhere at Hasbro; Eric Pearson says that he never received a "binder", with the "script" he mentions either being the earlier draft from Andrew Barrer and Gabriel Ferrari (the guys who originally pitched the story), or some other unseen internal document. Director Josh Cooley, however, definitely seems to have been physically handed the Binder or its mass-market adaptation:

I knew that there was a lot of origin to be told, and when I first started, [Hasbro] gave me the Transformers Bible. I could not believe how big it was. I was like, "This is way more than I ever anticipated."

When trailers first dropped for Transformers One, a lot of my friends who are savvy were immediately like: "Oh, this is a weirdly faithful adaptation of the Binder of Revelation, huh."

I. The One True Origin of the Transformers

Half of the people reading this are Transformers fans, and half of you literally could not give less of a shit about Transformers, so if you're in the 'former group (so to speak), you'll just have to bear with me while I bring the rest of us up to speed.

Before the Transformers' civil war begins, Cybertron is being oppressed by the Quintessons. The Quintessons are a race of five-faced aliens (as in, not Transformers), who execute everyone they come across, first introduced in The Transformers: The Movie, presiding over a kangaroo court on a castaway world. In the followup cartoon five-parter "Five Faces of Darkness", writer Flint Dille established that, gasp, they were actually the original creators of the Transformers! But basically nobody else at the time was particularly compelled by this idea, it seems, with most fans preferring the more mythological origin story conceived by Bri'ish writer Simon Furman for the Marvel comics. I think people kind of just didn't like to think of the Transformers as being robots—mass-produced, a fabrication, programmed—as opposed to an alien race of thinking, feeling beings like us. But because the cartoon was important to many kids, a lot of early-2000s media tried to reconcile the cartoon and comic origin stories by stating that the Quintessons didn't actually create the Transformers; rather, they simply colonised the planet early in its history and pretended to be the Transformers' creators, until the truth came out and they got kicked offworld. This is how the Binder of Revelation ultimately paid lip service to the Quintessons. In Transformers One, the Quintessons are just sort of here, they're these evil aliens secretly skimming Energon from its miners, they don't speak English (or whichever language the film was dubbed into in your market region), they're just these nasty societal parasites.

Energon is Transformers fuel. In the original cartoon, it was these glowing pink cubes the Decepticons were always trying to produce using harebrained Saturday-morning-cartoon energy-stealing devices. There was a Cold War going on, America had just been through an "energy crisis", maybe you're old enough to remember any of that. Transformers are these big, complicated machines, so I guess the idea is they need this hyper-compressed superfuel to run off, and their homeworld has run out. By the time of the Binder of Revelation, the concept had been telephoned to the point where Energon is like the lifeblood of Primus or some shit.

Primus is the Transformers God—but not the kind of God you have "faith" in, rather this actual guy whose existence is objectively known in various ways. He transforms into a planet, that's kind of cool, right? Where does Primus come from? Look, it doesn't matter, he's like, the God of Creation, he was there at the start of time. He created all of the Transformers. All the other species in the galaxy, though, they evolved naturally thanks to "science". Actually wait, didn't that Quintus Prime guy go around the universe seeding all the planets with different kinds of Cybertronian life? That's why they're called Quintessons. See, now you know. Who's Quintus Prime?

Okay, so the Thirteen Original Transformers, or the Primes, are the thirteen original Transformers created by Primus. Most of them correspond to different kinds of Transformer: Nexus Prime is the god of Transformers who can combine, Onyx Prime is the god of Transformers who turn into animals, Micronus Prime is the god of Transformers who are small, and Solus Prime is the god of Transformers who are women. You might remember the Primes from Revenge of the Fallen, although there were only seven of them there for whatever reason.

Honestly, The Fallen was the only one who mattered for a long time. The whole reason there's thirteen of them is because thirteen is kind of an unlucky number, right? Twelve would've been fine. But throw in a thirteenth guy, and he betrays everyone, he's this fucked up evil guy. In the Binder of Revelation, though, the Thirteenth Prime is his own special guy shrouded in mystery, because they kind of liked the idea that Optimus Prime would secretly turn out to have been the Thirteenth Prime all along, and he just forgot or something, because that means he has the divine right of Primes. In IDW's 2010s comic-book reboot, the Thirteenth Prime was called "The Arisen"—in reference to that one line in The Transformers: The Movie, "Arise, Rodimus Prime!" (this margin is too narrow to explain who Rodimus Prime is). Towards the end of his run, writer John Barber did some actually interesting stuff with the concept, playing with the ambiguity over whether-or-not Optimus Prime was actually the chosen one.

All of Optimus Prime's immediate predecessors as Autobot leaders, Sentinel Prime, Zeta Prime, the lineage seen in "Five Faces of Darkness"... they're all false Primes. They're Primes in name only. In fact, IDW had a whole procession of these cartoonishly evil dictators thanks to a few continuity errors leading to the addition of a couple of extra narratively-redundant fuckers. Transformers One tries to simplify it slightly by just saying that Zeta Prime was one of the Primes for real—occupying that thirteenth "free space"—and it was just Sentinel Prime who was only a normal Transformer pretending to be a Prime, then Optimus Prime who's a real boy.

But if he's not a Prime from the start, Optimus Prime needs another name in the meantime. In the '80s cartoon episode "War Dawn", before he was called Optimus Prime, he was called "Orion Pax". Have you noticed that Optimus Prime is kind of an odd-one-out amongst all the straightup-English-word names like "Bumblebee" and "Ratchet" and "Jazz"? That's because his name was one of a tiny handful from very early in the franchise's development, before writer Bob Budiansky came onboard and came up with identities for the vast majority of the toys. Practically everyone Bob Budiansky named is called like, "Bolts" or some shit, long before the characters even know of Earth, which has always just been a contrivance of the setting you're not supposed to think about.

Presumably to create a parallel with Orion Pax's transformation into Optimus Prime, someone at Hasbro in the 2010s came up with a new name for the bot who would become Megatron: "D-16". In real-world terms, this was nothing more than a dorky reference to the Megatron toy's original Japanese release being number 16 in the line ("D" stands for "Destron", which is what they call Decepticons in Japan). But in-universe, the name "D-16" was drawn from the sector of the mine where he worked. I don't get the impression it was originally intended to be part of a broader pattern.

Which is why I'm baffled as to what the hell the reasoning was behind Bumblebee's pre-Earth name, "B-127". There's this bizarre situation in the Bumblebee film, where the name "B-127" first cropped up, where literally every other bot gets a normal cool name with personality like "Cliffjumper" or "Dropkick" except for Bumblebee, who is stuck with this clunky sci-fi name until he makes friends with a human teenager on Earth and she gives him the name Bumblebee. I guess I don't find it confusing that the writers would (correctly) realise it's a bit weird for Bumblebee to be called Bumblebee on an alien planet where bumblebees don't exist. What I find confusing is that they didn't extend that logic to any other character.

So despite everything else in the franchise's direction pointing away from "robot" and towards "alien", Transformers One ends up with this ridiculous situation where two of the most important guys are, for practically the whole movie, simply referred to as "Dee" and "Bee", I guess because the writers correctly realised the numbers sound fucking stupid.

And if you squint, "Elita-1" sorta fits this naming scheme. But the great irony of it is that the very same cartoon episode which coined "Orion Pax" simultaneously established that Elita-1 also used to go by a different name: "Ariel"! Like the Little Mermaid. Y'know, because an "aerial" is a type of electrical component- oh, forget it.

By the time the script made it into Eric Pearson's hands, it's obvious that he simply was not thinking about it that deeply. He describes the genesis of a scene where Bumblebee introduces his imaginary friends, "A-atron, EP 5-0-8, and Steve." A-atron was impov'd by Keegan-Michael Key as a reference to one of his own skits on Key & Peele. Steve ("He's foreign.") was literally just because Pearson thought it would be funny. It's true that Steve is an inherently funny name, and I guess if you're struggling to come up with jokes of your own, it can be handy to fall back on something which is inherently funny.

And again, our silly answers to these silly questions beget yet more questions. If he started out as "D-16", then where did the name "Megatron" come from? And if all the Primes have epic made-up fantasy names, then surely that one guy can't just be called "The Fallen", right? That's not a name, that's an epithet. Unfortunately, someone at Hasbro had the bright idea to answer both these questions at once: The Fallen's real name was "Megatronus". Later, for consistency, they threw on the title, and we get "Megatronus Prime", which sounds like what a thirteen-year-old on deviantART in 2014 would call their Steven Universe fusion of Megatron and Optimus Prime. So you see, Megatron actually named himself after Megatronus Prime, famously the most evil of the Primes. In Transformers One, this is changed slightly so Megatronus is merely the strongest of the Primes, as part of its overall effort to make Megatron not look completely insane.

Which, it must be said, is a tall order. Better stories have tried and failed. Back in 2007, Scottish writer Eric Holmes came up with Megatron Origin, a perfectly-fine comic miniseries which drew heavily from the miners' strikes that took place in the UK from 1984-1985, coinciding with the inception of the Transformers franchise. In that comic, Megatron is a lowly miner who, through a series of chance events, winds up at the head of a dangerous political revolutionary movement.

For some reason—I guess because nobody had ever tried to make Megatron anything other than a bloodthirsty cackling madman before—this take on Megatron as a guy who rose up against a corrupt system became the defining interpretation of the character, copy/pasted pretty much wholesale into the Binder of Revelation. Orion Pax also opposes the system, and bonds with Megatron over it, but they disagree on how to fix it: Pax believes in peaceful reform, Megatron just loves to kill. In Transformers One, the problem everyone has with Megatron is basically "whoa, this guy's a little TOO angry!" and there's a point towards the end of the film where Megatron suddenly starts jonesing to kill literally anyone who stands in his way, because he's irrationally angry.

The core problem here—and it's kind of the Magneto problem, the Killmonger problem, whatever better-known example you care to insert here—is that these guys all fundamentally exist just to be a big villain who loves to kill people and who ultimately gets defeated, but the kids who grew up on this stuff in the '80s are now adults who are no longer satisfied with cardboard cutout villains. People like a complex villain, they like a villain who has a point. They like to root for both sides. And in fact, it's easier to sell more toys to people who are rooting for both sides, if your villain is just another kind of hero. But you don't really need to take the same effort with the good guys: they're good by design, righteous by nature. They don't need to stand for something, they just need to stand against the guy whose whole thing is that he loves to kill people.

But again, we're starting from a place where the evil faction—who half the planet will ultimately align themselves with—are literally called "Decepticons". It's a name you'd only ever call yourself ironically, maybe reclaiming it from your enemies. In this film, there's some tortured logic that implies they're called Decepticons because they were deceived by Sentinel Prime. Like if you met a gang of guys who call themselves "The Robbers", but it turns out to be because they got robbed one time, and they actually have zero intention of stealing from anyone.

The Autobots are easier, of course. "Auto" is a prefix that just means, like, the self, or whatever. And the most agreeably American ideal of all is selfishness the power of the individual, the freedom to seize one's own destiny. Prime's original '80s motto, "Freedom is the right of all sentient beings," is bastardised in Transformers One into the slightly less rolls-out-off-the-tongue "Freedom and autonomy are the rights of all sentient beings," because (I can only assume) they forgot to work the word "autonomy" earlier into the script. If they ever greenlit Transformers Three, I suppose the motto would have ended up as something like "Freedom, autonomy, ruthless efficiency, and an almost fanatical devotion to the Pope are the rights of all sentient beings." Even though bodily autonomy is one of the most salient motifs present in the film—all but referred to by name—I suppose the filmmakers were worried that you might think, when Prime says "freedom", that he actually means something completely different. So now you see! "Autobots" is actually the descriptive name of a political movement which believes in obviously good things. Like "Moms for Liberty".

Okay, so the cannier among you have probably spotted the mean rhetorical trick I'm pulling with this encyclopedia-entry-ass introduction. By sarcastically relitigating all the storytelling choices I dislike from the last 20 years of Transformers lore, I can build up a negative association with Transformers One without even reviewing the movie itself! On a subtextual level, I'm deliberately misattributing these bad ideas to the filmmakers, conveniently ignoring the mountains of evidence to suggest that they were just trying to make the best of whatever Hasbro handed them from on high. If anything—you might think—the filmmakers deserve even more credit, for spinning this shite into something even remotely good on the big screen.

Like, you'd be wrong, but I can see why you might think that.

II. The Spider-Verse of Transformers

Okay, I can see that I've spat in your soup. I'm sorry. There are lots of good bits in Transformers One. I can even think of one or two of them off the top of my head, without really racking my brains.

Maybe halfway through the film, there is one specific moment where the story suddenly promises to get good. You can pinpoint it down to the word, down to the frame even. Our heroes have just discovered that their planet's leader, Sentinel Prime, is a complete fraud who's been secretly exploiting them ever since they were born—and worse, castrated them by removing their transformation cogs. They are all very cross about this. Orion Pax expresses that he wants to come up with a plan to expose Sentinel Prime. Megatron is too angry to listen. Orion Pax asks, "Don't you want to stop him?" And Megatron replies, "No, I want to KILL him!" And there's like, a little tint of red creeping into the glow of his eyes.

Whoa. Chills. Up to this point in the film, Megatron has been kind of surly at times, but he's otherwise a generic kids' movie protagonist. He's often chipper. He makes quips. He has this banter with Orion Pax where he's always complaining. It's literally that one "Optimist Prime"/"Negatron" comic, committed to film. Like I'm not even being facetious, one of the film's few obligatory "emotional moments" has Elita-1 sit Orion Pax down and say, "You know what I love about you? You always see the bright side. Like you're some kind of OPTIMIST or something." And then later completely unrelatedly God gives him the mandate of heaven and says "ARISE, OPTIMUS PRIME!" Y'see, as originally conceived, "Optimus" is the word "Optimum" if it was a name, which is why people sometimes localise his name as "Best #1". But it's genuinely kind of cute to reverse-engineer the etymology as coming from "optimist", I guess. Like, it's stupid, but it's cute.

Argh, I got distracted with naming minutia again! Entirely my bad. That's the last time, I promise. Where was I? Right, we'd just found out that Megatron is kind of scary. Brian Tyree Henry's line delivery as he growls "KILL" is his crowning achievement in this film.

Where Optimus Prime's character arc in this movie sees him change from a funny, rebellious spirit to a complete personality vacuum, Megatron's character arc is kind of the opposite. When we're first introduced to him, it's weirdly hard to get a handle on who he is. He's a fanboy for Megatronus, the strongest and most morally-unremarkable of the Primes. He looks up to Sentinel Prime. He likes sports. He doesn't like breaking the rules. In fact, we get the sense that, were it not for his friendship with Orion Pax, he would be literally indistinguishable from the legion of silent crowd-filling background characters he works with. But the moment he starts to become Megatron, it's like everything starts to click. Gears catch, where once they ground and idled. There is something in this guy that was made to fight, made to kill, made to rule. It's sick.

And the underlying tension in his friendship with Optimus suddenly snaps into focus. Megatron is mad at Sentinel Prime, but Sentinel Prime isn't there, he's somewhere else, far below... and he can't help but turn that anger on the next closest thing to an authority figure he has in his life, which is his peer-pressuring bestie, Orion Pax. There is a part of Megatron that wishes he'd never learned the truth, and he blames Orion Pax for his cursed knowledge, for constantly leading them into predicaments on his stupid flights of fancy. Now that he knows, he can't go back to how he was. He can't stop thinking about it.

I'll be honest, it rules. Obviously it rules. It's complicated and toxic and darker than this movie was marketed to be. In interview, Josh Cooley describes the draft of the script he was presented with when he joined the project as having been far more jokey, light-hearted, glib—and it seems we can credit him for saying "Look, this ain't right, the minute the credits roll these guys are going to be at civil war for millions of years."

