#how many times do I need to tell people. I'm not looking for online friends. I have those already.

[mx-pastelwriting]

Saving My Fanfiction Work

First. Side note: This post was only intended to give resources to fanfiction writers and enjoyers. My talk on recent political events was a context/reasoning on why I made this post. Also I’ve had to add more information to this post over time due to people’s confusion in my comments. Explaining it was to make sure that this post didn’t come off as out of the blue for my followers and this community. Which is fanfiction.

Also, why I made this post was from people asking if they could download my fanfiction because of the recent political events in America hence why I named it “saving my fanfiction work” and added my context. So this was also a post to tell people that liked my fanfiction they could download it as long as it was for their personal collection. I merely just wanted to list resources to people who wanted to download fanfiction and don’t know where to start or don’t have the immediate resources. I’m not here to fear-monger. I am just giving resources and the reasoning on why I’m giving them along with urging people to look into those information/recent events as staying aware is important. I respect everybody who’s given their opinion and yes, some of my grammar in this post is not adequate as this post was merely made for giving/stating resources.

Lastly, I will no longer update this post with comments as I’ve said my peace, nor will I pay attention to the notifications as they are muted. As my page is for fanfiction not politics. Thank you for the people in this community who share this post for the resources see you around the tags! Stay safe friends!!✨ Remember I love you! And you are loved!💛

-

Due to the recent events in the United States. To clarify the recent events being Trump becoming president of the United States, Project 2025 more than likely going to be integrated. If you are not familiar with Project 2025 I urge you to look it up.

Along with the KOSA bill that has many problems and it has passed the senate now needing the finally vote in the house, which both are majority red. Go here to learn more on why it needs to be stopped and how you can. This is another component that will harm our communities. Go to: stopkosa.com

With all of its harmful plans some of the plans are to take down/restrict internet sites that have LGBTQ+ communities that means communities like the fan-fiction communities/sites in the United States.

I am only giving resources to those inside and out of the US in case they banned sites that hold fan-fiction. Better safe than sorry.

Being that I live in the US the possibly of mine and many others Fanfiction has the possibly of being in danger. Therefore I'm giving you recourses. (I'm not leaving or stopping my writing, I'm here for the fight!)

For those wanting to save my fanfiction, I give you permission to download them off of AO3 and to be used for your personal collection. Meaning, your eyes only. To clarify I’m saying this as others have asked if they could download my fanfic so for those who would like to you can.

If you do not know how to download them many others on online have tutorials on how to download them and add them to our phone libraries.

Here are some links to tutorials:

Downloading Fanfic

Adding to Iphone & Android Library

Adding to Kindle Library - Video on How (On TikTok)

Adding Book Covers (At the bottom) - Good EPUB Cover Changer (I use this)

Types of Files and What they mean

Please stay safe out there! Remember to follow the rules below.

DO NOT share the downloaded file anywhere online.

DO NOT repost the downloaded file under your name.

Fanfiction is protected under copyright law when plagiarism is involved. If you plagiarize my work, either a piece or whole in any language, I will take legal action. Inspiration or the same idea does NOT apply to this, only word-for-word plagiarism in any language.

♥ mx-pastelwriting does not consent to their fanfiction being copied, copied & credited, translated, used in videos and/or audios, screenshotted, used in AI, or reposted on any other platform without permission.

♥ mx-pastelwriting does give consent to "reblog," sharing links to direct work, and being in recommend lists.

Please stay safe out there friends! I love you so much! Know that there will always people that love you and in for the fight to make sure you are loved!

And here are some resources in case you don’t feel okay! Resources here

[neverendingford]

.

[go-fornicate-yourself]

Every day I am in the trenches fighting for my life defending this poor man. He was going through so much and people online demonize him and say he's as bad as his abuser

(I've got a lot of thoughts about this so I'll make sure to separate things to make it easier to look at lol)

Curly is a victim of abuse. Jimmy is his abuser. This is something that I feel a lot of people tend to brush over or don't acknowledge it often.

And I'm not just talking about post-crash. Jimmy's abuse of Curly is there pre-crash too. The party scene where the crew learns about the company going under is a huge example of this. Jimmy verbally abuses him, he gaslights him, he blames him for their (his) misfortune. Jimmy accuses Curly of thinking he's better than everyone (better than him), that he doesn't care about them (about him). That he's going leave them (leave him). Which is not true. Curly tries to explain himself but Jimmy shuts him down and he just takes it.

The fact that he just allows this to happen makes it seem like he's used to this... That this kind of behavior is a recurring thing with Jimmy. And the fact that nobody else tries to defend him or stands up to Jimmy just normalizes it for him. When Anya tells Curly what Jimmy did it catches him off guard. Bc he genuinely didn't think that his friend was capable of that. It wasn't something that was obvious to him. There were absolutely many red flags in the past but they were subtle enough for him to not see them bc he cares for Jimmy, he trusts him. Jimmy's the only one he feels he can open up to, who he can let his guard down with. Jimmy's his home. That's how close they are.

Because of this deep love for his friend and the subtlety of Jimmy's cruelty, he doesn't see the constant verbal and emotional abuse as what it is: abuse. Which is why he finds Jimmy's abuse towards Anya so shocking and jarring.

He isn't a man covering for his rapist friend bc of the 'bro code'. It does look like that from a certain angle and it's understandable why people see it that way but that's not what his character is really about as much as it makes sense otherwise.

He's essentially a battered housewife who's still in love with her husband but is realizing for the first time that the man she loves is a monster. That the man she loves and devoted her life to has been hurting her this whole time and she didn't even realize it. That the man she loves and spent so much of her life caring for has gone and hurt someone else. That he's most likely hurt others before and she's been utterly unaware of it the entire time she defended him and made excuses for him when he wasn't the best or the fairest or the most responsible or when he screwed up yet again solely bc of how much she loved and cared for him.

And Curly barely had any time to process ANY of that before Jimmy decided to try and kill them all to avoid the consequences of his actions. It was ultimately a selfish act even if he thought he wasn't just doing it for himself. Jimmy is selfish and needs to be in control or he loses it. He cares for Curly. He loves him. Curly's done so much for him. Curly's the only one who understands him, who doesn't hate him. Curly's his home. He resents how 'successful' he is but that's only bc he thinks so highly of him. He constantly puts himself down and put Curly on a pedestal and worships him while simultaneously mistreating him.

He treats his best friend like shit, he's awful to him. But he's not aware that this is the case or maybe he's in denial about it. He can't or just refuses to see how he's doing all of what he does for himself in the end. He justifies his attempt to kill them all (to himself and to Curly) by claiming he's doing this for them both. That if they were to get back to earth it would all be Curly's fault, that it'll ruin his life and career... despite the fact he had basically nothing to do with Anya's abuse. Jimmy's shifting the blame on him while acting like he cares for him. Well, he does genuinely care for him but clearly not nearly enough to not mistreat him or use him as a scapegoat for his own guilt.

Jimmy is the rapist, Jimmy is the one who does all of these horrible things. And yet it's highly likely that Curly would just blame all of it on himself bc that's exactly what Jimmy did to him. He's in so deep he can't see the facts of the situation.

It takes abuse victims so long to come to terms with their abuse. It takes time and reflection to see things with an unbiased and healthy perspective. Abuse (especially years of it) isn't just something you can just escape. It consumes you and can twist your reality. Curly had about a week or less to process all of it and then take action in a way that protected his crew and abided by Pony Express' guidelines. Dealing with something this serious in a setting that makes resolving it extremely difficult in a practical sense is already hard.

There were no locks on any of the doors except for medical and the cockpit. They couldn't just kill him. There was nowhere they could detain Jimmy that wouldn't involve corporate potentially penalizing the entire group. They could have used the cryopods but then there'd only be three available for any actual emergency and there were already five crew members and four pods in total. Also, I doubt corporate would be 'okay' with them using the cryopods for anything other than their intended purpose. Hell, even if they were able to make it back to earth without any incidents there's a good chance that corporate would consider the situation 'poor team synergy' and collectively punish the entire crew for Jimmy's actions.

So on top of having to deal with an already difficult situation, Curly has to grapple with the realization that Jimmy a: abused Anya, b: has been abusing him as well (for a very long time too), and c: has probably abused others before Anya and he had no idea about it. He needed to act but he didn't and it doomed all of them.

But it's so unrealistic (maybe even cruel) to put that much pressure on someone, force them through an utterly earth-shattering realization, and then expect them to do the correct/right/responsible thing in that moment. It's a little ironic how people vilify him for that when other characters do the same thing that nobody blames for it.

Anya is the ship's nurse. Curly is the ship's captain. They both have duties and responsibilities on board the Tulpar. She has to keep the crew healthy and safe and is the only one with enough medical knowledge to do so. He has to make sure that everything goes well and goes according to procedure. He's responsible for the crew, the cargo, and even the ship itself. Both positions are integral and require a lot of responsibility to do properly

They're both put through distressing and traumatic situations where due to them being human people with emotions and fears that make them essentially avoid their responsibility/doing what's required of them.

Curly has a freeze response and doesn't act when he should have when it was crucial to have done so. Anya has a fawn response and essentially puts her patient in danger and harm's way. She knew full well what Jimmy was capable of. She experienced it herself and she witnessed it happening to Curly as well. And yet she allows Jimmy to be alone with Curly while being fully aware of how dangerous he is. Which she shouldn't have, that wasn't the 'right' thing to do. Keeping him safe was her responsibility.

But Anya's human. She's going through a lot at the moment. She's terrified of Jimmy and she's trying to appease him so he doesn't hurt her again. It's a natural very understandable thing to do even if it's not the 'right' or 'responsible' thing. They failed each other when they needed each other most and I think that's the most tragic part of it. If anything, all of them failed each other in some way, shape, or form.

So it's incredibly frustrating to see people give Anya so much sympathy and grace for doing something so human yet still 'wrong' but then turn around and give Curly none of that for doing essentially the same thing she does.

I don't know for sure if it's actually because Curly is a man or if it's only part of it or maybe some people just lack that sense of awareness but it's depressing and frustrating as fuck as a male victim of sexual violence and abuse to see this kind of behavior and this much victim blaming towards a character who is undeniably a victim of abuse like I am.

[thisisntmyrightera]

Together - CHO HYUN-JU x Fem Reader Part 3

Summary: Reader is scammed and abandoned by her boyfriend, leaving her alone in South Korea to her fate, so in desperate search of a solution to return to her home country she decides to join the squid games to get money, within the game she meets a couple of people who become her friends and could possibly be something more.

Warning: Violence, homophobia mention of attempted rape and sexist language

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◻○△ Hyun-Ju POV △○◻

The lights had barely gone out when Y/N had fallen asleep using one of her arms as a pillow and even though I was lying on my side, the space she used was still tiny, I could cover her with my arms and make her disappear without any problem.

The strands of her hair fell carefully and perfectly arranged around her head, some on her face where her long eyelashes adorned her cheeks, it was so strange to see and even more difficult to understand.

Previously, before I began with my identity recognition, my appearance attracted too many girls, many of them interested in my position and the economic benefits that this could bring to their lives, but I never felt attracted to them, they were all the same and empty.

But then why did I feel like this now? She could be my little sister, the fragile and sweet girl that I could take care of but my heart didn't feel that way, my stomach turned when she took my hand with fear, taking care that the bond didn't break so she wouldn't get lost from my side, my heart beat a thousand times faster when her eyes narrowed every time she smiled, my head spun every time she told me those words of encouragement making me see that I never made a mistake and that being who I am is no problem, she was the reason now for wanting to get out of this game and it didn't matter if I won the money or not, she was the best thing I had ever won.

Aren't you sleepy?…- she whispered making me jump slightly but I remained silent looking at her - don't pretend you're asleep… I can feel your gaze I'm sorry, I'm not sleepy yet..- I smiled at nothing feeling embarrassed for being discovered You should rest, tomorrow we will need strength to continue playing - her eyes barely opened illuminated with the warm light of the piggy bank - what are you thinking so much about? Thinking? What do you mean? - I looked at her curiously trying to pretend that everything was fine If you can't sleep, it's because your head is busy, what's wrong? - Damn, how did she know me so well? Just 3 days were enough for her to read me like the palm of her hand I was thinking… that… that this would be the last game we could play and then we would vote to withdraw from the competition - I smiled barely arranging a lock of her hair that covered her eyes I see, I was thinking the same thing, I don't want to be here anymore, when I get out I'll look for a job, no matter how bad the pay is, I just want to get out and go home - she sighed tiredly

If you don't mind telling me, now I would like to know why you decided to come to these games, what's your story?

Well… -she sighed deeply biting the inside of her lip a little and with another sigh she looked at me again- a year ago I met a guy online, he fell in love with me and he promised me that we would have a long and happy relationship, we went out for a couple of months just through messages and calls and one day he proposed to come to Korea to meet him and if everything went well I would stay with him to live and we would start a family, so… I quit my job and bought a ticket to come here… I met him and everything was going well but a couple of months later he… took all my money and disappeared, he barely paid the last month's rent and luckily they didn't throw me out but… -her gaze lowered sadly feeling ashamed- it was a stupid thing, I should never have trusted someone I didn't know

Men are disgusting… well.. you.. you understand - she laughed a little wiping her wet eyes - then you need the money for?..

To go back home, buy a plane ticket and go back to my country, I'm not welcome here and people have let me know in many possible ways, I just want to go with my family and start over what I left behind

Oh… - my heart felt like it was breaking into a thousand pieces, a part of me thought that by leaving this game she and I could get to know each other a little more, but she just wanted to run away from here, like I wanted and never hear from anyone else again - then… you'll leave

Yes I think so, but don't worry, once we get out we'll continue being friends and when I have a job I'll pay for all the necessary trips to visit you in Thailand - her eyes narrowed with the smile that formed on her lips, it was so comforting but at the same time so painful to hear that.

I didn't understand why it hurt, I had never felt that feeling of pain and abandonment in that sense, the sense of being in love with her.