So, they started talking about it in — what did you say, 2015? I came on board in 2020, and when I came on board there was the first draft of the script. So I don't think they'd been working on it that entire time, but they'd been thinking about it, for sure. And the script that I read was a little more comical? But it was clear that that wasn't the right tone for this film specifically, because we know there's gonna be a war, civil war on Cybertron, you can't have everybody making jokes and then all of a sudden there's a war. So, um, the stakes were really important for this film. And because our characters at the beginning are a little naive, and just on the younger side, not as experienced, it allowed more freedom for them to be a little looser and have fun really getting to know these characters. But once they realize something's going on and things are getting real, it needs to get real.

Cooley also describes his "in" on the film as being the brotherly relationship between Optimus Prime and Megatron (they're not literally brothers in this film, though they have been in the past), which perhaps explains why Megatron and Optimus Prime get to be characters, instead of just like, guys who are there.

That was always the goal from the beginning and what got me on board. It was this relationship between these two characters that was very human and brotherly. I thought about my relationship with my brother and how I could bring that in. It’s not like we’re enemies, but we grew up together and then went down our different paths, but we’re still brotherly. I became a writer-director and live in a fantasy land, and he became a homicide detective who deals with reality, so we’re two very different mindsets. I have always been fascinated by the idea of two people who come from the same place but end up in different ones. From the very beginning, I was like, ‘That’s something I can relate to.’

Anyway, things I liked, what else. There's that joke at the very start, after the excruciating lore powerpoint, where Orion Pax does a fake-out like he's going to transform, the music briefly swells, and then it just cuts to him legging it down the corridor. In a similar vein, I liked the idea behind the Iacon 5000, where Orion Pax has them run in the race. I felt like the execution of the race left a bit to be desired—the only other participant who matters is Darkwing—but it's still honestly the best big action setpiece in the film. There's also that bit at the end where Megatron and Optimus Prime are both changing into their final forms simultaneously, and it's basically a Homestuck Flash (what would that be, "[S] OPTIMUS PRIME. ARISE."?), so obviously I liked that. Oh, and I really liked the environment design where the planet's landscape is constantly transforming, that's brand-new, someone had an Idea there, and it creates visual interest during the initial Energon-mining scene... even if I wished it had actually paid off in a more meaningful way than "the planet's crust opens as Prime falls to get the Matrix"—like, someone really should've gotten eaten by the planet, that's a cracking Disney death scene and they left it on the table! I also liked getting to see my blorbo, Vector Prime, on the big screen.

I think, as a Transformers fan who's had to sit through a lot of really quite sexist, racist, and plain bad films, you're well within your rights to come out of this one ready to give it a fucking Oscar. You should be ecstatic! It has none of those pesky humans clogging up the frame. It has plenty of robot action. It has jokes which- well I struggle to call many of them "funny", but they're at least trying to be funny in a different way to Michael Bay's films. The film is obviously a massive love letter to... honestly every part of Transformers except the live-action movies. It is an incredibly faithful and earnest adaptation of all the lore and iconography that has randomly accumulated the way it has over the last forty years of bullshit.

My main point of contention, then, is with the overriding sentiment I'm seeing from pretty much everyone else in the fandom: that this is not just the best Transformers movie, but that it's a great animated movie period, that it does for Transformers what Into the Spider-Verse did for Spider-Man, what The Last Wish did for Puss in Boots, and what Mutant Mayhem did for Teenage Mutant Ninja Turtles. That, in effect, this film will make you "get it". That it's better-looking, better-written, and more meaningful than a silly toy commercial has any right to be.

I think you can definitely see some loose influence from Spider-Verse in the overall look of the film—particularly in its color grading, and in the design of its main setting, the underground city of Iacon, where the upside-down skyscrapers hanging from the ceiling evoke the iconic "falling upwards" shot from Spider-Verse. Like The Last Wish, it's an animated franchise film that spent much longer than you'd think in development, only for the release of Into the Spider-Verse to have an immediate impact on its visual style... without actually affecting the basic story to the same extent. Both Transformers One and The Last Wish, in many ways, feel like stories concocted using an older formula; in particular, Transformers One bears startling similarities to a similar toy-franchise-prequel, BIONICLE 2: Legends of Metru Nui, which was released twenty years ago! By contrast, Mutant Mayhem—which had a much shorter development period—is a direct reaction to Spider-Verse in both aesthetic and narrative, and it has a much more distinctive creative direction as a result.

If you look at how all these titles have performed in cinemas, I think you can make a pretty strong case that audiences are perfectly willing to go out and see this kind of flick. A glance at Wikipedia tells me that Mutant Mayhem, The Bad Guys, and The Last Wish grossed double, triple, and quadruple their budgets respectively. In terms of the pre-existing cultural cachet they were banking on, we're talking about Teenage Mutant Ninja Turtles, a children's book series I'd never heard of, and fucking Puss in Boots. You cannot tell me that Transformers, as a brand, is on the same level as any of these properties. Meanwhile, Transformers One hardly broke even, while The Wild Robot—another DreamWorks film based on a children's book I've never heard of, which it ended up competing with in theatres—grosses three times its budget. My friends who've seen The Wild Robot say it made them cry.

Face it: Transformers One has not lit the world on fire. I've seen a lot of people cope with this by suggesting that it's to do with the film's staggered release, or even by claiming that the film's marketing was somehow misleading. I'll be honest, upon seeing it, it did not strike me as being at all dissimilar to the trailers. You can maybe say that the trailers undersold the depth of Orion Pax's and Megatron's relationship—which is its best aspect—but honestly, I think if they'd taken a lot of those scenes out of context and put them in early teasers, audiences would've laughed it out of theatres. Like, c'mon, it's toy robots, stop pretending it's Shakespeare. And otherwise, what you see is what you get; it's exactly what it says on the tin.

I wonder how many Transformers fans, on some level, have noticed that even when we're supposedly "eating good", and watching "peak cinema", our films just aren't as good as everyone else's. They're something you'll enjoy if you're already highly predisposed to enjoy them. But otherwise, they're not turning heads. They're not as funny, or as heartfelt, or as complex, or as exciting, or as charming, or as memorable, or as beautiful as these other films. Unlike with Spider-Verse, there's no word-of-mouth amongst normal people to say that this is a film worth seeing.

What I perceive in studios hoping to recreate the flash-in-the-pan success of Spider-Verse is a misunderstanding of what made people go crazy for that movie in the first place. Yes, it changed our conception of what an 3D-animated film could look like. Yes, the multiverse is very cool and all that. Yes, it had a huge IP attached to it. But on a more fundamental level, that movie has a fantastic story underpinning it. The script is razor-sharp. The story is beautifully complex. The vision of New York City it presents is a living, breathing place, populated by real people. It has the kind of craft to it that can only come from truly obsessive creators cultivating an absolutely miserable professional environment for a legion of passionate animators.

In interview, Transformers producer Lorenzo di Bonaventura actually spoke surprisingly candidly about his view on crunch:

I probably shouldn't answer this question, because I'm not exactly PC on my answer. I think the nature of filmmaking is, we're really lucky to work in a business that's about passion. Passion doesn't fit really well into a timeline, so inevitably you come to a crunch time. It's just true in the live action, it's true in every movie, and authors always tell me that about when they're writing their books — it's the same thing happens to them! There's something about the creative process that's not — it's unruly. So, I think if you're enjoying it, you need to recognize that. Like, you know, I don't wanna abuse anybody, and y'know — if you get into that period where people have to really work too hard, you gotta help them in that situation, then. 'Cause it's gonna come. It does on every movie. I've never seen it not come, no matter how well you plan, et cetera. 'Cause it's not a science what we're doing at all, and there's all these discoveries that happen near the end, which makes you go "oh, let's do some more, come on!". We discovered that on this movie, where we're calling ILM going "we've got a few ideas, you know, do you have enough man-hours?". [...] Like, you gotta be conscious of it — in live-action, for instance, there are some studios that are so cheap that when you're on — sort of medium location-distance and you're shooting 'til midnight, they don't pay for a hotel room. It's like, well, no-no-no, you pay for a hotel room. You protect the people.

According to everyone who worked on Transformers One, everyone who worked on Transformers One was very passionate about it. But there are parts of this film where I think you can say, pretty objectively, that it's falling short of its intended effect. So I guess maybe they weren't that passionate. I'm not saying that to be mean! It's just... isn't that better than the alternative—that this was the best they could do?

III. I did not care for The Godfather

At one point in the film, the gang's magic map leads them to a scary cave, which looks like this:

Bumblebee fills the dead air by saying, "A cave, with teeth. Nothing scary about that!" The joke here is that this is a cave that looks like a mouth. But as depicted, it's a cave that looks like a mouth that doesn't look like a cave! I get that this is an alien planet, but stalactites don't grow that way on Earth, so when you see the cave onscreen, your gut reaction isn't "oh my, what a frightening cave!". No, this is a cave that makes you say, "that's not a cave, that's some kind of alien monster".

(It's not like "cave turns out to be a monster" would in any way be a fresh twist. In BIONICLE 2: Legends of Metru Nui, there's a bit where a character swims into a scary cave, and it turns out to be the mouth of a massive sea serpent. In The Empire Strikes Back, the Millennium Falcon briefly hides in an asteroid tunnel which turns out to be a giant space worm. So I'm definitely not saying Transformers One would've been a better film if it had used this stock trope.)

Then once the heroes go inside, we're whisked off to an entirely different set of concept artwork, for this lush organic underground paradise. There's no danger there. The cave itself is reduced to a strange little footnote. Maybe it's only in the story because a concept artist drew it before they'd worked out the finer points of the narrative, and Keegan-Michael Key just ended up ad-libbing the "teeth!" line when he was told to vamp for a few seconds. Or maybe the teeth gag was fully written into the script from the start, and the environment artists just interpreted it way too literally.

Like, I'm sorry, I don't mean to start off on the wrong foot here by harping on about the cave thing—it's not a perfect example anyway—but to me it's a microcosm for my frustration towards what I perceive to be a lack of creative vision in this film. So much of the film feels like it's not there to be entertaining, or meaningful, or narratively load-bearing... it's just obligatory, something they threw in for the sake of having anything at all. It's colors and sounds. When you see the spiky shape onscreen, you think, "ooh, this film was pretty bouba earlier, but now it's more kiki!" They get the comedian to improvise a few one-liners while the characters walk from place to place. And it's like, yes, this is a film for children. Of course the heroes have an adventure map with a big red X on it. In many respects this is a glorified episode of Pocoyo, or the modern equivalent, which I guess is "Baby Shark | Animal Songs For Children".

Nowhere is this sense of "we are obliged to put this in the movie" felt more strongly than in its supporting cast. When you look closely, you notice that Bumblebee and Elita-1—placed prominently in the film's marketing and being technically present for much of its runtime—don't actually do anything of narrative significance. They don't make choices that impact the story; they're just there, and it would not take much rewriting to excise them entirely, so it's just Orion Pax and Megatron on their little adventure. In fact, I'll just come out and say it: I think Transformers One would have been a better movie if Bumblebee and Elita-1 were not in it.

It helps that, from a Doylist perspective, the motivations for their inclusion are perfectly transparent. Firstly, think of the merchandise! Secondly, in Bumblebee's case, it's fucking Bumblebee, he's the whole reason half the kids will be watching, you can't not have him in there. Whenever Bumblebee's not onscreen, all the other characters should be asking, "where's Bumblebee?" Also, I think the creative team felt that they could use Bumblebee tactically to balance some of the darkness in the story.

In the G1 cartoon, Bumblebee just has the default Autobot personality—good-natured, a little sarcastic—with the dial turned a little more towards friendliness. There's this iconic anecdote from the production that cartoon, where writer David Wise found himself in exactly the same situation Transformers writers are finding themselves in forty years later: he was told to write a story about something called "Vector Sigma", and he had no fucking clue what Vector Sigma was supposed to be. So he asked story editor Bryce Malek, who also had no fucking idea. Malek in turn asked Hasbro, and was told that Vector Sigma was "the computer that gave all the Transformers personalities". Upon hearing this, Malek said, "Well, it didn't do a very good job, did it!" Vector Sigma, in case you missed it, does actually appear in Transformers One, as the polygonal shape that transitions into the Matrix of Leadership in the opening powerpoint; I guess they're one and the same now. Some things never change: in Michael Bay's Transformers movies, there is again just a single default personality that every single Autobot shares, a braggadacious action-hero facade over genuine bloodthirst. Who can forget that iconic moment in Revenge of the Fallen where Bumblebee rips out Ravage's spine in grisly slow-mo?

Aside from the fact that he's small and yellow, Bumblebee in Transformers One bears very little resemblance to any incarnation of the character kids might be accustomed to. Instead, he occupies a stock comic-relief archetype, he's a zany guy who goes "Well, that just happened!" If anything, his one joke in the third act—wanton murder—reads like it could maybe be a reference to his many Mortal Kombat fatalities in Bay's films. Beginning in 2007's Transformers Animated, Bumblebee has sometimes possessed deployable "stingers" that flip out from his hands, as a fun action feature for toys. Clearly someone on Transformers One saw this and thought it was the funniest fucking thing that Bumblebee has "knife hands", because the character spends the third act of the movie just shouting "knife hands!" and cutting people in half like a medieval terror.

(In the UK, Bumblebee's lines were re-recorded at the last minute so he says "sword hands" instead. This is because in the UK, we generally aren't able to kill each other using guns, so it's knives that are the big armed-violence boogeyman. Everyone's always talking about how all the kids have knives. And look, I'm not someone to indulge in moral panic, but genuinely, when I look at Bumblebee chasing around people with knives, saying, "I'm gonna cut these guys, watch!", I'm like... what the fuck were they thinking when they wrote that?)

Frankly, whatever is going on with Bumblebee is just an entirely different movie to everything else that's happening. When Bee shanks his twelfth nameless lackey in a row, the movie's like, awww, you're sweet! But when Megatron tries to kill the one (1) evil dictator who's just fucking branded him, who's still lying to his face while his people continue to die to the guy's fuckin' honor guard, Optimus Prime is like, HELLO, HUMAN RESOURCES?

Bumblebee is solely here to be funny, but there's a point in the film where it needs to become a war story, and the best they can think to do with Bumblebee is to have him kill people but in like, a funny way.

As for Elita-1... look, to put it very bluntly, she is in this movie to be a woman. Transformers has had a long, long forty-year history of boys'-club exclusionism, if not outright misogyny, and each new series usually has a token female character, as a kind of fig-leaf for the fact that really, the only fucking thing Hasbro cares about is that the boys are buying the toys. Beginning in the 1986 movie, it was Arcee who got to be "the pink one" for many years of fiction—but not toys, y'see, when parents want to buy something for their beloved young lad, they don't buy "the pink one", no sir. In the 2010s, wow-cool-OC Windblade took over for a stint as leading lady, decked out in a commercially-non-threatening red color scheme. Recently, though, it's been Elita-1—Optimus Prime's girlfriend from the original '80s cartoon—who's been the go-to female character, and she's increasingly allowed to be pink.

There is a lot of love for these characters amongst creatives and fans alike, and especially in the last decade, female Transformers have been both more numerous and better-written than ever. Unfortunately Transformers One, which depicts Elita-1 as an arms-crossing career-obsessed buzzkill, whose arc sees her learn her place in deference to a less-competent man... well let's just say it struck me as a significant step back in this regard.

There's this great interview with Scarlett Johansson, voice of Elita-1, where she's trying to describe what makes her character interesting, and it's like she's drawing blood from a stone. She's like, "yeah, so Elita-1, I would say, she's on her own journey, because at the start of the film it's sort of like she's working at a big company, you know, and she wants to get a promotion, but then later on she learns that she can't, y'know, get a promotion". Look, it's not that Scarlett Johansson does a bad job—in fact, considering the material she's working with, she practically carries Elita-1 entirely on the back of her performance—it's just that I can't shake the impression that the filmmakers would rather pay Scarlett Johansson god knows how many thousands of dollars than try to think of a second actress that they know of.

As I've already complained, Transformers One has a pretty thin cast, but it effectively only has two other female characters who do anything. Airachnid is a secondary antagonist, Sentinel Prime's spymaster/enforcer, and it's clear that some concept artist really fucking popped off when designing her. She has eyes in the back of her head, and it's ten times creepier than that makes it sound. Her spiderlegs also create some visual interest during fight scenes. As a character, Airachnid has zero internality and is not interesting, but she is cool, so you'll get no complaints from me there.