Is something wrong? - Her small hand slowly touched my cheek making me focus my attention back on her just shaking my head smiling a little

Everything is fine, it's just that… I will miss my best friend as long as she doesn't come to visit me… - I lied and lied again when I told her I was sleepy and we had to sleep, I spent the night awake, watching her sleep once sleep overcame her again

The next morning, at the sound of the loudspeaker, everyone got up, as if so many hours had passed without even feeling the passage of time.

She barely woke up and jumped out of bed as if she had regained all the energy she had lost in the previous days, put on her shoes and almost ran down to greet Jun-Hee and ask her if she had slept well and if her baby had moved during the night. Y/N had barely found out that 222 was pregnant she kept asking her questions, excitedly showing that she couldn't wait for her turn.

Her authentic happiness made me feel much worse, it made me feel selfish, I wanted her for myself but I couldn't give her anything she wanted, I wouldn't give her the happy life, nor the family she dreamed of, it was a martyrdom and I only thought that I had made the worst decision to be the way I am now.

That is your punishment - the shaman laughed leaning on the bedposts - for following the wrong path that the gods wrote for you, now you will suffer, you love her but you will not have her

I don't know what you are talking about ma'am - I looked at her closing my sweater and arranging my hair with my fingers

Oh no? We are not stupid, we all know what you think when you look at her, how much you want to kiss her and show her that you love her but you don't, because you know that she doesn't like people like you, she only talks to you out of pity and she will never like you - the woman laughed, knowing that she had broken the last thing that was left in a piece inside me, she knew my secret and could use it against me to make me weak at any moment

Shut your mouth you damn bitch, you only know how to say shit, why don't you pray to the gods to give you a new brain uh? Get out of here - Geum-Ja confronted her pushing her away with her hands making the shaman go away laughing while I sat on the steps with my insides destroyed - girl, don't listen to her, that woman attacks where she knows she will truly destroy, don't give her that pleasure

She's right… - I looked at her sadly while she sat next to me brushing my hair with her fingers

Is she right? About we all know you have feelings for that girl? Of course she's right, but she'll never be right in stating what she feels or doesn't feel for you and we won't know until she tells you, maybe she sees you as an older sister or maybe as her best friend… -she smiled at me taking my hand- or maybe, deep inside, where no one knows her secrets, she feels for you the same as you do for her and it doesn't matter if you think you're not enough for her, when you're the right person for someone, all dreams come true

Do you believe in that? - I looked at her again feeling my lungs fill with air once again with her loving motherly smile

Of course, it doesn't matter what you were before or what you are now or if you are both girls, if love is sincere then love can do everything and I know you will fight to save yourself but especially her and I promise you that once we leave you two will go to my house and we will eat the best kimchi you have ever tasted, do you understand? - She laughed patting my back making me smile

''Players, it's time for a new game, please line up and leave in order following the masked soldiers''

Hyun-Ju, let's go - Y/N called me making me look at her quickly while she smiled

Go with her, I'll go with my son - Geum-Ja patted me again standing up as we both went down

Don't leave my side okay? - I looked at her as she nodded smiling and stood in front of me in the line of players

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The instructions had been clear and one thing was clear to me, I should not separate myself from Y/N at any time, she would be my priority in this game and no matter how many players there were, she would be the one who would always be by my side.

The platform spun to that traumatizing childhood song, everyone silently looking at each other

''10'' - The speaker spoke making us freeze

There are 4 of us, we need 6 more - Yong-Sik shouted desperately pulling his hair

Y/N! Here, there are 5 of us - Dae-Ho shouted pulling Y/N's arm making her look at him

There are 4 of us - I pulled her other arm bringing her back to me looking at him annoyed - Run to a room I'll look for one more

No Hyun-Ju I won't leave, let's go together - Y/N looked at me scared shaking her head

Don't worry, run! - I took her hand giving it to Dae-Ho making him pull her while I screamed looking for person 10 taking whoever the first person I saw was pulling her into the room

''10..9..8..7.''.- the speaker spoke making me nervous when I was able to enter the room and close the door almost fainting without oxygen in my lungs and the countdown reached zero we all looked at each other, the shots could be heard leaving us stunned as we caught our breath

Everyone is alive thanks to me! - the shaman shouted looking at us one by one - ah… I see why I'm here, to save your little friend's life - she laughed pointing at me

Don't start you damn crazy - Geum-Ja looked at her annoyed

As soon as the lock was removed and the door opened, everything was a bloodbath, we all walked in fear looking around confused when I felt a warm hand take mine.

You said we wouldn't separate… don't do that again - Y/N looked at me with her wet eyes

I'm sorry..- I smiled barely squeezing her hand walking slowly together so as not to slip with the blood on the floor

Again the song began to play and the platform turned again, this time with fewer players on it

''4'' - the speaker rang as soon as the song stopped making us look at each other

Run! Run now - I squeezed her hand pulling her as Geum-Ja and Yong-Sik followed us into the room and I closed the door leaning my back against it so no one could open it

This is so tiring… it's torture - Yong-Sik sat on the floor with his head in his hands desperate

Are you okay? - I looked at Y/N who was breathing heavily looking at the floor

Yes.. - she barely answered catching her breath

Again the lock opened letting us out, there was more blood and fewer people, the floor was sticky making our steps difficult until we reached the platform, once again the game began, the lights came on and the song played loudly

''3'' - the speaker announced making us look at each other again

What do we do? - Y/N looked at me scared

Come with me, we're doing in pairs and we'll look for someone - I grabbed her hand tightly, running screaming looking for someone, being pushed by Yong-Sik into the room

What are you doing here? Where's your mother? - I looked at him scared as he caught his breath

What?…what are you talking about? - he looked at me adjusting his misplaced glasses

The teams are 3 Yong-Sik, where did you leave your mother? - Y/N looked at him screaming upset

What? I understood 4, damn it - Yong-Sik tried to leave stumbling and throwing his glasses on the floor

This time Y/N let go of my hand and left quickly, grabbing Geum-Ja by the clothes skillfully by the back pulling her into the room with such force making her almost fall when she hit the wall and then she takes the door and closing it, now she was outside

No…Y/N NO, COME IN! - she looked at me through the gap in the door, her bright eyes looked at mine for the last time and then she ran - no, please no - the sound of the lock on the door rang and no matter how hard I pulled on it, it was impossible to open it

'' 10..9..8..7 ''

NO, NOT LIKE THIS, NOT HER - I looked at Geum-Ja pulling on my hair, my knees became weak making me fall on the floor as my tears fell

''6…5…4…3''

PLEASE DON'T KILL HER, DON'T SEPARATE HER FROM ME!..

''2…1…''

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Can you guess what would happen in the next episode? Can you guess who have a crush with Y/N? Let me read you! :3

Thanks for reading, I'll be back soon!

Tag List!

@kuureii @sann1e @sunflowers-are-heaven @bridellashiper @etta-huracan @cupiid1 @alianacelinecolux @juliexz @duchcess

[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.