The film's other other female character is Chromia, who wins the Iacon 5000 race at the last moment. She really comes out of nowhere to clinch it. It's funny, because the leaderboards show this one guy, Mirage, hovering near the top of the rankings for almost the whole sequence. And Chromia's character model really looks suspiciously like Mirage's. In fact, there's a different character who stands around in the background a couple of times who looks much more like Chromia. Funnily enough, that background character is even called Chromia in concept art! So if you connect the dots, it really seems that the "Chromia" who is the best racer on Cybertron was originally meant to be Mirage, a guy, until they switched the character's gender at the very last minute, and didn't bother changing the leaderboards to match.

There are two possible explanations for this. The first is that Mirage was the dark horse of Rise of the Beasts, and for some reason they felt like his depiction in Transformers One would've gotten in the way of their plans for the character somehow. It's plausible, I guess. The second, infinitely funnier option, is that at some point someone working on the movie realised that they only put two women in the film, scrambled to look through the feature to find a suitable character to gender-swap, only to discover to their horror that they'd forgotten to put in any characters whatsoever. Fuck it, the racer guy! He can be a girl. Diversity win, the fastest class traitor on Cybertron... is a woman!

In case you were wondering about the Transformers One toyline leaderboards, by my count, Orion Pax has ten new transforming toys currently announced or in stores, Bumblebee and Megatron have six each, Sentinel Prime has four, Alpha Trion has two, Elita-1 has two, Airachnid has one, Starscream has one, Wheeljack has one, and the Quintesson High Commander has one. In fact, one of Elita-1's toys—the collector-oriented high-quality Studio Series release—isn't scheduled for release until some undetermined point later next year, and she was entirely absent from leaked lists of upcoming releases, which to me smacks of "we realised last-minute that it would look really really bad if we didn't bother to release a good toy of the one woman in the film". Oh, and obviously, Chromia has no toys—but there is an "Iacon Race" three-pack consisting of Megatron, Orion Pax... and Mirage. Go figure.

The thing is, all of the stuff I'm grousing about here is pretty much standard fare for kids' films targeted more at boys. Hell, even The Lego Movie—which is basically the gold standard of toy commercials—gave supporting protagonist Wyldstyle a pretty similar arc to the one Elita-1 gets here, which was probably the weakest element of that film. Evidently conscious of this, Lord & Miller redeemed themselves by devoting the entirety of The Lego Movie 2: The Second Part to deconstructing common narratives surrounding gender roles. I guess I just wish the young girls who presumably comprise some portion of Transformers One theatergoers could actually get anything out of Elita-1 as a character. Ah, what do I know, maybe it's still considered countercultural simply to depict a woman punching people.

Still, to give credit where it's due: Transformers One doesn't remotely touch the gender-essentialism prevalent in the Binder of Revelation, treating female Transformers no differently to their male counterparts in lore terms. Solus Prime is, it seems, just a Prime who happened to be a woman, rather than the mythological Eve after whom all women are patterned. There's a scene where our heroes are gifted the Transformation Cogs of the fallen Primes, and the Primes named thankfully bear no particular relation to the characters; in other words, Elita-1 isn't given Solus Prime's cog. As Alpha Trion puts it: "What defines a Transformer is not the cog in his chest, but the spark that resides in their core." Dude really remembered nonbinary people exist halfway through that sentence huh.

(Actually, the bigger mistake would've been with Megatron: if he was given Megatronus Prime's cog from the start, then this would've created the unfortunate implication that his descent into evil was only the result of Megatronus Prime's fucked up and evil cog, rather than a choice Megatron made of his own free will. The film instead has it the other way around: Megatron's radicalisation into a "might makes right" philosophy is what causes him to covet Megatronus Prime's transformation cog, to steal that power from Sentinel Prime, who stole the cogs of both Megatronus and Megatron in the first place. That's cool! This does create a bit of unfortunate narrative dissonance with Alpha Trion's words, alas, as it does seem like Megatronus Prime's cog really is more powerful than the others, because it gives both Sentinel Prime and Megatron a powerup.)

There's just something that I find so dreadfully mercenary about this movie's cast—honestly, everyone except Orion Pax, Megatron, and maybe Sentinel Prime. Take Darkwing, for example. Bro was clearly designed from the ground up to fill this stock character role of "bully who pushes our guys around and later gets his comeuppance". For a more interesting take on that exact same archetype, look no further than Todd Sureblade from Nimona, a bigoted knight who gets a whole damn character arc in the background, which directly complements that film's main themes.

Again, I'm not playing some kind of guessing game here, the authorial evidence is right there: Darkwing didn't even have a name until Hasbro designer Mark Maher was shown a picture of the character and asked, "If this was a Decepticon flyer, who would it be?" This is actually par for the course with ILM; most of their concept art is labelled with very basic descriptions, with the exact trademarks being picked in conjunction with Hasbro at a later point. Darkwing just stands out in Transformers One because he's the only recurring speaking character who's an OC in all but name (unless you count Bumblebee), he's the one guy who's been invented from scratch with total creative freedom, and he's boring as sin. It's like the filmmakers just couldn't conceive of a children's movie without that stock character—and they clearly had no idea what to do with him once they'd invented him, because he disappears entirely from the film at the start of the third act, when Orion Pax throws him into an arcade cabinet, which they have in the mines on Cybertron for some reason.

In a film with as painfully few named speaking characters as Transformers One, there's really no excuse for having this kind of one-dimensionality in their portrayals. Genuinely, I ask—who are Orion Pax and Megatron fighting to liberate? Jazz, one of the biggest personalities from the original G1 cartoon, who gets all of two boilerplate lines here? Cooley seems to think so:

As you’re designing them the background characters are almost like Lego pieces where you put different heads on different bodies just to fill in a crowd. But some of them would be brought forward and be painted specific colors so that it represents a character that I didn’t know was such a big deal. But there was stuff—like Jazz, for example, has a pretty big role. It was important to have a relationship with a character that we know gets to be saved.

To me, the idea that casual cinemagoers would be invested in any of the Transformers as characters is laughable. Michael Bay's characters are famous for being hateful non-entities. In terms of the films, Jazz is best remembered for dying at the end of the first one, seventeen years ago; he looks completely different here. The one breakout character in recent years—Mirage, as played by Pete Davidson in Rise of the Beasts—was, as I've already mentioned, written out so that the movie could reach its girl quota... not that he would've had any lines anyway.

And I just don't buy the idea that the complete dearth of compelling characterisation in this film is just an unfortunate side-effect of its clipped one-hour-thirty runtime—that, given even half an hour longer, the film would suddenly be crowded with rich portrayals of all your Transformers faves. Bumblebee and Elita-1, ostensibly two of the most important characters in the film, are not in this movie because the movie is interested in telling their stories. They are in this movie for the sake of being in this movie. It insists upon itself.

IV. No politics means no politics

In fact, putting aside merchandising considerations, Elita-1 and Bumblebee serve one very specific purpose in narrative terms. The trait Optimus Prime and Megatron have always had in common is that they are both leaders—and what is a leader, without anyone to lead? Without Bumblebee and Elita-1, you'd have this farcical situation where the only person Optimus Prime ever gets to boss around is Megatron, until the very end of the movie when God makes him king of all Cybertron. The High Guard, Starscream's gang of exiles, serve a similar narrative purpose for Megatron; they're a ready-made army who've just been sitting around waiting for him to show up and take charge.

Towards the end, the movie does actually take care to show both Orion Pax and Megatron rallying groups of Cybertronians: in Pax's case, he reveals the truth to his legion of interchangable miner friends, while Megatron riles up the High Guard mob. Again, there's a bit of that narrative sleight-of-hand, a bit of a thematic cop-out, where the question of "how do Optimus Prime and Megatron come to be leaders of their factions?" is answered only in the most literal possible interpretation. Yes, we technically see the exact chain of events that lead to this point—but both characters are portrayed as born leaders. We don't see them grow into the role, except physically. The moment Megatron decides he wants to rule, he's able to take charge. Likewise, Optimus Prime just gets divinely appointed by God. At a key point, Megatron loudly declares "I will never trust a so-called leader ever again", and the movie plays a fucking scare chord like this is supposed to be ominous. Like, oh no! Optimus Prime is a leader! And they're friends! Whatever will Megatron do when he finds out his friend, Optimus Prime, is a leader?

I don't think the movie has given any real thought to what a leader actually is. It seems to take a stance that power cannot be taken, i.e. through violent action, as Sentinel Prime and Megatron do. That one scene with Elita-1 suggests the most important trait for a leader to have, above and beyond any particular competency, is simply hope and optimism. What I just can't wrap my head around is the fact that the counterpoint the movie presents to Megatron, in the form of Orion Pax becoming Optimus Prime, does not support a belief in collective action or basic democracy—rather, it's a boring sword-in-the-stone divine-right-of-kings fantasy.

Except I do have a theory for why the film is like this. Let's look again at that interview with Eric Pearson, who came onboard in the "late middle" of production:

One of the first things that I did was a big pass on Sentinel Prime. I just felt like he was too obviously telegraphing his wickedness in previous versions, and I felt like, “No, he’s a carnival barker.” He’s got to be a big salesman. He’s a bullshitter, honestly is what he is.

(Honestly, if this is Sentinel after a "big pass" to make his villainy more of a twist, I shudder to think what the earlier drafts were like.)

Now, let's see how WIRED introduces their interview with Josh Cooley, titled "Transformers One Isn't as Silly as It Looks":

He liked the script, which traces how Optimus Prime (Chris Hemsworth) and Megatron (Brian Tyree Henry) went from friends to enemies. But as the world went into lockdown as Covid-19 spread, Cooley found his story changing, if only slightly. Trump was still in office when Cooley started working on the film, and he was having meetings with the producers and they’d “start these meetings off on Zoom just going, like, ‘Holy crap what is going on in this world?’” he says. Ultimately, the infighting they were seeing between Democrats and Republicans in the same family became an undercurrent in the film’s friends-to-enemies storyline, “because that’s what Transformers is.”

So it's like, oh, this is a 2016 election thing. This is just that one election that broke everyone's brains. Of course this movie about a made-up political struggle on an alien planet being developed from 2015-2020 wouldn't be like, hey, you know what might fix our society's problems, is if we had an election. Of course the main villain is a "big salesman" "bullshitter" who says things like "The truth is what I make it!". Wow, guys, your film is so-o-o politically-conscious, and very pretty.

The fantasy is more or less that Donald Trump's army of reactionaries is marching on Washington to seize power through violent means, and on the way he drops Joe Biden into the Grand Canyon, but just before Joe hits the ground a giant fucking bald eagle swoops in to catch him and squawks, "God finds you worthy! Arise, President Biden!"

In our escapist little morality play, our best friend slash allegorical dad gets made king of the planet, and we all get jobs in the government. As in, one of the funniest lines in the movie is straightup Bumblebee exulting, "This is the greatest day of my life. I get to work for the government!" When Prime met Bumblebee—an hour ago—the dude was talking to imaginary friends, and honestly the only fucking skill he's demonstrated since then is cold-blooded murder. We have this dissonance in the storytelling, where it's mostly a story about four friends going on an adventure (are they even friends? Most of them hate each other!), but it's also a founding-fathers political origin story, which means there comes a point where our hero just suddenly starts bossing his friends around in a deep voice, and they're like, "Yes, sir!" It creates this unhinged situation where the "good" faction on Cybertron is ruled by the biblical chosen one and his nepotism buddies.

Per that quote from WIRED (or are they just putting words in Cooley's mouth? I can't help but notice they don't give an exact quote!), the film is ultimately sympathetic to the bad guys (the Republicans, I guess). It deliberately suggests that there is really nothing that should divide the Autobots and the Decepticons: their political goals, it claims, are identical, and they only disagree on the means by which to achieve them. The Decepticons, who are angry and hateful, have simply been misled by a power-hungry liar with charisma—first Sentinel, then Megatron—and so the tragedy is that they are artificially pushed into conflict with their fellow men, when really they should be uniting to stand against their common enemy, the foreigner illuminati trying to steal Cybertron's wealth.

Now, I know I've just handed you a get-out-of-jail-free card. My political allegory here is chock full of holes. What, are Sentinel Prime and Megatron both Donald Trump? Get a grip. Obviously any real-world commentary in Transformers One was only intended in the loosest sense imaginable: things like, "people should be free to change into whatever they want!" I'm being unfair, I'm reading too much into it, this is a cartoon movie for children, and if I want politics, I should start reading some fucking books. Also, come to mention it, my whole argument about that cave earlier really didn't hold water, and- I know, alright? I know.

V. Place / Place, Cybertron

I'm not mad at this toy commercial because its politics don't quite align with mine. I'm not mad at it for having a boring-ass supporting cast. I'm not mad at it for reheating a bunch of half-baked lore I didn't care for from the early 2010s. I've actually spent a lot of time mad about Transformers media that I've thought was bad. There's Transformers: Armada, where the English translators are fully asleep at the wheel and render even the most basic cartoon plots incomprehensible though constant mistranslations. There's Transformers: Micromasters, where two white guys wrote a downtrodden race of tiny Cybertronians who greet each other like "Wattup, my micro!". There's the recent series of Transformers: EarthSpark, where there's an episode that I can only describe as "the Wonka Experience but it's an episode of a children's cartoon", with a plotline that mostly revolves around our child heroes straightup robbing a Onceler-looking businessman of his most valuable possession. There's Transformers: Age of Extinction, with that one scene, and also the rest of that movie. In fact, I would go so far as to say that most Transformers fiction is some combination of bad, offensive, and offensively bad.

So even though I've just spent thousands of words whinging and moaning about how I didn't like Transformers One, the truth is that I had a perfectly nice time at the cinema. I got to go see it with five of my pals who love Transformers just as much as I do, and we had a blast. It is easily in the top 50% of all Transformers fiction.

Unfortunately, for whatever reason, I guess I've always given a lot of thought to what Transformers looks like from the outside. Maybe it's that I'm compelled to spend so much time and money on it, that it somehow compels me to vomit up these kinds of essays, and all I want is to be able to make it make sense to anyone in my life. It would be so, so nice if I could just sit down in the cinema with a friend or family member for a couple of hours, and at the end of it, they'd be able to walk out and say, "Okay, I guess I see what you get out of it." Rise of the Beasts was kind of that movie for me, but Rise of the Beasts is also the seventh instalment in a blockbuster franchise. It kind of takes for granted everything about Transformers.

It doesn't answer, "what the fuck is a Transformer anyway?"

For many years now, fans have noticed a marked aversion to using the word "transform" as a verb, or even as a noun. Optimus Prime no longer says, "Autobots, transform and roll out!", he just says, "Roll out!". Transformers no longer transform, they "convert". In fact, Transformers are no longer Transformers at all: they are "Transformers bots", the italics here serving to distinguish a registered trademark. This is because the worms in suits at Hasbro are worried that, if they continue to use the word "transform" by its dictionary definition—that is, to change—then rival toy companies will be able to make the case that anything that transforms can legally be described as a Transformer. It will become a generic trademark, like Velcro, or Band-Aid, or Dumpster.

Yet in Transformers One, "Transformers" is not just the noun by which the characters are referred to—rather, it's used in a descriptive sense to specifically mean "Cybertronians who can transform"! Characters are constantly talking about whether they can or can't transform. Prime gets to say his catchphrase in full. It's a miracle. Not only that, characters even get to say the word "kill" instead of "defeat" or "destroy".

Transformers One has a level of unrestricted creative freedom not seen since the 1986 animated film. This is a film unconstrained by location shooting, or licensing deals, or uncooperative actors; through the magic of CGI, for every single frame of its one-hour-thirty runtime, the filmmakers can put literally whatever they want on the screen. They were given the assignment, "Make an animated prequel set on Cybertron telling the origin story of Optimus Prime and Megatron", handed an estimated $147 million and a blank page, and told to go nuts. Like those born with transformation cogs, Transformers One had the power to become anything it wanted to be.

The 1986 animated film took that carte blanche to do whatever the fuck it wanted, and basically singlehandedly defined the direction of the franchise ever since. On a lore level, in terms of tone, I would say that Transformers owes practically everything to The Transformers: The Movie. Cartoons, comics, films, and video games have adapted every single one of its scenes countless times over. I'm not necessarily saying that it's a good film, or even that it's a particularly original film—much of it is ripped off from Star Wars—just that it took the franchise somewhere it hadn't gone before. It was looking to the future. As in, literally, it was set in 2005, at the time two decades into the future.

What gets me down about Transformers One is that—like most major franchise media released since The Force Awakens—all it can do is think about the past. Swathes of it are devoted to painstakingly recreating or setting up the various bits of iconography which have arbitrarily come to define the franchise. Even when it appears to be taking things in a new direction, it's not long before it course-corrects back into familiar territory: Steve Buscemi invents a surprisingly fresh take on Starscream's voice, and then Megatron half-strangles him to death, saddling him with a post-produced rasp to emulate Chris Latta's iconic performance from forty years ago.

The very title of the film, Transformers One, is an allusion to the line, "Till all are one," which originates in The Transformers: The Movie. In an early script for that '80s feature, it was actually "Till all life sparks are one", referring to a literal metaphysical process in that draft whereby one Transformer's life force could be passed on to another, presumably with the belief that they would all eventually be merged into a single afterlife. In the finalized story, it's just this kind of mystical phrase vaguely evoking concepts of togetherness and unity.

Transformers One brushes up against the phrase a couple of times. Alpha Trion almost says it at one point, when passing on his dead siblings' transformation cogs: "They were one. You are one. All are one!" Whatever that means. Later, Orion Pax starts a chant amongst the miners: "Together as one!" And finally, at the very end of the movie, during his obligatory film-ending monologue, Optimus Prime again goes: "And now, we stand here together... as one." (Half of Cybertron has just been banished to the surface forever.) "[...] Here, all are truly... Autobots." (Again, half of Cybertron- Optimus, what the fuck are you talking about?) Regardless, this is inexplicably the one instance where the movie doesn't twist itself up into knots trying to nail the exact phrasing.

Actually, there is one other sideways reference like this I can think of. Early in the film, Orion Pax is chatting up Elita, and he remarks, "Feel like I have enough power in my to drill down and touch Primus himself." To which Elita replies, "You don't have the touch or the power." This is kind of a nonsensical retort unless you know that in the 1986 movie, one of the most iconic songs on the soundtrack was "The Touch" by Stan Bush, which had the chorus line: "You got the touch! You got the power!" It's a banger. Anyway, remember when I said Darkwing gets chucked through an arcade cabinet? Well, here's Cooley revealing why that arcade cabinet is in the film:

I actually wrote [that exchange between Orion Pax and Elita] because I love that song. [...] And we had this one version where D-16 and Orion were playing a video game, like a stand-up old arcade game—it was inspired to look like that, but a Cybertonian version of that. They’re playing that together like friends and the song, like the 8-bit song that’s playing is ["The Touch"]. But that scene got nixed. And so I wanted to work it in there somewhere. And I just felt like a natural place for it. But that was one where I’m like, "I just love that song and those lyrics and that’s Transformers to me so I want to get that in there."

(I've had to amend that quote to fill in the blanks where the article has redacted "spoilers" for the movie. Spoiler culture is an absolute pox, I swear. Can't have the audiences knowing about one (1) mid joke in advance—the movie barely has enough jokes to fill a "Transformers One Funny Moments" compilation as it is!)

This actually isn't the first time Hasbro has "nixed" a reference to "The Touch" in major Transformers media. In the Transformers: Cyberverse episode "The Alliance", a character references "The Touch" right before a training montage which is clearly supposed to have the track playing, except instead it's been replaced by a generic rock instrumental, presumably because they couldn't afford the license. And in Daniel Warren Johnson's Eisner-award-winning bestselling comic run, there's one panel where he clearly wanted to include the song's lyrics as a sound effect, but wasn't allowed, so the final sound effect famously reads "YOU KNOW THE SONG". But that's a random episode of a bargain-bin cartoon, and an indie-darling comic series—not a $147 million blockbuster. You really have to wonder if it came down to money, or if it was something else. God knows Transformers One would not actually be improved for having a chiptune remix of "The Touch" in it, anyway.

The most egregious misplaced bit of fanwank in the film isn't even in dialogue. In the 1986 film, there's this one iconic moment when Optimus Prime arrives at the besieged Autobot City, drives through a crowd of Decepticons in truck mode, then fires some afterburners, launching his cab up into the air, where he transforms mid-leap, drawing his blaster to shoot a couple of Decepticons before hitting the ground. It's a fantastic bit of original animation. It's the Akira slide of Transformers. And, surprise surprise, it crops up in Transformers One. In the climactic final fight, Orion Pax shows up to save Megatron, and he does the thing.

But the problem is... he's not in truck mode! The film just cuts to him standing there in the middle of some anonymous mooks, then he does a standing jump into the air, the movie momentarily goes into extreme slow-mo like he's doing a fucking quick-time event, then he shoots a couple of guys and drops to the ground. There's no momentum. It exists purely to create that simulacrum, to take the single most iconic frame from that bit of 1986 animation, and stretch that one frame into infinity. The context is discarded, irrelevant. All that matters is that brief moment of recognition: "I know what that iiis!" God knows Transformers One has precious little in the way of impactful fight animation of its own; the choreography is stiff and uninspired, while the shots themselves are nauseatingly cluttered. Often, the best it can do is pilfer from older, better stories.

"Did you clap at any of the new moments and memorable characters?" "Were there any?"

Look, I get it. Transformers One is a prequel. By definition, it can't change the future. It has to play with the characters that are already in the toybox. But I do think it had this really special opportunity: to show theatregoers where the Transformers come from. To show us Cybertron not as a distant star or a barren scrapyard, but as a living, thriving alien world, unlike Earth, something special and worth protecting in its own right. Something new and memorable. In Rise of the Beasts—probably the best Transformers movie by default—when Optimus Prime is at his lowest, he wants nothing more to return home... but home is something we've only ever seen as a cold dystopia, ruled by Decepticons. The version of Transformers One I had hoped to see was one that would have imbued Optimus' homesickness with greater meaning. I wanted to feel his loss, and to hope that one day the war will end, and Cybertron can be restored.

I think Transformers One sincerely tries to achieve this effect. The concept artists have clearly put a great deal of time and thought into Cybertron as an environment. When the artbook comes out, I'm keen to see how much stuff didn't make it into the finished film. You have to assume most of it got cut, because there's next to nothing left!

At the end of the film, battle lines are drawn, the civil war is about to start... but strangely, the movie's setting does not convey the sense that anything beautiful is being lost. Nobody is unwillingly turned to violence, innocence-lost; they're all too eager to get to killing, friggin' Bumblebee is gleeful about it. There's no beautiful, iconic landmark, which gets tragically destroyed, like in some kind of Transformers 9/11—"What have we done! Where will this war take us!". There's no part of Cybertron's natural ecological environment to be ruined by the war, because the surface world is already turbofucked by the Quintessons to begin with. No, rather, we have the total opposite: Optimus Prime finding the Matrix (which was just, like, hanging out in the core of Cybertron or whatever) actually restores Energon to the planet, removing the unnatural scarcity which was the entire impetus behind the film's dystopia. He made Cybertron great again. So again, Transformers One fails to answer one of the most fundamental questions one might expect of a Transformers prequel: "When did things on Cybertron get so bad?" The movie ends with the planet in better shape to how it started!

The big original idea that Transformers One has is that Cybertron, the planet itself, should be in a constant state of transformation. I've already talked about the beautiful shapeshifting landscapes, but it's also the moving buildings, the complicated mechanisms, the roads and rails that magically lay themselves between the vehicles and their destinations. I've already mentioned how odd I find it that none of these environmental transformations have any significance to the story; the closest it comes to some sort of payoff is when Orion Pax falls into the hole that makes you king.

What I find most perplexing are the deer. When the gang makes it to the surface, the idea is to show the natural beauty of the surface, which the cogless have been denied their whole lives. The mountains glisten as they move. Nebulae glow in the night sky. The surface is blanketed in organic (?) plantlife, like a watering can forgotten in a garden. And, most strikingly, there are deer: mechanical animals, just like those found on Earth, being hunted for sport by the evil Quintessons. When the cruisers near, their glowing horns turn red with alarm, and they prance around in fear.

I'm reminded of a brief gag from the third season of Transformers: Cyberverse—one of very few shows to have devoted any serious effort to Cybertronian worldbuilding—in the episode "Thunderhowl". Bumblebee and Chromia stumble across a "singlehorn" (read: unicorn), and when it senses danger, it neighs, transforms into a rocket, and blasts out of frame. And apart from being really cute and funny, it's like, oh, of course that's what animals are like on Cybertron! Everything on this planet transforms. Why not the animals?

For whatever reason, the deer in Transformers One are like the one thing that don't transform. Why the hell not? If Cyberverse could find the budget for its split-second sight gag, surely this blockbuster could, I don't know, have them turn into dirt bikes with antler-handlebars. That would've been something, right? If not, then at least could we maybe see some other animals on Cybertron, to really get across that alien biodiversity? Of course not. See, the deer exist to communicate one very specific story beat: a single moment of trepidation, where the heroes know there's danger nearby, but they don't know what. And all you need for that is a single kind of prey animal, with some kind of warning light to let you know, hey, there's danger! Once this purpose is fulfilled, the deer have no further significance to the story.

We need only look to BIONICLE 2: Legends of Metru Nui to see this exact same beat play out with a modicum of competence and creative flair. Also in the second act—in fact, at practically the exact same timestamp—our heroes, the Toa, have a run-in with the bad guys, and they're nearly captured... but then there's this sudden rumble of danger approaching, we don't know what. It turns out to be a herd of giant Kikanalo! They send the bad guys packing, except they nearly trample our heroes too! But then, Toa Nokama's mask begins to glow, and she discovers that her mask grants her the ability to talk to animals. They learn some vital information from the Kikanalo, and are able to ride the creatures for the next stage of their adventure. Finally, when they can go no further, the Kikanalo cave in the passage behind the heroes to ensure they won't be pursued. Holy shit, that's like, five different story beats with just that one type of creature!

It's not just that Transformers One struggles with that kind of basic narrative flow, where a single element serves multiple purposes. It's that often, it wastes precious time creating redundant setups to achieve the same effect twice.

For example, Megatronus Prime's face happens to look exactly like (what we know will be) the Decepticon insignia. At the beginning of the movie, Orion Pax mollifies Megatron by giving him a rare decal of Megatronus Prime's face. Traditionally, Megatron wears his insignia in the middle of his chest—but in this film, nearly every character has a big hole in the middle of their chest, where their missing transformation cog should go. So Megatron sticks the decal on his shoulder instead.

Later, he gets a cog, and the hole in his chest is filled. When Sentinel Prime captures Megatron, he notices the Megatronus sticker, and rips it off. Then, he re-applies it on Megatron's chest—purely so it's in the "right" place for the iconography. And then, he uses his gun to crudely brand Megatron with a tracing of Megatronus' face, inadvertently creating the Decepticon symbol. Finally, in a post-credits scene, Megatron has fashioned a proper Decepticon brand with which to brand himself and his followers. So in effect, there are four separate moments where Megatron gets the symbol! Orion sticking it on his shoulder, Sentinel moving it to his chest, Sentinel mutilating him, and finally Megatron branding himself. You can make an argument that the symbol starts out meaning one thing, but ends up meaning another thing, which has a kind of tragic significance—but I think you would struggle to distinguish subtle shades of meaning from all four of these brandings. Considering the movie only has an hour and a half to work with, I find this lack of narrative economy to be honestly embarrassing.

(My friend Jo also points out what a misstep it is to just have Megatronus Prime's face perfectly resemble the Decepticon symbol from the start. Had it been a looser, more stylised—that is to say, original—design, the moment where Sentinel Prime roughly carves it into Megatron's chest could be a shocking reveal, as the basic outlines are abstracted and simplified. Gasp, that's the origin of the Decepticon symbol! Instead, from the very moment that sticker first shows up, it's like... oh, well, there it is I guess.)

In a similar vein, both Optimus Prime and Megatron undergo two different transformations at different points in the movie: first, when Alpha Trion gives them transformation cogs, and second, when respectively they obtain the Matrix of Leadership/Megatronus' cog. The gun that sprouts from Megatron's arm in his intermediary form bears a much closer to resemblance to his iconic "fusion cannon" than the triple-barrelled cannon he ends up with in his final form. Again, in such a short film, can we really say whatever subtlety this brings to Megatron's arc is worth all this fanfare? Now, Redditors ask: "What is the EXACT moment D-16 became Megatron?"

In fact, probably the only point of criticism I've seen levied at Transformer One from within the Transformers fandom at large is that Megatron's arc is maybe a little "rushed". He starts out being best bros forever with Orion Pax, and by the end of the film, he's ready to drop the guy into a bottomless pit. The film takes a lot of time to justify his anger at Sentinel Prime, but the deterioration of his friendship with Orion goes much more unspoken, and is framed more as a point of irrationality: psychologically, Megatron comes to conflate his bossy friend with his oppressive ruler. I liked this, personally. I liked that it's as if a switch gets flipped in Megatron's head. But you do just kind of have to buy into it. The film itself does not put in the work to really sell you on the friendship souring, because again, it's too busy fucking around with two (2) magical girl transformation sequences for each of them.

Everything in the film is like this. They go into the cave and meet Alpha Trion, then leave the cave so they can watch a FMV cutscene with Sentinel Prime and the Quintessons, who've coincidentally arrived at that exact moment, basically just to rehash what they've just been told... and then they go back into the cave so Alpha Trion can resume his infodump, and then they end up clashing with Sentinel Prime's forces once that's done. At the beginning of the movie, they're at the very bottom in the mines, then they get banished to an even lower level, then they banish themselves all the way up to the surface, then they return to Iacon, and then Megatron gets banished to the surface again so he can be mesmerized by the beauty of the world and/or get gunched by Quintessons depending on what the film wanted me to take away from this. Compare to Minecraft but I survive in PARKOUR CIVILIZATION [FULL MOVIE], where the theme of class struggle is pretty efficiently depicted in the vertically-stratified setting.

I just find it so wasteful. Outside of the one scene where they're introduced, the Quintessons—ostensibly the true architects of Cybertron's oppressive status quo—may as well not exist. If not for Orion Pax addressing his closing remarks to the Quintessons, almost as an afterthought, I'd assume the film wants us to forget about them entirely, as it knows full well that its paltry runtime does not give it time for a second action-climax against the aliens. Even as sequel bait, it feels halfhearted at best; Josh Cooley is clearly already bored of Transformers, and seems unlikely to come back for another round unless the money is really really good (which *glances at the box office* it's not). So what the fuck are the Quintessons here for? Was the idea that Sentinel might just have pulled off his coup singlehandedly really so hard to stomach? Could the conspiracy not have been simplified to just involve Sentinel and his Transformer cronies? Hang on, are all the Transformers seen at the start of the film in on it, or just some of them? How's it decided who keeps their cogs and who doesn't?

VI. Into nothing

Why does this movie, where the main selling point is ostensibly that we're getting to see Transformers civilization for the first time, mostly focus on all these guys who can't fucking transform? Surely the entire thing that makes the setting fun is the Zootopia angle of, look, they're all different animals! Or the Elemental angle of, look, they're all different elements! Or the Emoji Movie angle of, look, they're all different emoji! Or the Cars angle of, look, they're all different cars! This is a Transformers film which features several significant sequences involving these cool trains, and there is absolutely zero indication that these trains are themselves Transformers. This is a Transformers film which extensively focuses on miners, and none of them transform into mining vehicles; they're holding, friggin', space jackhammers. Even the premise of "isn't it sad that these ones can't transform" is kind of undercut by the fact that all the miners get to wear fucking jetpacks, which is a frankly much cooler and more effective method of locomotion than driving.