[ijwtbap]

ㅤㅤ★ㅤA promise — Bakugō

— Bakugō x GN! reader.

You like Katsuki, he likes you — is a fact not a maybe. He doesn't seem to believe it thought.

a/n. I had to keep my promise ig. Is VERY short so im sorry, also Im bad at english and is my first one shot so have some mercy plz.

You were going insane. Just a little bit. Well, actually, you were ready to rip out your hair and scream into the void, standing naked as flames consumed you. That's kind of insane.

Every time Bakugō referred to you as his friend—even if he only said you weren’t that annoying and didn’t mind having you around (which was close enough)—you wanted to disappear.

You had done everything but treat him platonically. Sure, you could see how holding hands, cuddling, or crying together might seem platonic. But kissing in bed and saying “I love you” in a completely serious way?

You were completely lost.

At first, you thought it was a joke, then maybe just a game to him.

But now? Now you’re convinced he’s just... dense.

You could tell Bakugō you love him dead serious while looking him dead in the eyes, on your knees and with a big sign that said 'plz marry me,' and he would still think you're joking.

And it was killing you.

"Are you going to study or what?"

You were in his bedroom, "studying." Yeah, right—studying. You just wanted to be there with him. You’d barged in without warning, and yet, he hadn’t even questioned your presence.

"No."

You knew he liked you back. There was no way he didn't, but fuck, he refused to acknowledge it.

"I like you."

His eyes widen for a second before he looks back at his notes.

"Shut up."

"I really do, tho."

"Yeah, whatever."

"I love you."

"If you don't stop, I will kick you out."

"I love you."

" __________ "

"I love you so much."

"Stop it."

"I want to marry you, one day when we're adults. Small or big wedding, or none at all, whatever you prefer."

"I'm being serious."

"So am I."

You two look at each other, him holding his pen so hard that it looks like it's about to break and you looking at him as if he were the most wonderful and prettiest dense idiot you have seen in your life.

"What do you need me to do to make you believe me?"

He ignores you. Mostly because he knows that paying attention to you would just make him more annoyed (because you clearly weren't going to stop) and because he didn't want to accept it.

"Die."

A small smile comes to your mouth. How many people would get offended by that? A lot, but you knew Bakugō didn't mean it.

"You want to recreate Given now?"

Bakugō rolls his eyes, making more notes in his notebook, but you were able to notice a small smirk.

You had forced him to watch it a couple of months ago, and he swears he didn't cry. You knew the truth, though.

"Shut up."

"Shut me up yourself, you coward."

He lets out another scoff, and he continues to avoid your eyes.

"Study already."

You loved Bakugō Katsuki, and he loved you back.

No matter how much time it would take you, you were going to make sure to take his last name and hold his hand in a not-platonic way.

One day.

"I love you."

I totally didn't use like 3 grammar online correctors, and re read this like 20 times (It will still have an issue, and I know it). I also didn't copy inspired my introduction (?) from a random post.

Anyway, hope you enjoyed my bad writing style. Im not doing this again, unless I get REALLY bored.

521 words.

[cassowariess]

Look, I'm not a Gaiman fan, I've just been keeping up with the tag for updates about the allegations, and I have to say I'm deeply disturbed at how many young people I've seen say things like: "I want to kill myself" over the possibility of Good Omens 3 being cancelled.

I'm not going to scold you, but I cannot stress enough that this is not a normal response to have about a tv show, let alone any form of media. So as someone who lost a family member to suicide last year(for reasons unrelated to fandom) here is some advice I hope you will heed. Some of this advice is geared towards people with hyperfixations as I know the neurodivergent brain works differently.

First of all, for the future:

Do not put all your eggs in one basket.

It's going to become more and more likely in the future that you will be disappointed in someone who created something you loved. That's why it's important to have multiple things going in your life that keep you tethered instead of projecting all your emotional well being on the status of one thing. I know hyperfixations cannot be chosen, but extra interests can, so you need to cultivate a bunch of them. Go for walks and keep a nature journal, learn a new skill with free videos online (there are also communities built around certain hobbies like knitting etc so there's the possibility of making new friends too). You might not feel better right away, which is why it's important you do these things as a routine (such as once a week or more). It will flex and strengthen your emotional muscles.

It's not always possible, but have at least one of these interests be something that has nothing to do with being online. Maybe there's a book group in your town. Check local boards or listings for activities. Once again, there's the opportunity to make friends.

If you're stuck online, watch a movie with your online friends in Hyperbeam. Do this every week and pick a movie from a list of films everyone has chosen. Pick entertainment that has nothing to do with your fandom. Roll a dice for each week's movie.

If it is available to you, access therapy.

I realize this is not always possible due to costs or waiting lists depending on what part of the world you live in. Sometimes there are free groups that talk about depression. I live in the UK so unfortunately I don't know how prevalent this stuff is in the USA or other parts of the world, but your local council might have leaflets about community services and activities that are good for your mental health too, like community gardening once a week.

You don't need to tell the groups about why you are specifically upset, but you can tell them "life feels dull and pointless" which is why you're reading this, right? But the more you talk to people and try to do activities around other people, the less dull and pointless it will feel. I know it's hard to drag yourself outside, but it becomes easier the more you do it.

Talk to friends in your fandom, but also talk to friends that have nothing to do with it. I've been in enough fandom spaces to know how insular fandom can get and maladpative coping mechanisms some people can share that actually make things worse, not better. Go talk to some normies once in a while. Your fandom friends will still be there.

Finally, some suicide prevention hotlines, should you need them.

Link to international phone numbers and resources.

Look after yourself, remember people love you and remember, it's just a TV show. There will be other TV shows and other joyous things in your life, and next time you will have more of them. <3

Signed,

A fandom old who is not in your fandom.

[silentglassbreak]

if you’re still taking and writing delulu fantasies could i please request one where you meet noah (say you know people working in the scene so you meet them backstage after a show when your friends invite you to spend time with them?).

you’re used to meeting band dudes so it’s nothing but noah tries to appear chill in his pursuit of you. you think he’s cute so you go with it but the most awkward flirtation and cringy smut ensues. (my kink’s an embarrassed noah 😌) thank you so much! <3

Cringey, embarrassed smut? That’s a first for me, and I’m kind of excited LOL. Hopefully this is what you’re looking for!

After Writing Notes: Yaknow, every time I start one of these things, I tell myself I'm going to make it shorter...Anyway, here's 9000 words. Hope you enjoy! Also, huge shoutout to @notyourmomsromancenovel for helping me come up with ideas for cringey smut.

Rating: Explicit

Warnings: injury, fainting, smut (in the goofiest way ever)

Beautiful Mistakes

When you pictured Noah Sebastian - front man and lead vocalist in the viral metal-core band Bad Omens - you pictured something way different.

You had been following the band’s work for a while and, like everyone else, had noticed the immediate shift in their persona and presence. You had been a softcore fan of theirs since 2018, and spent many nights on Twitch, playing Elden Ring and listening to his streams as background noise. Sometimes you had been one of the only people in the chat, listening to him produce his beats or record rough vocals. Other times, you sat and chatted with him while he idly played guitar.