I'm just sick of Transformers stories having zero interest in the basic premise of Transformers, which is to say, they transform into something. I also think this is the biggest dissonance between casual audiences, who think "oh yeah, Optimus Prime, that guy who turns into a truck", and Transformers fans, who think, "oh yeah, Optimus Prime, the messiah or something". Normal people love to know what the Transformers turn into. They ask, "Wait, is there a Transformer that turns into [insert silly vehicle here]?" Of course people are interested in that angle! Vehicles are such a huge part of our daily lives—honestly, for those of us living in cities, more so than animals, the classical elements, or emoji—but the closest Transformers One comes to engaging with this lens is that aforementioned Iacon 5000 race sequence. By and large, it presents a world which is made for standing up and walking around. And personally I do think that's an insane approach to take?

Is the excuse that cars can't emote? Nonsense. If you've ever seen a traffic jam, you'll know that cars can sure as hell emote. Pixar, where Josh Cooley cut his teeth, famously spent a lot of time working out how to put a facial expression on a car. No, the problem dates back to the very start of the franchise.

In the 1980s, two main people were responsible for writing the comic stories: American writer Bob Budiansky, and British writer Simon Furman. Budiansky approached the premise of the franchise from an external, human perspective, writing about culture clash, and taking delight in the Transformers' mechanical alien nature as "robots in disguise". Meanwhile, Furman wrote the Transformers as giant people: he focused on their own internal conflicts and motivations, and the grand history of their war. Pretty much every Transformers story ever told can be boiled down to one of these schools of thought: Budianskyist, or Furmanist.

Budiansky quit the comic after fifty issues, allowing Furman to take the reigns as sole writer, and Furman basically got the final word on what the Transformers are. They did not evolve from naturally-occurring gears, levers and pulleys. They were not designed by a supercomputer, or built by an alien race. They are the chosen sons of God. The Thirteen are, of course, an invention of Furman's. And Transformers One is perhaps the most Furmanist story ever told. It's the culmination of years and years of lore building up, ossifying into something you can no longer describe as the history of a universe—no, this is a mythology. It's the most perfect form of brand alignment imaginable: this is not an origin story, this is the origin story. It's been the origin story for a better part of the decade—and now that everyone's seen it in theatres, it will be the origin story forever.

It's not just the fiction, either, by the way. These days, if you go into the store to buy a Transformers toy, chances are it'll turn into some misshapen made-up futuristic concept car with unpainted windows and wheels that don't even roll—and that's terrible.

There's truly a lot to hate about Michael Bay's Transformers films, but with each new entry that's released following his departure from the franchise, I feel like I only find myself appreciating them more. In the 2007 Transformers movie, we see the Transformers crash-landing on Earth in their "protoforms", and their movements are animated like they're shy, like they're naked until they scan an Earth vehicle and adopt a disguise. The visual impact of Megatron, meanwhile, is that he doesn't adopt a disguise in that movie: he's a horrible metal skeleton that turns into a jet made of knives. It's weird and alien and it rules.

In the 1980s Transformers cartoon, and in the last-minute Cybertron-set prologue added to Bumblebee, and now in Transformers One, the Transformers look basically the same on Cybertron as they eventually do upon their arrival to Earth. Optimus Prime turns, unmistakably, into a truck. He has windows on his chest, and smokestacks on his arms. He doesn't have these features because he disguises himself as an Earth truck. He has those details because that's just what Optimus Prime looks like. They're his "essential brand elements", or "trademark details", which "identify the must-have elements in character design to be carried across all creative expressions". Prime may take any form he wishes, so long as it looks exactly like himself. A mask of my own face—I'd wear that.

What I find fucked up about the reception towards Transformers One is that a lot of people seemed very invested in its success—and not its popular success, certainly not its artistic success, but rather its commercial success. They wanted this to be the first film to make one bumblebillion dollars. They wanted Hasbro to line its fucking pockets and make movies like this forever. So if you express any kind of negativity towards this film online, which might theoretically affect some other person's decision of whether or not to go and see it, which might theoretically affect the profit it makes at the cinema, which might theoretically affect the future of the franchise in some unknown way, then you're some sort of fandom traitor who oughta be executed.

If you're so worried about the future of the franchise, the fandom really isn't where you should be looking. Like, c'mon, the Transformers fandom has been good as gold, we buy so many toys. Meanwhile, Hasbro just got finished laying off around 100 employees with no warning to make their books look a bit better. Transformers designer John Warden—who'd worked at Hasbro for 25 years, is widely credited with inventing the modern paradigm of Transformers toylines, and ultimately became the creative director of both Transformers and G.I. Joe—was on assignment to a convention in the UK with the rest of the Transformers team when he heard the news. Suffice to say, he did not end up making a public appearance at the convention. With his work's health insurance snatched away without notice, he's had to resort to crowdfunding to pay his family's medical bills. As a well-known figure in the toy industry, he will presumably find a new job and land on his feet, but the same cannot be said for all 99 of the remaining employees we're told have been unceremoniously dumped.

The Binder of Revelation, which has been something of a holy grail of behind-the-scenes material for over a decade, has finally been leaked—presumably by one of these guys, presumably out of spite.

Now, I'm not going to pretend to have been paying particularly close attention to Hasbro's financials, but from where I'm sitting, it sure seems that ever since the sudden death of then-CEO Brian Goldner in 2021—credited for saving the company in 2000, and overseeing the explosive growth of its intellectual property ever since then—his replacement, Chris P. Cocks (or "Crispy Cocks", as we're all now calling him), has been dead set on gutting the company for all it's worth. The Power Rangers franchise, which the company acquired for $522 million in 2018, is dead in the water, with huge quantities of physical assets being flogged at auction for quick cash. In 2019, they acquired the entertainment company eOne for $4.0 billion, and now they're selling off the whole shebang (except the cash-printing Peppa Pig franchise) for just $500 million. I guess maybe they just fucked it big style?

Because now, Crispy Cocks has proudly announced that Hasbro is going to stop financing movies altogether.

I'm sure that in the wake of this announcement, many of those aforementioned fandom pundits will be drawing a correlation between this announcement, and the box-office figures for Transformers One, and the fact that you personally failed to convince your Mom to go see it with you or whatever. "Ah, you see! They didn't make enough of their money back, and now they're consolidating. Simple economic cause and effect. Market forces." And look, I'm not going to sit here and claim these things are wholly unrelated. Of course they're very related. But I am going to make the case that, in truth, nobody at Hasbro really cared how Transformers One did. Unless it turned out to be some pie-in-the-sky runaway hit, I don't think the future of the Transformers film franchise would've been particularly different if only the film had done better.

With Paramount, Hasbro has been making these movies and having them underperform ever since 2017's The Last Knight—which apparently lost Paramount $100 million—and that's because at the end of the day, what they're most interested in isn't making movies. It's making toy commercials. And on that level, the Transformers films have clearly been a success so far.

Now, Crispy Cocks' skinsuit fashions itself as a gamer, so he can personify Hasbro's hardcore pivot towards digital and tabletop gaming. While we await the release of the assuredly-dogshit, assuredly-hell-to-have-worked-on, assuredly-never-coming-out Transformers: Reactivate, the brand has been whored out to a procession of mobile games you've never heard of, glorified gambling machines designed to hack the monkey part of your brain with bright colors and Things You Recognize. The exact content of these games is irrelevant; all that matters is the announcement, on every single pop culture news outlet simultaneously (naturally—they're all owned by the same company, talk about Monopoly), of New Collaboration Between Transformers And Goon Warriors Free To Download Now. Your daily, weekly, bi-annual reminder to think about that thing you can buy.

That's all any of this stuff is.

All these words spilled about what a good movie Transformers One is, and how bad it is, and why the marketing failed it, and what the next one might be like, and- none of it mattered! It does not matter. From the beginning, this movie was always going to be too preoccupied with its own mercenary interests to be something anyone would ever be able to seriously talk about as a work of art, even corporate art. The actual content of the movie is irrelevant; I've spent very little of this review talking about it, because there's nothing there to talk about. It is the mere fact of the movie's existence that serves its purpose. Like the Optimus Prime Fortnite skin, it's enough for it to occupy our attention.

Maybe that's why they staggered the film's release date: because some marketing exec watched the rough cut and realised, if everyone saw it at once, we'd be done talking about it within a fortnight. And in ten years' time, after it has been paraded around whichever streaming services survive 'til then, and nearly every last cent of revenue has been squeezed out of it, the kids will be able to watch it on YouTube with ad breaks, and decide what they want for Christmas.

To the Transformers fans reading this, I am begging you, unless you happen to own shares in Hasbro for some fucking reason, to disabuse yourself of the feeling that you owe any kind of loyalty to a toy franchise. It shouldn't matter to you one jot how Transformers One did in theatres. The people who actually make the product you care about, the friendly faces paraded before you on livestreams and press tours, don't see this money anyway—they too are merely assets, who can be fired and replaced with cheaper, inferior equivalents.

I'm sure many of you will have, from the very start, seen this review for the foolish endeavour it is. I've wasted all this time criticising Transformers One for its lack of artistic vision, when the truth is, Transformers One is playing an entirely different game. Like the Disney Channel running "Fishy Facts!" segments to subliminally get kids interested in fish a full year and a half before the release of Finding Nemo, this is not a product—it's an ad for a product.

...

Okay I'll be honest, I don't entirely love where this review has ended up. It ends on kind of a "bummer note", I guess you could say. Flashing back to sections I. and II., I feel like things started out so fun. We had that whole bit at the start where I was telling you about the Transformers, remember that? We learned so much together. And there were even a few moments where I was able to express some kind of sincere joy and appreciation over this thing that I supposedly adore so much. Sure, I did a lot of complaining, but it was fun complaining, right? It had like, a sarcastic edge to it, sort of.

What happened? Why am I suddenly talking like I want to cut someone's head off? As I grow more bitter, I type this essay with increasing difficulty. The massive gun that's sprouted from my forearm keeps colliding with my monitor.

Hasbro descends from on high to reward @TFHypeGuy, a grown-ass adult who has spent untold unpaid hours fearlessly replying to every single viral tweet to tell people to go see the film, somehow netting himself 80,000 followers in the process, with a crate of toys, which was probably his end goal from the start. He and I duel. We trade blow after blow. Finally, he clobbers me with a Walmart-exclusive light-up Ultimate Energon Optimus Prime figure. "It didn't have to end this way," he says. Then he banishes me to the surface world to think on my sins.

VII. The Wrong Trousers 👖 | Train Chase Scene 🚂 | Wallace & Gromit

When Eric Pearson came onto the project,

It was late middle of the game. They had a script that had the outline of the story, which is still very much the structural bones of the story now. But what I found interesting about animation is there are certain things that were far along in the process. The train escape to the surface was very far along, so that was just kind of locked. Maybe you could change a line here or there. Meanwhile, the opening, the whole first 10 minutes, was all storyboards and sketches, which changed a bunch of times.

And I do think that's a really difficult position for a scriptwriter to be in. Sure, the parts of the screenplay I feel able to attribute to Pearson, I wasn't particularly impressed by. But I think this anecdote goes to show how unnatural the constraints can be on a story like this. When you think of like, a scene that's key to Transformers One, you're probably imagining something like the Megatron/Optimus fight, or the scene in the mine—not the train scene, which is basically a bit of arbitrary connective tissue bridging the two main locations in the film.

Josh Cooley, the film's director, the face of the film on the press circuit from a creative standpoint, came onboard after five years of previous development work was already done. Writers Andrew Barrer and Gabriel Ferrari, who originally pitched the film and presumably wrote the early drafts of the story, might have already left the project by that point. Aaron Archer and Rik Alvarez, the creative forces behind the Binder of Revelation, left Hasbro years before the film was even pitched. It's no wonder to me that the final result feels incoherent, disjointed, and oddly stilted. It's certainly no wonder that nobody at Hasbro today really seems to care about the film; it's not their baby. If any of the people credited with bringing the project to completion had been given full creative freedom to make whatever Transformers movie they wanted, it would've looked completely different.

Luckily, there are still plenty of areas of the franchise where creators have just been allowed to go ham. Over in Japan, TRIGGER has taken a modest budget for a music-video and produced one of the most visually-striking bits of animation in the franchise, a true love-letter to all the weird parts of its forty-year history. And in America, comic creator Daniel Warren Johnson is halfway through his Eisner-winning new run on the title, which is the kind of thing I would basically recommend to anyone without caveats as being a phenomenal story, period. If that comic can be said to be an advert for anything, it's for Skybound's other, nowhere-near-as-good comic series, or for the unofficial unlicensed copyright-infringing Magic Square Optimus Prime toy Daniel Warren Johnson apparently used as reference the whole time.

I dunno, maybe Hasbro stepping back from financing these films is a good thing, in the long run. Maybe we can do without Transformers movies for a while. And however many years down the line, maybe Paramount or some other studio will put together a new team of talent, and they'll get to do whatever it is they want. And maybe the movie they make will be the one that knocks everyone's socks off.

Truly, I don't know where the road leads from here. It hasn't been built yet. It could turn out to go anywhere.

If you made it this far, I hope some of what I've said has been entertaining or interesting. Thanks for reading!

Time to for me to come clean. There is one other reason why I've waited so long to release this review... and that's because I have a special announcement to make. Last month I set myself a little challenge: to write something that's at least as long as this review, but which isn't another negative-nancy tirade. It's a story.

The working title is "Ice Road Transformers". It's like an episode of that one reality TV show about Canadians driving trucks across frozen lakes—except the truck is Optimus Prime.

Early reviews say it's good! It'll be going through several rounds of revisions, to turn it into a well-oiled machine, hopefully in time for a seasonally-appropriate wide release in February. I'm very excited for you to be able to read it. You can follow me here or on Bluesky to be the first to find out when it's ready!

I'd like to thank my friends Jo and Umar for their work interviewing Cooley and di Bonaventura during the film's press circuit, along with Viv, Callum, and Omar for allowing me to enjoy this film much more than I otherwise might have. I wouldn't have been able to express many of my feelings about this movie nearly so cogently if not for the conversations I had with them. Additional thanks go to Chris McFeely, as his Transformers: The Basics videos (linked throughout this essay) refreshed my memory on a lot of the Aligned stuff, sparing me from having to read The Covenant of Primus again.

[layton-heritage-posts]

Hi. What is layton? I only know whatever this is because of. Earlier events today. This is now my first knowing introduction to this fandom. I hope you're happy.

Professor Layton is a series of Puzzle-Mystery games where you follow the titular main character, Professor Layton, and his apprentice, Luke Triton, on their adventures of solving wacky and wild mysteries.

Currently the Series features 6 main games, 2 spin offs, 1 movie (which btw is the best video game movie ever made and seriously underrated) 1 crossover with the ace attorney series and one game currently in development.

If you're looking for a way to get started, Level-5 (the company behind these games) recently made remastered versions of the original trilogy for mobile phones, consisting of:

- Professor Layton and the Curios Village

- Professor Layton and the Pandora's Box

- Professor Layton and the Lost Future

But, if you don't feel like spending money. There is always piracy.

[iwillbringyouruin]

Visions Magazine with Tobias Forge on the idea behind Rite Here Rite Now, the importance of soundtracks in general and how he distinguishes between himself and his characters (Visions Magazine issue nr. 377, 08/2024)

Full translation of the included interview by me below the cut - buckle up, this is a long post! There are no spoilers for RHRN in this.

Markus Hockenbrink: Tobias, have you ever watched the movie Metallica: Though The Never?

Tobias Forge: Yes, once, when it had just come out. The topic Metallica came up when we were taking care of the funding for [RHRN]. Every larger production company – and I have to emphasise here that this was before Taylor Swift’s The Eras Tour and her extremely successful movie about it – voiced a lot of concern back then whether anybody would still be interested in concert movies. I had to explain time and again that my movie wouldn’t be a typical concert movie, to which I was asked several times: “Oh, so something like Through The Never?” I had to deny that again. We tell a story in our movie most of our fans are already familiar with. So it’s not an entirely new concept, which is already the first distinction from Through The Never. If you only consider that there is a concert part and a feature film part, then those two movies are probably similar. But that also applies to La La Land.