Once the pandemic hit full force, there were plenty of nights you sat and talked to Noah, watching the hilarity that ensued. Cat-eared headset on and music playing, Noah would stare at his screen, munching on the Body of Christ and making ridiculous noises.

“Where are my regulars? I need someone to talk to!”

/CrossContaminate/: I’m right here, calm down.

“Hey! Cross is here! I haven’t seen you in a while.”

/CrossContaminate/: I have a job, Noah. You wouldn’t know about that. 😝

“Woooooow…” He pressed a hand to his chest and stared straight into the camera. “That one stung, girl.”

/CrossContaminate/: How do you know I’m a girl? I could be a 50 year old dude, yaknow.

He raised his eyebrows at that. “You’ve got a point. Maybe you should come on video chat with all of us so we can be sure.” He lowered his glasses down on his nose and looked dead into the camera. “For my own safety, of course.”

You cackled loudly at this, typing out your response.

/CrossContaminate/: Nah, I don’t vid chat. You’ll just have to take my word for it.

He rolled his eyes, and smirked. “Same old Cross, I see.”

Noah tried to get you to join video chat regularly often over the years. He had DM'ed you a few times when he saw you were online, wanting to voice call or join a Discord with him, to which you always declined.

You didn’t have a hard and fast rule against chatting online with people via voice or video, you just didn’t do it. Your life was busy and hectic. You didn’t have a ton of time to yourself, so the nights where you got to sit and just not exist in the real world, and only online, it was nice to just remain anonymous.

You had stumbled across Noah’s Twitch by accident once, when looking for something different. His face captured you, however, and once you clicked into it, you were hooked. It wasn’t so much because he was good looking - he was definitely a cutie - but he looked ridiculous.

His hair was long and haphazard. He was wearing an oversized hoodie, drinking cheap wine straight from the bottle, and he was wearing huge bottle cap sunglasses. It was, by far, the goofiest thing you had seen in a long time. He was playing Dead Space, and would jump at the smallest noises, nearly screaming anytime a monster popped into the frame.

But, as all things, time moved on, and he changed. Once the pandemic was waning down, he had began preparing for the release of his next album. The streams became less frequent, and he put his account on a permanent hiatus.

It was a bummer, so you couldn’t help but try keeping track of him on socials. He was decently active on Twitter and Instagram, but even that began to slow down. He had enough followers that your personal account went unnoticed by him.

Aside from his online presence, his appearance also changed pretty dramatically in a very short time. He cut all of his hair off, which, to be entirely honest, broke your heart some. You had always loved the innocence he seemed to maintain by having the long hair. It hurt your feelings to see it go, but you had to admit, the short hair was something else entirely.

Before, Noah typically stuck to regular t-shirts and jeans, simple and timeless rock and roll fashion. Once they started touring for TDOPOM album, you noticed the dramatic change in their stage presence. Ski masks, all black clothing, track pants, and heavy coats. Noah usually ended the set in a black wife-beater top, and you noticed the other change.

He was fucking stacked, now. Noah had always been skinny and long - like a toothpick. Not anymore. His shoulders had broadened, his neck was thicker, and his arms were defined and muscular. That was a change you didn’t mind at all.

What happened? Was second puberty a thing? Because you swore that could be the only explanation for such a drastic difference in Noah in such a short time period.

Although you watched the band from afar, you never had made any time to go see them live, always working anymore. That sucked, because even if you had, it’s not like you’d be able to see him. He was too big of a celebrity now, and you were far from. He likely wouldn’t even remember you, so you never bothered.

As silly as it sounded, it almost hurt your feelings the same as watching an old friend change and grow apart from you over time, even though that wasn’t exactly the case here.

Although, you rationalized that you and him did speak nearly every day for almost two whole years - so it wasn’t that silly, was it?

So you were absolutely floored when your best friend called you, random Friday evening, and asked you for a favor.

“I booked a gig for tomorrow, and I know it’s last minute, but the guy who was supposed to be helping ate some bad sushi or something, and I could desperately use a hand.”

You groaned, rolling your eyes, trying not to be too loud in the Target checkout line.

“It’s my only day off, Iz.”

She huffed. “I know, I know, but I promise it pays really well!”

You growled into the receiver. “Dude, I just did a gig last night, and I have another to do tonight!”

“It’s only four hours! And it pays twelve hundred.”

You were ready to protest, but stopped. “Total?”

“A piece.”

“Fuck, dude. That’s more than double what a normal gig that long pays.”

“I know, that’s why I’m saying, worth the exhaustion.”

You finished scanning your items, pulling your card out to pay. “That kind of money, probably a big band. Who is it?”

“Bad Omens, have you heard of them?”

You stopped, eyes snapping up and fingers stalling at the card reader. “No shit, huh?”

“So, you have heard of them?”

You grabbed your bag, making your way outside. “Yeah, actually. Remember that guy on Twitch I used to talk to?”

“Noah?” It took her a second to put the pieces together, so you stayed silent while she did. “Oh, Noah! As in Noah Sebastian!”

“Bingo.”

“Well shit! Maybe he remembers you!”

You shook your head, taking a long gulp of your iced coffee. “Mm-mm,” You set the drink down. “he never saw my face or heard my voice. Didn’t even know my real name.”

“Seriously?”

“Yep. Only knew me by my tag. He called me ‘Cross’ for short.”

“Ah, okay, so he’ll have no idea who you are!” She laughed at this.

You switched the call to your Bluetooth and sighed. “I guess, since you asked so fucking nicely and I need to pay my rent, I will agree to do the gig with you.”

She squeaked in appreciation. “You’re saving my ass, dude.”

You shrugged. “Pick me up at least two hours before. We need time to prepare.”

“Noon, then?”

“I’ll be ready.”

You and Isobel were known, by the official term in the industry, as Venue Assistants. You were independent contractors who were recommended to acts by the venues, and hired by those bands for specific occasions to help ensure a smooth, easy show. This could mean anything from stocking the green room, switching out instruments, helping with outfit changes, grabbing anything the artists needed. It was an exhausting job, and you had been doing it for about five years now. As tiring as it was, it paid well, and it was a lot of fun. You had the opportunity to meet some of the best bands in the industry - and some of the worst. You had more stories to tell than anyone, and you wouldn’t change careers if you were paid to.

At the venue the following day, you had received word from the stage director that the band was running behind, and they needed you both to grab food and coffees for all of them. Typically, you’d roll your eyes at this, but you didn’t immediately, as you knew life happened, and it could’ve happened for a lot of reasons. You had gone and grabbed the guys their Chinese food while Iz picked up the Starbucks order, and arrived back at the theater just before the band did.

They came in, all looking rather tired and irritated. Noah was the last to enter, baseball hat on his head and wearing basketball shorts under his large hoodie.

“All I’m saying is, I don’t know how you had no idea the window would break.” The man who you recognized to be Jolly was still lecturing Noah as they came in, dropping their bags down.

You and Isobel were in the back of the room, speaking with the crew who were preparing to bring in the instruments and equipment. You planned to help unload it all, so you were listening to the stage director instruct them on where to place everything.

“It was a stress ball! Why would I think it would break the window?!”

“Because it was hard?” Folio piped up as he sat down, tearing into the food.

“Look, it’s not a huge deal. Safelite said they can have it fixed before tomorrow. It’ll be fine!”

You shook your head, sincerely wondering what the hell they were talking about. Your attention, however, was pulled back to Isobel. You followed her out to the truck where the loading ramp was being pulled down.

“You going to talk to him?” She asked as she began pulling a mic stand out. You grabbed one of the smaller amps, and followed her back to the delivery door.

“Probably not. We’ve got a lot to do.”

“I mean,” She set the stand down and looked over to where the band sat, apparently still arguing amongst themselves, and looked back at you. “you could go talk to him now? I can unload this with the guys.”

“I need to earn my paycheck too, Iz.”

“Why don’t you want to talk to him?”

You stopped walking away, turning to look at her. “I never said that.”

“So go talk to him? He’s just a guy.”

You sighed, narrowing your eyes at her. “Fine, I will.”

Stomping back toward the couches of the green room, you heard her laugh behind you. It wasn’t any big deal, you didn’t see why she was bugging you about this. You inhaled a big breath, and walked straight up to the group, noticing they were all now sat and eating.

“Hey guys.” You waved a hand at them. “I don’t mean to bug you while you’re eating. I just wanted to introduce myself. I’ll be one of your VA’s for the evening. If you need anything at all, or have any preferences I should be aware of, please don’t hesitate to ask.”

They all set their food down and stood, pushing their hands out for you to shake. You took each one gracefully, hearing them tell you their names, which you already knew.

The last to introduce himself was Noah, who, while leaning over the table to take your grasp, knocked a bottle of soy sauce down, causing you to jump back. It was too late, and your dark blue jeans had black splatter on them.

“Fuck! I’m so sorry!”

You grabbed a napkin and patted at the spots quickly, waving. “No, it’s okay. It shouldn��t stain.” Hopefully.

Nicholas grabbed a roll of paper towels from the back table and cleaned it up quickly, smiling sheepishly at you. “You’ll have to excuse Noah. He’s as clumsy as they come.”

Noah smacked a hand at his shoulder. “Not true, dick.” He looked back up at you apologetically. “Again, I’m so sorry.”

Moving around the table to approach him, you took his hand. “It’s really no problem.”

“I didn’t catch your name?” You gave it to him, and he smiled brightly at you. “That’s different?”

Smirking, you nodded. “It is. You can just call me Cross.”

For a second, you weren’t sure he was going to get it. His hand continued shaking yours for an unnecessarily long time while his brow furrowed, staring at you. After a moment, he cocked his head to the side.

“Cross…” He strung the word out on his tongue. “As in…” You could actually see the light bulb go off behind his eyes, and they popped open wide.

“Oh shit!” His hand let go of yours, and suddenly he was grabbing you by the forearms, startling you a bit. “No fucking way!”

He was smiling way bigger than you expected, but in that smile, you saw that same goofy guy that used to sit with you for hours, chatting online and dicking around.

“I wasn’t sure you’d remember.” You grinned back at him, trying to push down the little bit of butterflies that started trying to scoot their way into your chest.

You noticed how his face fell just slightly when you said it, likely remembering quite how long it had been. “Of course I remember.” His voice was even, but he still looked enthused.

“Well, it’s good to finally meet you.”

He looked up and down at you, taking a step back for effect. “Yeah, same here. I guess you aren’t a fifty year old dude after all.”

Your face flushed at that, and you shook your head. “Nope. Sorry to disappoint.”

“Care to introduce?” Jolly stood behind you, and you turned to see him stand with a raised eyebrow.

Noah took the initiative to push you slightly toward the rest of the band.

“You guys remember when I used to stream all the time? And I had that one chick who used to join every day and chat with me for hours? She was the one who used to tell people I was a Billie Eilish fan page.” He looked down at you with an eyebrow raised, and you broke out in hard laughter.

“Well, you practically were, Noah!”

He shook his head, turning to tower over you. “I was not! I just like her music!”

Folio stood up, smiling wide. “Oh, dude I remember that! Didn’t she hack into your account and change your profile photo and everything?”

Noah glared down at you, which caused a whole new fit of giggles to erupt.

“What?! It got you more subs!”

He rolled his eyes and pulled your arm, moving you to sit on the couch next to him.

“How have you been?” He shoved a mouthful of chow mein and spoke around his food. “I know it’s been a while, I’m sorry.”

You just shook your head. “No need to apologize. You’ve been busy.”

He beamed at that. “Have you heard the new album?”

“I have. It’s really great.”

“You think? I appreciate that.”

You sat back, watching how he inhaled the food in front of him. “Also, I’ve been good. Also keeping busy.”

Wiping his mouth on a napkin, he nodded. “This is what you do? Full time?”

“Yeah, been doing it a while. I like it.”

He leaned back also, arms falling into his lap. The other guys had began to disperse, heading to different parts of the building to begin their preparations.

"That's cool."

The conversation fell silent between you both, and you cleared your throat. "Well, it's really good to see you, Noah."

He affirmed with a nod, chewing on his lip. "I feel bad for not keeping in touch."

"Oh stop. You had no way to reach me other than Twitch."

"That's true. I don't have social media anymore, either." He shrugged his shoulders.

"Yeah, I saw that."

The quiet was strange and uncomfortable, and you decided not to stall your job any longer. "Well, I'd better get back to work."

He stood too, bumping into your shoulder as he did, nearly knocking you back into the couch. Instantly, his hand reached out to grab you.

"Shit!" He exclaimed, and in his attempt to hook your arm, his hand missed, and grabbed a full hand of your right breast.

A sharp gasp tumbled out of you, and he pulled his hand back with haste, causing you to lose your balance again, and fall backward, the back of your head smacking the arm of the couch.

"Damn it!" He crouched down to grab you, but your hand came up in front of you.

"Uhm," You squeezed your eyes closed, clearing the spots that formed in your vision. "I got it."

Sitting up, you rubbed at the back of your head. He sat down again, keeping about a foot of distance between you.

"I'm so fucking sorry."

Your eyes opened, seeing the look of absolute shame and guilt painted on his face. It was comical.

What a fucking doofus.

"Noah," You turned your head back and forth to assess if your neck was injured. It wasn't. "I think your clumsiness is spreading."

His face fell in his hands. "I'm so sorry." He apologized again, groaning loudly. "I don't know what's wrong with me today!"

"Everyone has off days." You assured, taking a moment before you stood back up.

"Not like today. I broke a window in the tour bus this morning, that's why we were late."

Your mouth fell open. "You broke the window?"

"I didn't mean to! I had one of those squishy stress-ball things? It was real firm, cause it was new. So I was trying to soften it up by squeezing it, and I thought, maybe if I bounced it a few times, it would get softer..."

Your eyebrows shot up in disbelief. "You didn't..."

"I just tossed it gently and the fucking thing broke a hole clean out of the window!"