M. Hockenbrink: You describe your movie as a combination of Kiss’ Alive II, Ralph Bakshi cartoons and silent film horror. Is that a kind of childhood dream that comes true there?

T. Forge: Definitely. For as long as I’ve been interested in music, I’ve also been interested in film and television. Working in film could have also been a career option for me, but I always got the rather annoying impression that one would have to go to film school to really find a place in that field. School was never my strong suit, I see myself more as a autodidact in that regard. That I had the opportunity to work on/contribute to my own movie as a sorcerer’s apprentice of sorts is a real privilege. That is a dream come true but it is also something I can picture more of in the future. Next time maybe without the band.

M. Hockenbrink: Can you remember a specific moment in your life when you realised that you were especially drawn to topics that are slightly morbid and unsettling?

T. Forge: I think that due to my family I came in contact with vastly different kinds of pop culture from a very young age. In more traditional families with more conservative parents and siblings of similar ages, you only really start with your respective journey to find yourself in your teens. Then there are often restrictions that are meant to distract from those darker influences. My parents on the other hand are very liberal and my brother was 13 years older than me. There were never limits or censorship for me. My childhood didn’t go by without rules entirely, but I was always allowed to watch or listen to what my brother was also watching or listening to. That way I was exposed to all kinds of teenage culture from the beginning. Sure, I also liked Pippi Longstocking and He-Man. But that was always combined with the French arthouse films my mother liked to watch or the horror flicks my brother was into. I can’t recall a particularly striking horror film experience, but I still remember the first time it dawned on me that movies don’t just exist, they’re made.

M. Hockenbrink: How do you mean?

T. Forge: My father worked as a documentary maker in television. His job was to connect the video track and the sound track in a fitting way for different film production. I saw Jaws on television with him as a small child. It’s important to note that my father is not somebody who can just quietly enjoy films but somebody who likes to butt in. Thanks to him I already had a kind of epiphany during the introduction. He said: “Look closely! There is nothing to see in this underwater scenery except the algae. Technically completely harmless. But it only takes the ominous music to turn the whole scene into pure horror already!” And I thought: Wow! That’s true! Later in the movie you only have to hear that music and it immediately puts you on edge, even when there’s nobody in the water right now. They don’t even have to show the shark anymore. I found it fascinating that the [viewer’s] senses/perception could be manipulated like that. Ever since, I’ve been viewing films with different eyes. I can still allow myself to dive into the story but at the same time I see the practical aspect to film-making.

M. Hockenbrink: I had a similar feeling during the introduction of Shining: technically a cozy road trip in the mountains, but a pure nightmare with the music.

T. Forge: I’m with you on that. Shining is one of the best movies of all time. And funnily enough, only the intro sequence was actually shot in nature. All the other scenes, even if they were outside, were filmed in the studio. Exactly that kind of craftsmanship is what I find inspiring.

M. Hockenbrink: With that in mind, what makes a good soundtrack in your opinion?

T. Forge: We already talked about Jaws, but I can think of Eyes Wide Shut as another example. There is that short piano theme that comes up again and again, incredibly effective. A good soundtrack needs to deliver something that you don’t have to be able to see to perceive its existence. Sure, there are no monsters in Eyes Wide Shut, aside from the main character’s jealousy as an internal monster maybe. But just like the music in Jaws, the theme from Eyes Wide Shut symbolises something that doesn’t have to be shown. The sound is enough. That is also a commonly used effect in adventure and love movies. You just put in a short vignette to describe the love between two characters. In Star Wars, Luke Skywalker also has his own theme, that is used every time when things get emotional and you’re supposed to feel that hope. You’ve got to pay attention to that. Jason Voorhees from Friday the 13th also has a personal theme to recognise him by. Every time you hear it you immediately know “Oh shit, he’s nearby!”

M. Hockenbrink: What about soundtracks that are made up of songs?

T. Forge: With that, I’m especially thinking of Silence of the Lambs. In the scene where Buffalo Bill dresses up as a woman and dances around his basement, a song called Goodbye Horses by Q Lazzarus is playing. I have no idea how the artist felt about that since the song is now so irrevocably connected to that awful scene, that you can’t listen to it anymore without thinking of it.

M. Hockenbrink: Do you feel like soundtrack work is more appreciated now than it used to be?

T. Forge: I think that it’s definitely gained importance over the last 40 years. The right song on the right soundtrack can be incredibly powerful. Just think of Stranger Things. Obviously, Metallica and Kate Bush already had successful careers before, but what happened with Master of Puppets and Running Up That Hill following the series was something else entirely. The songs were associated so strongly with the narrative, that way more people listened to them than before. Of course I’m a strong advocate for live music but I also realised that nothing is as strong as the connection of visuals and music. That is still the most powerful way to appeal to a deeper emotion through the association.

M. Hockenbrink: More or less a shortcut to the subconscious.

T. Forge: Exactly. But you can’t be cynical about that either. If I was an A&R person at a big label, I would probably also say: “You just have to find a spot for one of your songs on a popular soundtrack, then you’ll have made it!” That’s really how it is. But when you view it from an artistic perspective, when you want to reach people a certain way or bring across a certain message or a certain feeling, the combination of visuals and sound can’t be topped.

M. Hockenbrink: It especially lends itself to an immersive experience, as seems to be in the foreground of [RHRN]. An album by Black Sabbath or Iron Maiden ends at some point, then you’re gone from that metal world again. With Ghost, however, you get the feeling that the illusion just keeps on going, across several media. Did you plan the Ghost mythology like this from the start?

T. Forge: In part. When I started with the band, I only wanted to make a standalone album. The concept was supposed to be interesting and practical, but I wasn’t planning for Ghost to be a huge thing. The style I pictured has its own limits in my opinion. The band was supposed to function a certain way and appeal to a certain target audience. The concert was supposed to be a theatrical performance in the literal sense. Ghost were never supposed to perform in a normal rock club nor go on tour. I wanted more of a kind of Vaudeville show in a proper plushy theatre. The band was supposed to be as anonymous as the actors that stand on stage and play, say, Faust. The idea behind this was: Those who don’t know who the people are on stage are more ready to follow the story. Then we would perform three days back-to-back in select cities. Berlin, Amsterdam, London. Just like Diamanda Galás who can more likely be found at a culture festival than in a rock shack. But things turned out differently in the end, and I had to kiss my original ideas goodbye again, so to speak.

M. Hockenbrink: Why?

T. Forge: After the success of our debut album, it became clear to me that more conventional concerts were going to be demanded of us and that I could only really say yes or no. This problem became worse after our shift to a bigger label. It became clear that my vision of telling stories clashed with the live sector and requirements for success more and more. At a certain point anonymity doesn’t work anymore and I had to make peace with that in the end.  I originally didn’t even want to do interviews but that’s obviously tricky when you want to sell records. The question that I constantly ask myself since is how I can do those things best in the Ghost way without denying the original Vaudeville spirit.

M. Hockenbrink: In his autobiography Golf Monster, Alice Cooper talks about himself in third person a lot when he is talking about his character. Are you feeling similarly at this point?

T. Forge: At least I can definitely see where he’s coming from. There is a difference between the person Vincent Furnier and the character Alice Cooper. I believe that he was on the verge of completely transforming into Alice Cooper at one point – to the point where one has to decide where they want to live or die. In the end he decided to remain Vincent Furnier and only become Alice Cooper for work, on stage. So far I’ve been fortunate to combine the two pretty well, but had I started Ghost ten years earlier in my life, it would have probably affected me similarly to how Alice Cooper did with Vincent Furnier in his time. But with my humble experience as an actor I have to say: every character you play becomes a part of you to a certain extent. You have to find certain qualities – good or bad – within yourself to bring such a character to life. I think that most actors only play one or two roles throughout their life that they then end up being known for. The different characters that I’ve portrayed on stage are not only very similar but actually also a part of me. Fortunately a part of me that I don’t want to deal with all day long.

M. Hockenbrink: Too cynical and antisocial?

T. Forge: Cardinal Copia or Cardi, as I like to call him, is not an all-around cool person, but that makes him so fun to play for me. He is half Freddie Mercury and half Jacques Clouseau. Kind of clumsy, kind of silly, kind of stupid. The kind of guy who trips over his own feet but catches himself elegantly. That’s also me in a way, but not just. And I think that’s easier to embody than a daredevil hero character who can rival anyone and gets all the ladies. When somebody plays only those characters their whole life, it will probably really go to their head. Especially when there are drugs involved on top of that.

M. Hockenbrink: With all that fondness of doom that can be found with Ghost, that universe also has something humorous about it, benign even. It that an intentionally included contradiction?

T. Forge: Yes, and it is also very important to me that it comes across like that. For me that also has something to do with the evolution of metal. Originally it was mostly a phenomenon connected to the youth, nowadays the musicians and their fans are close to retiring. That brings a certain maturity. Even the Norwegian black metal musicians who were super pissed and extreme 30 years ago and were only made of hate and aggression are well-adjusted people now. Bearded fathers and grandfathers with a pleasant view on life that make others laugh. I see a certain duality there. Everything that has something to do with goth, with metal, with horror, appears dark, dismal and hostile at first. But in reality, that can all be extremely life-affirming and a source of great joy for many people. So pretty much the opposite.

M. Hockenbrink: Speaking of horror: could you imagine making a real feature film some day?

T. Forge: Yes, I would love that. I’m well aware that it’s not going to be easy to make what I’m picturing a reality, just because I’ve done directing once with [RHRN] now. The creative liberty I got to enjoy there also was due to the fact that I funded the movie myself. So nobody was meddling with it. That is likely completely different when you work on behalf of a big studio, because we are talking about different sums here. If I only go off my dreams, I would name two points of reference. One is Shining, the other Bram Stoker’s Dracula by Francis Ford Coppola. I would like to make a movie that’s only shot in a studio, with elaborate sets, matte painting and all that. No outside shots, no special effects, no green screen. And no actors who only gets to see what they were actually doing after the fact. Proper old-school. The way movies are actually meant to look.

[burntheedges]

Pas de Deux Chapter 2

Din Djarin x f!reader | 2.5k | fic masterlist | main masterlist | ao3

fic summary: When Din Djarin – principal dancer at Concordia Ballet Company and generational talent in the classical style – suddenly left CBC and joined the Nevarro Ballet Theater mid-season, it shocked the ballet world. You never would have guessed that he would change your life, too.

a/n: it's time to figure out what Karga's plan is. 👀 See my notes at the end and on the masterlist about reader in this fic and ballet in general. Thank you @katareyoudrilling for being the best beta, as always!!

chapter tags/warnings: gen, ballet terms (see end notes and the masterlist for definitions and videos), a bit of angst, a bit of fluff

Chapter 2

You were one of the last people to enter the studio for rehearsal and realized the entire company had been gathered together. You hurried over to sit by Adrian and Owen before looking around and noticing Djarin was in the corner, deep in conversation with Kuiil. Maybe they had met before, after all.

Karga walked in just as you sat down and clapped his hands. “Well! Hello, everyone. First, let us welcome our newest company member, Din Djarin.” He paused and gestured towards the corner where Djarin was standing, smiling as you all clapped and stamped the floor. You glanced over to him and saw that he was leaning against the wall with his shoulders loose and arms crossed, expressionless mask back in place. “We are very happy to have him join us. Please introduce yourselves and welcome him when you see him.” Djarin didn’t react and you wondered how those introductions would go. “Now, we have a few announcements about changes to the spring programs.”

You felt Adrian elbow you and you elbowed him back without looking. 

“As I mentioned earlier this week, we won’t be making any changes to Midsummer, Swan Lake, or Cinderella.” You heard Adrian breathe a sigh of relief beside you and you nudged him again. “But we will be making some changes to the other shows. As you know, we have three mixed programs planned for spring, as well as the 5th anniversary gala.” 

Karga waved one hand and started to tick off his fingers as he continued. “For the first program, we’ll be adding a solo performance for Din. Given that one is so soon, in January, we don’t want to disrupt things too much.”

You heard some murmurs and saw some of your fellow dancers nodding. That made sense, and it sounded like they were going to spread out the changes. It also added a draw for the audience, to get to see Din Djarin alone on stage. A real showcase for his skill and artistry.

“For February’s program,” Karga turned to Talia, who was mostly in charge of that one, and nodded. “Din will be joining the Balanchine ballet. You’ll discuss that in your next rehearsal.” Talia nodded back at him, and then glanced over the dancers. You tried to not to wince – someone would be losing a role, then. Probably more than one person. But it didn’t make sense to not play to Djarin’s strengths, and something as technical as Symphony in C was perfect for him. And it was possible that he’d performed it before at CBC, anyway — they didn’t do a lot of Balanchine, but if they did, they’d pick Symphony in C.

“For April, we’ll be adding something new.” Karga looked over to one of the choreographers, Vince, who nodded at the room. “More to come on that, but it will be a small group.” You wondered if they would give the dancers who would be demoted in Symphony a chance in this new number – Karga was usually good about things like that. You glanced at Adrian and knew he was thinking the same thing as he glanced around at some of the others. 

“And finally, the gala!” Karga grinned hugely. You all knew he’d been looking forward to this for months, if not years – May would mark the 5th anniversary since he’d taken over and then renamed and reinvigorated NBT. The gala was his baby. You could feel a sudden tension move through the room – many of the dancers were slated to do something new or interesting during the gala and you knew no one would want to give up their roles, which were meant to be a true showcase of the company’s talent. You briefly wondered if they’d be adding Djarin to the longer ballet again, and if so, how much strife that might cause with the principals who were supposed to be in it.

But it seemed Karga had a different idea. “We will keep what is already planned just as it is, with one exception. We’ll be adding a three-part pas de deux to the program for Din and a partner. it will be spread over the course of the night, woven between the other numbers.” You blinked, surprised – it was definitely a novel idea, and you could see others trying to hide their surprise as well. “We will announce Din’s partner, and any resulting changes, soon. Kuiil will choreograph this new pas de deux.”

The room couldn’t hide its reaction this time. There were murmurs and glances that betrayed everyone’s shock – Kuiil was a very contemporary choreographer, with an only somewhat neo-classical repertoire.

And everyone knew Din Djarin was a master of the classical style. You’d never seen or heard anything that would suggest he had any familiarity with, or even interest in, more contemporary or expressive styles.

You wondered if this had been the subject of their argument in Karga’s office.

“And so that is our plan! Thank you, everyone, for your attention. I leave you to your rehearsals.” Karga nodded and swept from the room. The door closed behind him and the noise level rose sharply as everyone began to discuss his announcements. You heard Adrian and Owen start guessing at the changes in the February Balanchine number and your eyes strayed across the room to find Djarin.

But he was already gone. You caught only a glimpse of his shoulder as he slipped out the door.

…

The next few days were unremarkable, despite all of the recent changes. Djarin attended morning class but always slipped out the door as soon as it was over. As far as you knew, none of the other dancers had even had a conversation with him yet. He seemed to always be slipping out the door of every room as soon as he could. 

With opening night only two weeks away, your rehearsal hours were filled with the Nutcracker and little else. As Djarin wasn’t going to be in it, you never saw him in the afternoons. You heard updates from the others – Clara told you about some of the changes to the February Balanchine ballet, and Yuri had seen Djarin working on his solo for January with Talia. They had apparently chosen a medley of moments and scenes from La Bayadère, which seemed perfect for someone with Djarin’s level of skill. Talia had to be beside herself – technically challenging ballets were her favorite.

Adrian had the full rundown on who had been shifted around and who had been given new roles in the April show, and it sounded like everyone was at least mollified if not happy about the changes.

You didn’t see Djarin again outside of the morning company class for almost two weeks. It was late in the evening on a Wednesday – you’d had some physical therapy exercises for your ankles to complete after your last rehearsal, and you were finally headed home to have dinner and rest before a couple of easier days of show prep. The two-week run of Nutcracker performances would start on Friday and you needed the rest before the chaos began. 