Maybe it was the near-concussion or the obscenity of it all, but a guttural laughter came out of you, making you fall back onto the couch clutching your sides.

"It's not funny!" Noah tried to argue, but ended up laughing with you, his bravado deflating.

"Ah, Noah," You wiped the tears spilling from your eyes. "you really haven't changed."

After your unfortunate accident earlier, Noah had insisted on exchanging numbers with you, so he could check in and make sure you were okay throughout the night. This was after he failed to convince you to go get checked out at an ER, and swore him to not tell anyone what happened. The last thing you needed was an incident in the workplace.

Noah was half an hour from going onstage, and you were on the side stage, checking the battery level of all of the microphones. Your phone buzzed in your back pocket and you rolled your eyes. It had been nearly constant for the last three hours.

Noah: Checking in. How's the head?

You sighed, typing a quick response.

You: Same as it was twenty minutes ago - normal.

Noah: Any pain?

You: No.

That wasn't entirely true. You had a dull throbbing at the base of your skull, but you were doing a great job of ignoring it.

Noah: Okay. Where are you?

You: Stage left. I'm covering you and Folio tonight, so I'm checking the mics and making sure all your stuff is ready.

Noah: Cool. Need any help?

You: Shouldn't you be getting ready?

Noah: Yeah, probably.

You snickered, staring at your screen before sending the next message.

You: If I didn't know better, I'd think you concussed me just to ask me for my number.

It was stupid, but you couldn't help but fuck with him a little bit. His response came quickly.

Noah: Maybe I did. ;P

You scowled down at the phone. What the hell?

His type bubble appeared quickly, another message coming in.

Noah: Wait, that sounded creepy. I'm kidding, I swear.

You: Suuuuuuure

He read that message, but didn't respond. You had definitely caught him a little off-guard and it made you laugh. You stared down at the winking face emoji, and it dawned on you that he was flirting with you. You visibly shivered, somewhat stunned.

Noah Sebastian was tall, dark, and sexy in almost every video and interview you had watched of him since he went dark over a year ago...but inside, it appeared he was still just as dorky and uncoordinated as you always knew him to be. You didn't realize it was quite this bad, however.

And not only was he clumsy, he was bad at flirting too...

You shook off the feeling, trying your hardest not to smile at the thought. Despite the ickiness of it all, you were flattered. He may be kind of Scooby-Doo-ish, but he was handsome, and talented. He also had a soft, deep side of him that you had the pleasure of seeing on more than one occasion.

Maybe he was just nervous? Maybe you could just go with it and see how it turned out?

You resolved to push it to the back of your mind for the time being, placing yourself back into your professional work mindset as the show began.

Noah was entirely different on stage, completely in control and flowing effortlessly through the songs. He looked like an entirely different person out there. He would pop back to the sides here and there to get some water, switch out his mic, or wipe the sweat from his face. Each time, he'd give you a look of concern, and ask about your head again. You would just shush him and push him back out onto the stage.

You were also covering Folio, who was up on the riser, beating away at his drum set. The stairs you had to climb were tall, and after the third trip up here, you felt the room tilt like it was turning on it's side. You held the railing, catching Folio's eye as the darkened room began lighting up again.

He mouthed at you a quick 'You good?' and you just nodded, throwing him a thumbs up, and heading back down the stairs. Noah was stood, gulping his water, and staring at you.

"I saw that. What's wrong?"

You shook your head. "Nothing, go, the next song is starting."

He pressed a hand into your shoulder, now looking much more stern than worried. "I don't care. Are you okay?"

Still trying to brush it off, you grabbed hold of his arm, trying to push him away. It didn't occur to you that it was also instinctive, as your feet were starting to feel a little numb. "Noah, you don't have time for this."

He stood square in front of you, eyebrows raised and arms crossed over his chest.

"Are. You. Okay?" He enunciated each word, but he suddenly started to look so much taller than he did a second ago. And when did he become so fuzzy?

Your hand squeezed where it was hooked onto his bicep in an attempt to stop the inevitable, but, unfortunately, before he could manage to reach for you, the room went dark.

Your eyes cracked open, a harsh light shining in them, and you squinted against it.

"Hey, you with us?" A blonde man you didn't recognize stared down at you, a stethoscope around his neck and gloves on his hands.

A paramedic. Amazing.

When you looked around, you realized you were on a gurney, sitting in the back of an ambulance with the doors open, in the parking lot of the venue. It was the paramedic that was on call at the theater that night.

"Ugh, no fucking way." You tried to sit up, but a hand pressed onto your shoulder. You shifted your eyes to see Isobel sitting on the bench next to the stretcher. "Iz? What happened?"

The EMT spoke for her, putting his light back in his shirt pocket, and began moving his fingers back and forth in front of your face for you to follow.

"Well, you passed out, and cracked your head on the floor pretty good." You squeezed your eyes closed in frustration. "Big guy in there told us you hit your head earlier, too? That's probably what caused you to faint."

Yeah. Big, dumb, gargantuan guy.

"My head hurts." You winced as the medic turned your neck, checking your range of motion.

"I'm sure it does. You're all intact, it appears, but given that this was the second impact today, I strongly suggest going to the ER to get a scan."

You rolled your eyes, trying again to sit up. "I don't think-"

Isobel cut you off. "We're going."

The EMT nodded, and reached to begin shutting the doors. Admitting defeat, you carefully laid your head back down. The vehicle started moving and you let out a hard breath.

"We're so not getting paid for tonight."

Iz laughed, shaking her head. "I think it'll be fine. Noah was in a near panic attack when he moved you to the couch. Kept saying it was all his fault."

You snickered. "Kind of is."

"He wanted to cancel the rest of the show, but I told him you'd have a full stroke if he did that because of you."

Your eyes popped open, and you tried to sit up. "He didn't do that, did he?!"

The EMT pressed you back down. "Easy, easy."

Isobel patted your shoulder. "No, he didn't."

You melted back onto the bed. "Oh thank fuck for that."

The ride to the Emergency Room was short, and the nurses made quick work of getting you into a rollable bed and carting you off to get a CT scan of your head and neck. That was mundane, but they had given you something decent for the pain, so it wasn't so bad. You hummed to yourself as you were rolled back to your room, and Isobel was missing. You whipped your head around, looking to see if she was anywhere to be found, but a voice came from the opposite side.

"She went to get a snack."

Noah stood by the doorway, hands in the pockets of his cargo pants, white t-shirt on, and a beanie over his hair. He had cleaned up since the show, you could tell.

"The show is over already?"

He huffed out a laugh, stepping over to the end of your bed. "Yeah, for a little while now. You've been at the hospital for two hours."

You raised your eyebrows, but it didn't phase you too much. "Time flies when you're on morphine, I suppose."

His hands gripped the rails at the end of the bed. "How you doing?"

You nodded, sinking against the mattress. "I mean, I've been better, but I've been worse."

He lifted an eyebrow at you, and moved to perch himself on the very edge of the end of the bed. "Yeah? That's...better than nothing?"

You nodded, looking him up and down. He looked more like himself in this outfit, and you liked it. It felt more genuine.