You turned the corner into the building’s large lobby and found him kneeling on the ground in front of a small child. Maybe 4 or 5 years old, if you had to guess. He was adjusting the kid’s jacket and talking to him softly.

You retreated around the corner and tried not to draw attention to yourself, but you couldn’t help but stare as you came to a stop. 

“Hey,” Djarin’s deep voice sent a shiver down your spine. It was soft and warm as he spoke to the (his?) kid. “You ready to go home?”

The kid nodded, and his little green hat flopped around on his head as he did so. You glanced between them and for the first time, you saw Din Djarin smile. It spread across his face and you watched, mesmerized, as a dimple appeared in his cheek and his eyes crinkled. 

It was beautiful. He was beautiful. Shit. 

“Alright, kid. Let’s go.” Still smiling, he stood and held out his hand. The kid grabbed two of his fingers and they headed for the door. You were pretty sure they hadn’t even noticed you were there.

You blinked, a bit dazed. As you slowly moved towards the door yourself, you decided it had to be his kid – he’d mentioned going home, after all. And it put all of his quick exits in a new light, if he had childcare to worry about. 

You resolved not to mention this new possibility to the rumor mill.

…

By the end of the two week run of Nutcracker, you were exhausted. Long days of class, sometimes a short rehearsal, and early call times for shows left you worn out and ready for a break. On the Monday after a final show you always felt like you’d been hit by a truck, and this Monday was no different. You slept in for once, looking forward to a few days off for the holidays and a slow return to steady rehearsals after the new year.

In those few weeks you hadn’t seen any sign of the kid again. You’d barely seen Djarin at all, once again only catching sight of the back of his head as he slipped out of the door after morning class. (Whether you’d been watching him even more during class wasn’t something you wanted to own up to, even to yourself.) Given the hectic Nutcracker schedule and the fact that he wasn’t in the show, you weren’t really surprised that you hadn’t run into him.

You spent a comfortable few days relaxing, cleaning, and visiting friends before starting to prepare for the busy return to rehearsals in January.

During your first few days back in the studio in the new year, you focused on getting through class and warming yourself up. A few days off wasn’t enough to get truly rusty, but it felt nice to stretch and focus on moving your body.

After class on Thursday you found yourself alone as you walked down the hallway towards rehearsal for the January mixed program. You’d stopped to chat with Alexa for a few minutes about a tricky section of your choreography as Hermia in Midsummer, which was coming up at the end of February. It seemed everyone else was gone by the time you were done – you said goodbye to her and stepped out into an empty hall. As you walked you went over the choreography again in your mind, remembering Alexa’s advice about staying connected through the movements and briefly closing your eyes to focus.

Eyes still closed, you turned the corner to walk past the administrative offices and collided face-first with something tall and warm. And muscular. Your hands came up belatedly to catch you.

“Oh!” You startled and opened your eyes to find both of your hands resting on a broad chest in a tight black shirt. You blinked and lifted your gaze, pretty certain you knew who you would find. 

Din Djarin looked down at you with an unreadable expression. You blinked and realized his big hands were cupping your elbows, holding you upright.

“I’m so sorry! I wasn’t looking—“ you cleared your throat and tried to step back from him, but for a moment he held you in place. You met his eyes again and couldn’t read anything in them. 

Then he released you suddenly and you both took a step back. “Sorry. I was thinking about some choreography and not where I was walking.”

Djarin nodded and spoke the first words he’d ever said to you directly, face still expressionless. “It’s fine.” His voice was deep and somehow warm, despite how closed off he seemed.

You hesitated, remembering how Karga had encouraged all of you to be welcoming, weeks ago. “I don’t think I’ve introduced myself.” You did so then and bit your lip. 

He nodded and did the same, even though you obviously knew his name. “Din. Nice to meet you.”

You nodded, too. “Are you heading to rehearsal?” You motioned behind him in that sort of let’s-walk-together way that people tended to do. He nodded and turned and you found yourself walking casually next to Din Djarin. You wracked your brain for a topic of conversation. 

“Um,” you started without looking at him. “What are you working on this afternoon?”

You felt him look at you but didn’t look back. “My solo for later this month, with Talia, and then joining the Balanchine rehearsal for February.” You felt a shiver travel down your spine. His voice – you weren’t sure you were going to get used to it any time soon. It was so deep.

You nodded, glancing at him. He was still looking at you. “How’s it going?”

His expression didn’t change at all. “It's fine. Most of them were in Nutcracker so it’s picking up more now.” You nodded again. You weren’t sure what to say next, but to your surprise, he asked you a question.

“Have you danced the lead in marzipan before this year?”

You were surprised, but answered easily. “Once. I was in it but not the lead last year, and Yuna was sick for one of the shows. She was sugarplum this time. I, um, just made first soloist this year.” You could hear your self-deprecating tone and hoped he wasn’t thinking you weren’t up to it. You didn’t think he’d really noticed you – or anyone, for that matter – in class. 

But he surprised you again. “I saw one of the shows. You danced it well. Like you know it perfectly, but you made it your own. It felt light and airy. Like it should. I liked what you did with the pirouettes in the middle. And the rond de jambes at the end.”

With each compliment in his steady, matter-of-fact tone you felt the heat rise more in your cheeks. Your mouth fell open in surprise. You’d never heard him say so much all at once. “Oh! Um, thank you. I– well. Thank you.” He’d noticed you? And not just you, but the small ways you had tried to make the choreography your own? He’d seen that? You were stunned.

You looked at him again but found nothing in his expression. It was impossible to tell what he might be thinking. You wondered if you should say something else, or compliment him in return, but you’d reached the rehearsal studios and he turned to enter the smaller one. 

“See you in class.” He slipped through the door and was gone. 

You blinked and turned slowly to continue down the hall. You found Karga walking slowly towards you from the opposite direction.

“Hello, my dear,” he smiled warmly. “I see you’ve met Din.”

You nodded. “Yes, well. We’ve been in class together, of course. But yes, we just met. Officially, I guess.”

He patted your shoulder as he passed you. “Good, good. Have a good rehearsal.”

You thanked him and continued towards the studio in a daze, with Djarin’s – no, Din’s – voice running through your head. You danced it well. 

You couldn’t wait to tell Adrian. He was never going to believe it.

...

prev | next

a/n: we've met Din! 👀 some ballet notes ~

Classical vs. contemporary ballet - this is a pretty good (short) overview. Din's old company (CBC) was basically classical-only, which is how some are. Here's a short clip of a classical performance vs. a very contemporary one.

"Mixed programs" vs. story ballets - most companies will have some number of story ballets on the schedule every season (think Swan Lake, Cinderella, Giselle, Sleeping Beauty, etc.) which draw a bigger audience, and then various "mixed programs" that fill in gaps between them. Mixed programs are a chance for in-house choreographers to share their new creations, or for the company to showcase their skills with other known works, ex. Balanchine's shorter ballets (~20-30 minutes). Many companies have certain numbers in their repertoire that they can pull out for this reason.

Nutcracker - many companies have some number of Nutcracker performances on their schedule during or just before the holidays, and sometimes they cast (local) kids in various roles, too. Reader is dancing the role of Marzipan, and she also mentions the Sugar Plum Fairy. These roles have semi-set choreography, usually, depending on which version a company is doing (there are many famous versions). This short video is great and gives some insight into the ways a dancer might try to make very prescribed choreography her own (with voiceover from Emma Von Enck that inspired Din's compliments about pirouettes and rond de jambes). Many dancers have been in the Nutcracker because a lot of local companies and schools do performances of it every year (think school-aged kids doing it for the community).

Pirouette - a turn on one leg (in a variety of positions)

Rond de jambe - a half circle made with the leg. It's kind of like drawing the letter D on the floor or in the air.

Din's solo - they decide that Din is doing a sort of medley of variations (solos) from La Bayadère, a classical ballet, in the January program. Here's one of his variations and here is another from later in the ballet. (Here's a few dancers doing that first one, and Isaac Hernandez, also featured in the fic header!)

Symphony in C (the Balanchine ballet Din is joining) - a 32 minute ballet with over 50 dancers. There are some videos at the link. It has 4 movements and each one features a principal couple and a few other dancers.

tag list coming in a reblog!

[merrybloomwrites]

Spencer - Smosh UTI Live

Summary: When you apply for a cast position at Smosh, you're only goal is to get a job. But that job introduces you to Spencer, the cute editor on staff. You keep your crush a secret for months, but taking part in a livestream where alcohol is a key factor may lead to a turning point in your relationship.

Word Count: 3K

CW: alcohol consumption

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Getting hired to be a cast member on Smosh is a dream come true. 

Literally. 

You’d watched Smosh videos when you were growing up, and loved when it expanded to include new people. From that moment, you had one goal in life, and you did everything you could to achieve it. 

The audition progress was equal parts exciting and terrifying, weeks spent on your application followed by multiple callbacks, each time meeting a new person who you have been a fan of for years. 

Getting the call that you were hired was the best moment of your life. Not only were you excited that you achieved your dream, but now you have proof that your hard work paid off. Plus, the people that you always looked up to had chosen you. They liked your comedy, your personality, and thought you’d fit in with them. 

Your first day is nerve wracking, as first days always are, but everyone is so welcoming that by the time you’re heading home, you feel only excitement about what’s to come. 

Over the first week or so, you manage to meet almost everyone who works for the company. You recognize plenty of them. Of course you know all the cast members, as you’ve been watching videos of them for years. You also recognize some of the crew members who have guest starred in some videos as well.

It isn’t until the start of your third week that you meet Spencer the editor. He looks familiar, you know he’s been on the channel before, but without Kimmy doing an official introduction you wouldn’t have been able to put a name to his face. 

Ever since that first conversation there was something that just drew you to Spencer. Maybe his fluffy hair, maybe his laugh, maybe even his passion for Mountain Dew kickstart. Whatever it was, it was the start of a great friendship. 

It wasn’t long before you and Spencer ended up at the same lunch table every day. It also wasn’t long before your feelings for him switched from platonic, to maybe something a little bit more. 

So yea. You developed a crush. On a coworker. Which is generally a pretty bad idea. There’s always the chance that if you started dating, you could break up and that would cause tension amongst everyone at Smosh. And with Spencer being there years before you, it probably wouldn’t end well for you. Plus, he probably doesn’t even like you back, so if you were to ask him out he’d reject you, and then everyday would be totally awkward.

That’s why you keep your feelings a complete secret. No one knows. You only tell your best friend, Katie, that you like someone at work, but don’t even tell her his name.

Time goes on, you make great friends and fun videos, and life is going well. You and Spencer talk every day, but nothing more ever happens.

Then you get put on a Smosh Pit video. It’s one of your favorite series, “Beopardy”. You adore trivia, having watched Jeopardy with your parents every night after dinner growing up. This is your second time on this series, and you had lost by only a few points the last time. You’re determined to win this episode, but they hadn’t revealed the topic yet, as they didn’t want any of you studying in advance. 

It’s not until you’re on set sitting between Ian, Olivia, and Shayne, that you learn Spencer is the host of the episode which is titled, “Are We Smarter Than Our Editor?” You’re feeling pretty confident in your editing knowledge, having learned a lot from Spencer over the last couple of months. Your only problem is the potential for getting distracted simply watching Spencer be on camera. 

It still is rare that he’s in this position, and from the start his confidence is, unfortunately, very attractive to you. Taking a deep breath, you center yourself to remain professional. 

It’s a fun shoot, one of your favorites so far. You win by 200 points, and celebrate your first victory. When the cameras stop you joke with your video costars for a little bit before getting up to make your way to the lunchroom. 

Before you can leave the studio Spencer comes over and says, “You did a great job today.”

Blushing at his compliment you reply, “Thank you. Guess sitting with you at lunch really paid off.” 

“Wow, I thought my company was the prize there but it looks like you’re using me for my editor knowledge.”

“Oh absolutely. I knew that would come in handy someday,” you say with a laugh. 

“Heading to lunch?” He asks. 

“I am indeed,” you answer. 

The two of you walk over together and grab some food before heading to your normal table. 

“Be right back,” Spencer says after putting down his lunch. A moment later he walks over again, carrying a drink for himself as well as a can of your favorite flavor of La Croix, which he places in front of you. It makes your heart race just a bit faster, seeing that he not only knows which drink you like the best, but made sure to bring you one. Not the whole table, just you.

Things like this have been happening for a few weeks, little interactions and favors that make you wonder if maybe Spencer has feelings for you the same way you do for him. After thanking him for the drink, you sit quietly, lost in your thoughts while conversation flows around you. The table you’re at is full, the rest of your friends discussing a new game they’ve been playing. 

But then you look up and see that Kimmy is being just as quiet as you. She’s looking at you, like she’s trying to solve a puzzle. It isn’t until she looks pointedly at you, then Spencer, that you realize she may have you figured out. 

Turning back to your food you ignore her eyes practically burning a hole in your head. After finishing lunch you head to the bathroom, choosing one that’s hidden in a back hallway. You thought that would mean no one would find you, but Kimmy is waiting for you when you’re done.

“Is something going on between you and Spencer?” she asks with no preamble, a large smile on her face.

“Nothing is happening,” you reply.

“But do you want it to?”

You don’t answer right away, not wanting anyone at work to know the truth. But this is Kimmy. One of your closest friends here. If there’s anyone at Smosh you can confide in, it’s her. 

“I may have the tiniest little crush on him. But that’s all! I’m not planning to act on that or anything. I don’t want it to get awkward at work if anything goes wrong.”

“And why do you think it’d go wrong?”

“Kimmy, I bet he doesn’t even feel the same way, so it’s silly to even worry about it,” you say. 

“Oh, he absolutely feels the same way. Boy has heart eyes every time he looks at you,” Kimmy replies. 

“He does not!”

“Okay, sure. Honestly I thought you were going to confess the two of you are dating in secret, not that you both have silly unrequited crushes on each other. I guess I could be wrong, but I’m certain that boy is head over heels for you.” 

Just as she says this, your phone buzzes with a ln incoming text message. It’s from Spencer and reads, “You disappeared after lunch, you okay?”

You can’t help the smile that forms on your face as you read the message, endeared by him checking up on you. When you glance up, Kimmy is giving you a knowing smirk. You jokingly say, “shut up,” before walking back to the tables. 

Spencer is standing there, looking around worriedly. He catches sight of you and relief spreads across his face. 

When you get close he says, “Everything alright?” His hand rests gently on your elbow, and you feel like your skin is burning from just that small point of contact. 

“Yea, I’m good. Just stopped to talk to Kimmy,” you reply, hoping no one notices your reaction to him touching your arm. Well, no one except Kimmy, who is giving you yet another knowing look from across the room. 

Luckily it’s time to get back to work, and you can focus on something other than your crush.

The next few weeks fly by. You’re all getting ready for the first live show that Smosh will be doing in years. It’s a big undertaking, on top of all the normal videos you need to shoot, and everyone is incredibly busy. 

And yet, you still get to see Spencer every day. At the very least you get lunch together, but he also often happens to be getting coffee in the kitchen at the same time as you, and you see each other during the rehearsals. Your heart skips a beat every time you get him to laugh, and the two of you share more eye contact than is strictly necessary.

All of this has you thinking that maybe Kimmy is right. Maybe Spencer really does like you as well. But still, it’s a tricky situation to date a coworker. And this job, as well as Spencer’s friendship, means too much to you to risk it. So your crush continues to remain a secret.

Finally, it’s time for the live show. Smosh Live: Under the Influence. Oh yea. That’s the other part of the live show. You’ll all be drinking alcohol during it. 

Well, not everyone. A few cast members will be staying sober. One of them being Spencer. And you’re grateful for that. And for the fact that he’s your designated driver for the night.

The live show is an absolute blast. You make sure not to go too crazy with the drinking. Not only are you technically at work, but everything you do is being live streamed to thousands of people. The last thing you want is to make a fool of yourself, so you take it easy with the alcohol.

Or well, you take it easy until the celebratory afterparty. Where you may go a tad overboard. Not too bad, not blacking out or anything, but definitely feeling a bit inebriated. Your inhibitions are definitely lowered. 

Which would be fine. Except Spencer is your ride home. Sober you should have realized this is a recipe for disaster. But now drunk you is in control. Alone. With Spencer. 

It’s after midnight when everyone finally starts to head home.

“You ready?” Spencer asks, handing you a glass of water which you happily take sips from. 

“Ready,” you reply once you’ve finished the glass. He takes it from you and places it on a nearby table before leading you out to the car, his arm wrapped around you protectively to keep you upright as you stumble slightly. You giggle as his hand wraps more firmly around your waist and you lean into him. 

He opens the passenger door for you, and you pout as you’re forced to separate from him. When he gets in the driver's seat and looks over he sees the big doe eyes you’re giving him. 

“What is it?” He asks. 

“Nothing,” you quickly answer, making no move to look away. Spencer knows something is going through your mind but decides not to push. He begins to drive, hand resting on the center console, and in your inebriated state that seems like a perfect invitation for you to slide your hand into his. You’re so focused on watching his fingers intertwine with yours that you miss the pleased smile on Spencer’s face. 

“Thank you,” you suddenly say. 

“What for?” Spencer asks. 

“For making sure I get home safe,” you reply. 

“I’ll always make sure you’re safe,” he answers. 

“You’re a really good person. I’m so happy we met. I’d be really sad if you weren’t my friend. Which is why I don’t want to mess it up.”

“What do you mean?” He asks. 

“You know, wanting too much and ruining what we have. I mean, I like you but it’s complicated.” You don’t even realize you’ve just confessed your feelings to Spencer, but he immediately notices, and begins to feel hopeful. He hopes that this isn’t just drunk ramblings, that you actually mean what you’re saying. 

“It doesn’t have to be complicated,” he says. 

“But it is! What if you don’t like me back?”

Spencer can’t help but laugh at how honest you’re being, like you don’t even realize you’re admitting this all to him. 

“Okay well first of all, don’t worry about that. Because I do like you back,” Spencer admits just as he parks the car in front of your building. 

“You do?” You ask, eyes finally meeting his. 

“I do. I have for a while now.” Spencer’s watches as your entire face lights up, eyes sparkling as you  smile the brightest smile he’s ever seen. 

“C’mon,” he continues. “Let’s get you inside.” 

You’ve barely opened your car door before Spencer is there, once again wrapping an arm around your waist. You’ve sobered up a bit, no longer stumbling at all, but you’d never deny yourself a chance to be close to him. He keeps his hand lightly on the small of your back while you fumble with your keys. 

He comes inside, needing to make sure you’re settled for the night. He’s been to your place a couple times before during group hang outs so he knows where to find what he needs. While you duck into your bathroom to change into pajamas and get ready for bed he fills a glass with water, placing that, a granola bar, and some pain relievers on your bedside table. He figures you’ll need all of that at some point between now and tomorrow morning. 

You're about to walk into your room, suddenly feeling exhausted and just wanting to climb into bed. But you nearly bump into Spencer as he walks out of the bedroom. 

“I left some things on your table,” he explains. 

“Thank you,” you shyly reply. 

“I should get going,” he says, but you don’t move to let him pass. Instead you ask, “Can you stay? Just a couple minutes until I fall asleep?” It’s bold of you to ask, but you always feel extra lonely after drinking, and you’d already been pretty bold in the car so you figure it couldn’t hurt. 

“Of course,” he replies and steps to the side so you can enter the bedroom. You get under the covers, laying on your side, and look at Spencer with expectant eyes. Understanding your wordless request, he sits on the edge of the bed. His hand rests on your hip before he starts to gently rub your back. 

You’re asleep in no time, comforted by Spencer’s presence. 

When you wake up the next morning you’re feeling better than you have any right to after a night of drinking. You eat the granola bar and take the pain medicine in order to relieve the mild headache before it can get any worse. As you finish the glass of water you reflect on the night before. 

Your eyes go wide as you realize what happened at the end of the night. You’d drunkenly confessed your feelings to Spencer. You’d asked him to stay with you until you fell asleep. You’re mortified! You actually told him you liked him. Were you insane?

But before you spiral too much, you remember his response to everything. How he admitted his feelings as well. How he stayed with you, gently lulling you to sleep. 

Could this be the answer to months of pining? A drunken confession?

You pull yourself out of bed and decide a shower is definitely needed. When you get out you see a few texts in a Smosh group chat, you’re friends planning to meet up at a diner. You text that you’re in, and a moment later your phone dings again, this time Spencer asking if you want a ride. You accept his offer, hoping the ride won’t be too awkward after everything that happened. 

You get ready and Spencer pulls up a little while later. 

“She lives!” Spencer shouts as you climb in the passenger seat. 

“Ha ha,” you answer dryly. “I’ll have you know I felt perfectly fine this morning.”

“Well then I am impressed,” he replies and you both laugh. 

Throughout the drive there, during the meal, and even the drive back home, neither you nor Spencer acknowledges the elephant in the room. But the suspense is killing you, so you once again invite Spencer inside when you get home. 

“I wanted to talk about what happened last night,” you say once you’re both seated at your kitchen table. “I didn’t mean to blurt everything out, but I guess I’m happy you know the truth.”

“So you meant it? You weren’t just saying that because you were drunk?” Spencer confirms. 

“I mean, I probably wouldn’t have said it without some liquid courage, but I did mean it. I’ve liked you since I met you. But I never thought you’d like me back,” you explain. 

“Of course I like you! How could I not? God, you’re so pretty, and funny, and kind. You’re like, the coolest person. So yea, I’ve liked you the whole time too.”

You both sit quietly for a minute, absorbing this information. 

“What happens now?” You finally ask. 

“Well now I can ask you on a date without worrying about you rejecting me,” he answers. 

You blush and duck your head, bashful at this statement. But before you can hide too long, he gently lifts your chin so you’re looking at him again.

“Y/N, will you go out to dinner with me?” he asks.

“Spencer, I would love to,” you reply. 

The two of you can’t help but start giggling like two high schoolers that just decided to go to homecoming together. You realize that this could be your future. Lots of smiles, and laughs, and time spent enjoying one another’s company. 

You know it’s too soon to think about forever, but when Spencer suggests a round of Mario Kart to ease the tension, it’s clear that there’s something good between the two of you. And you can’t wait to see how it all unfolds.

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AN: Thanks for reading! Hope you enjoyed it! I have 5 more Spencer fics planned at the moment, but feel free to send in requests!

[architectureandfilmblog]

"Settlement" housing surveys and dominates the landscape, West Bank, Palestine

THE ARCHITECTURE OF VIOLENCE (2014)

It feels like an important time to revisit this short documentary. Part of the Rebel Architecture series, the film examines, clearly and concisely, the use of design as a weapon of intimidation and subjugation within the Palestine Israel conflict.  One element it focuses on is Palestine's 'architecture of occupation': the way the built environment, even in the form of suburban 'settlement' housing (in which tracts of Israeli homes have been built in occupied territories like the West Bank), has been deliberately shaped to intimidate, surveil, segregate, and even dehumanise.

"Settlements are built on hilltops, overlooking Palestinian valleys, to dominate. They're laid out to create a suburban-scale optical device that can survey the territory. The bright red roofs of the houses are mandated by law... to allow military to understand what's friend and foe: where to bomb and where not to."

"...When you put Israeli colonies on highways, you accelerate Israeli movement through the space. In the same way, with every twist and turn of terrain, Palestinians encounter a checkpoint, a border, a fence, a valley they cannot cross..."

It's important for architects and urban designers everywhere to understand that our craft has the potential to be weaponised. It's important that, no matter whom the client, we think about how a project will impact everyone whose life it touches.  But sadly, as essential as these considerations are, they're of no immediate help to civilians from both sides who are suffering in Gaza and the rest of Palestine and Israel right now. So, it seems worth sharing:

Some ways that we can help:

1. Speak up. Send an email to your elected representative. Sign petitions. Stand up in any forum you can against human rights violations, and against both islamaphobic and antisemitic behaviour.

2. Contribute to a trusted aid organisation working in Gaza, such as Unicef or the British Red Cross. Sites like  charitynavigator and charitychecker can be used to check it's a group who'll use it well.

3. Understand the context. Short videos here and here provide a clear introduction/overview.

4. Boycott companies that are directly profiting from the illegal occupation, and from human rights violations.

(Images: Ronen Zvulun/Reuters via Guardian, Léopold Lambert/Funambulist)

[songbirdseung]

the new girl / sim jaeyun

where sim jaeyun takes a liking of the new employee working under their label. genre strangers to friends, friends to lovers warnings none?

Who would have thought that one day you’d be standing between the tall gray walls you had grown so familiar with, walls you had only seen through a screen while watching your favorite TikTok challenges? Yet, here you were, taking a tour of the very company you would soon be working for.

As you walked alongside your supervisor, a sense of disbelief and awe washed over you. Every corner you turned revealed a scene you had seen in videos, now coming to life before your eyes. The reality of it all hit you harder with each step. Never in your wildest dreams did you imagine you’d be working for this company, let alone as an assistant manager for your favorite boy group.

By the end of the day, your back ached from all the bowing, your cheeks hurt from maintaining a polite smile with every introduction, and your brain buzzed with the effort of trying to remember each and every name and face.

But when it came time to greet the last person, there was no way you could forget them.

Jake was heading toward the company's café to grab a coffee before clocking out for the day when he noticed you. Your unfamiliar face instantly caught his attention, and he found himself unable to look away as the barista prepared his order. Curiosity mixed with a sudden surge of courage propelled him forward, his feet moving on their own until he was standing right in front of you.

"Hi."

He had planned to say more, to offer something witty or engaging, but the moment he got a closer look at you, his brain seemed to short-circuit, leaving him with only that simple greeting.

Meanwhile, you were utterly speechless. If you had been in disbelief earlier just from being at the company, seeing Jake—your bias—up close now pushed you beyond anything you could have imagined. You knew you’d eventually meet them, but not this soon, and definitely not like this.

"Hey," you reply, a shy smile tugging at your lips as you look up at him.

The silence that follows isn’t awkward, but rather a comfortable pause, filled with intrigue and curiosity. You both take a moment to study each other, eyes searching for something familiar yet completely new. Jake gazes at you with a mix of wonder and hesitation, his mind racing to find the right words that wouldn’t make him sound like a fool.

"Uhm… are you new here? I don't think I've ever seen you around," he finally asks, his voice carrying a soft hint of uncertainty as if he's just as surprised by his boldness as you are.

"Yeah, it's my first day actually," you respond, your answer piquing Jake’s curiosity even more. In that moment, he forgets all about the plans he had with Ni-ki, finding himself sitting across from you, elbows resting on the table, leaning in as if trying to etch your face into his memory.

He sneaks a glance at your ID and name pin, reading off your name and work position before looking back at you with a playful grin. Whatever had come over him, this boldness was new, unfamiliar territory. But with you, it felt surprisingly easy. "Assistant manager? For a second, I thought you were a trainee," he jokes, laughing softly when he notices the blush spreading across your cheeks.

Meanwhile, you were internally freaking out, half expecting to wake up from what felt like a dream. The urge to pinch yourself or curl up in a ball once you were alone later was overwhelming, but you tried your best to stay composed. You didn’t want to embarrass yourself, so you kept your cool, even though your mind was spinning. "Yeah, I'm 21, there's no way they'd accept me as a trainee," you giggle, the sound soft and sweet, contrasting the storm of emotions swirling inside you.

Jake's eyes widen at your answer, the realization that you’re both the same age catching him off guard. But his surprise quickly melts into a smile, his mind already crafting a witty response.

"Really? We’re the same age? Well, I guess that means you’re old enough to help me sneak out of work early," he teases, leaning back with a playful glint in his eyes. "But I suppose since you're assistant manager now, you might be the one keeping an eye on me instead."

And that's exactly what you did. The next few days were a whirlwind of responsibilities, with tasks piled high on your desk, each one challenging enough to match your level of expertise. Your supervisors were thorough, guiding you through the nuances of your new role, ensuring you were well-equipped to handle the demands of the job. It was overwhelming at times, but you were determined to prove yourself.

Despite the hectic pace, you couldn’t help but steal a few moments to observe the boys, especially Jake. You found yourself subconsciously timing your breaks with theirs, just to catch a glimpse of them in the practice room or in the hallways. Watching them work so hard was fascinating, but your eyes always seemed to be drawn to Jake.

His energy was magnetic, and you admired the way he balanced his laid-back attitude with his dedication to the group. Whether he was practicing choreography with laser focus or joking around with the members during breaks, there was something about him that made it impossible for you to look away. Every time he flashed that easy smile or cracked a joke, it was like a small burst of sunshine in the middle of your busy day.

Jake seemed to notice your presence too. You’d often catch him glancing your way during practice, a mischievous glint in his eyes whenever your gazes met. It became a little game between the two of you—these stolen moments of connection amidst the chaos of the day. And each time, your heart would skip a beat, the memory of your first encounter in the café replaying in your mind.

"yn, come over, I think it's time you meet the boys you'll be closely working with," your manager calls out through the open door of the dance practice room, motioning you to join him.

With hesitancy, you make your way inside. Immediately, the boys, who were sprawled on the floor after a long practice session, turn their attention toward you. Some glance at you directly, while others observe you through the mirror. The manager brings you closer, a warm smile on his face as he introduces you to the group. One by one, they get to their feet, smiles spreading across their faces as they bow and greet you.

"Hi, I'm Heeseung," the eldest says, extending his hand with a kind smile. "Welcome to the team. Don't worry, we’re not as intimidating as we might look."

Jungwon, the leader, steps forward next. "Nice to meet you, yn. We’re all really excited to work with you." Jay gives you a small nod, his eyes twinkling with curiosity.

Sunghoon smiles warmly, brushing his hair back. "Looking forward to working with you, yn. It’ll be fun having you around."

Sunoo bounces up next, his energy infectious. "I’m Sunoo! It’s nice to finally meet you in person. You’re going to love it here—I’ll make sure of it," he says with a playful wink. "And if you ever need a break from these guys, I’m your go-to person," he teases, earning playful protests from the others.

And then there’s Jake, standing at the back, his smile widening as your eyes meet. That smile—his smile—it seems to melt away all the stress and tiredness from your shoulders. "Hey," he greets simply, his voice warm and familiar, like a shared secret between the two of you.

Last but not least, Ni-ki steps forward, his usual playful grin in place. "Hi, yn. I’m Ni-ki! It’s great to meet you. I’ve heard a lot about you," he says with a wink. Then, as if it were the most natural thing in the world, he adds, "Jake talks about you all the time."

There’s a beat of silence as the words hang in the air, and you feel the heat rising to your cheeks. Jake’s eyes widen slightly, his ears turning red as he quickly turns to Ni-ki. "Ni-ki!" he says, his tone a mix of embarrassment and warning.

Ni-ki realizes his slip-up, his grin fading as he looks between you and Jake. "Oh, uh, I mean—" he stammers, trying to backpedal. "Just, you know, about how you’re new and all…"

The other members chuckle, trying to suppress their amusement at the situation. Sunoo nudges Ni-ki, whispering something that makes him look even more flustered, while Jay and Heeseung exchange knowing looks.

Your manager, sensing the shift in mood, clears his throat, redirecting the conversation. "Well, I’m glad you’ve all had the chance to meet yn. I’m sure you’ll work well together."

Jake, still a bit red, gives you a sheepish smile, scratching the back of his neck. "Don’t mind him, he’s just… Ni-ki," he says, his voice trailing off as he struggles to find the right words.

You offer a reassuring smile, trying to play it cool despite the fluttering in your chest. "It’s okay," you say softly, meeting Jake’s eyes again. "I’m looking forward to working with all of you."

The awkward tension begins to dissipate as the boys, one by one, continue to welcome you with genuine warmth and friendliness. But even as the introductions wrap up and the conversation shifts to lighter topics, you can’t help but steal a few glances at Jake, wondering just what Ni-ki had meant—and if Jake had really been talking about you more than you realized.