"How did the rest of the show go?"

He shrugged his shoulders, hands still in his pockets. "Good, I guess. I was stressed, so I felt like I kind of rushed through it."

You brought your arms up behind your head, getting comfortable. "You shouldn't have. I'm good."

Noah deadpanned at you. "Obviously you weren't. You should've gone to the hospital earlier."

You scoffed. "Oh well. Doesn't matter now."

He was leaned over, his shoulder pulled in and he looked nervous.

"What's wrong?"

"What?" He looked bewildered.

"You look upset or something?"

He snickered, readjusting his feet on the floor. "Well, I gave you a concussion, couldn't convince you to get checked out and agreed not to tell anyone, which led to you getting an even worse concussion, and you're now potentially bleeding into your brain... That's probably got something to do with it."

You waved a hand at him. "Details. It's not a big deal."

He shook his head, looking at the wall adjacent from him and not at you. "This is not how I pictured us getting to meet."

This interested you, so you probed. "You pictured us meeting?"

He smirked. "We talked for a couple years, Cross. Of course I did."

"And how was that supposed to go?" High or not, you were curious.

He chuckled, still not looking at you. "Not like this."

You rolled your eyes. "Well, duh. But what did you expect?"

"I don't know. Something normal? Hanging at a movie or getting food? Like normal people?"

You cackled. "Well, you're not normal, Noah."

"Clearly." He said through grit teeth.

Leaning back again, you relaxed, and pursed your lips. "Were you trying to flirt with me earlier?"

You could tell this caught him by surprise, as he began looking nervous again. "What do you mean?"

"Well, either your were trying to flirt, or you actually gave me a concussion just to get my phone number."

He bit back a laugh, looking at you sheepishly. "Yeah, no that wasn't on purpose. Just a bad joke."

"Well, you could've just asked for my number, is all I'm saying."

He shook with soft laughter. "Noted." He stood then, turning toward the doorway where Isobel could be seen coming down the hallway. "Well, I mostly wanted to make sure you were okay. I should go."

Something about that didn't feel right to you, and you sat up a little quickly, your brain sloshing slightly in your skull, but you ignored it.

"You're leaving?" In your inebriated mind, you pictured yourself looking silly and desperate, but your logic knew that likely was just the drugs talking.

“Yeah, well, you don’t need a disaster magnet hanging around.” He said looking timid.

Isobel had joined you back in the bedroom, and was turning to look between the both of you.

“Everything okay?” She stared at Noah, and he reached a hand to palm the back of his neck.

“Yeah, I was just getting ready to head out.”

Your mouth moved before you could stop it. “No he wasn’t.”

Both of their heads snapped to look up at you, and he looked so puzzled. “No?”

You shook your head, soft smile adorning your face. “No, not unless you have somewhere to be.”

Isobel picked up on the tension in the room and made a show to look at her smart watch.

“Oh damn, look at that, I’m getting a call. Be right back.”

She slipped from the room and Noah focused his stare back on you.

“You want me to stay?”

You nodded, crossing your legs in front of you and sitting straight.

“That could be hazardous, you know?” He joked, but rounded back around by the bed, sitting a little closer to you on the edge.

“I don’t care.”

It took what felt like forever for the doctor to finally enter the room, interrupting yours and Noah’s game of hot hands you were playing while Iz sat in a chair on the side, chatting idly about the next gig she had booked for Motionless in White.

“Ah, I see your coordination is no issue.” The doctor spoke right as your hand came down to slap the back of Noah’s hard, forcing him to pull away hastily and hiss in pain.

You giggled, and turned to face the physician. “How’s my head?” He looked down at his paperwork, nodding in approval. Noah moved off the bed so the doctor could come around and shine a light at your eyes for the hundredth time.

“Looks good. No bleeds, no fractures. You shouldn’t have any lasting side effects aside from some headaches for a few days.” You smiled and glanced at Noah, seeing the physical relief he breathed out.

“You need to follow up with a neurologist in one week, and you need to stay in bed for at least five days.”

You grunted in disapproval. “That sucks.”

He sucked his teeth. “I know, but it’s just a precaution. Do you live with someone? Parents? Roommate? Boyfriend?”

If Noah were a dog, his ears would have been perking at that last word.

You shook your head. “Just me.”

He shrugged. “I don’t like the idea of you being alone. Can you stay with someone until you can go to the neurologist?”

I sunk down. “Not really? I have a cat that needs to be looked after.”

“I can come stay with you.” Isobel spoke up from her side of the bed, and I smiled at her appreciatively.

“Okay, good. I think I can get you out of here, then. No blood thinners for a few days, just Tylenol for pain. You experience any odd symptoms or pain that’s unbearable, you come straight back, yes?”

You nodded, and he smiled.

“Great, I’ll put in for the discharge.”

You turned to look at her, reaching out for her to take your hand. “You didn’t have to do that, Iz.”

She smirked. “Someone has to.”

You laughed. “Yeah, I guess so.”

“Can we just stop by my place? I’ve got a couple things I need to do, it’ll take a couple hours, probably. Or I can drop you off and head back over?”

“She shouldn’t be alone, though, right?” Noah piped up from where he stood on the opposing side of the bed.

You sighed. “I’m so tired though. I want to go home and get in my sweats.”

He pursed his lips, mind working while looking at your face, before glancing back up to Isobel.

“Why don’t I take her home, and I can hang with her till you get there? That way you can do what you need to, but she can go home and get comfortable?”

Isobel eyed you, wanting to hear your thoughts on it before she answered. You just shrugged in response, and she slowly tore her eyes off of you to look back at Noah.

“Alright, but be careful driving her home.” She smiled in a patronizing fashion. “You can understand my hesitation after today.”

He clenched his jaw, knowing exactly what she meant, and looked back down at you. You felt your cheeks heat up under his gaze.

His eyes fell back to Iz, that sternness returning in his tone.

“I‘ll be careful.”

The drive back to your apartment was silent, the air hanging with uncertainty. The only sound above the whir of the motor was you giving directions to your place, and Noah humming his understanding.

It took until you were over halfway there for him to look at you, eyes looking sad.

“Feel like the morphine’s wearing off?”

You were rubbing at your temples, and you snorted. “How could you tell?”

He smirked. “I’m so sorry.”

You groaned. “Noah, if you apologize one more time, I’m going to slap you.”

He sucked his lips in and looked back out the windshield.

“It wasn’t your fault, it happens.”

His knuckles flexed on the steering wheel and he inhaled a long breath. "It's actually, technically, one hundred percent my fault." He admitted, gritting his teeth.

He pulled into the parking lot of your apartment complex, and his vehicle came to a stop just outside of your building.

"I don't suppose you live on the first floor?" He chanced, but you shook your head.

"Third." He looked like he was about to start stressing, but you smiled. "There's an elevator."

This made him relax back in his seat before he stepped out, moving quickly to your side and letting you out.

He carried your bag and sweater in his arms as you led up to the elevator, and down the hall to your small one-bedroom apartment. Once inside, your white, short-haired cat bound up to you both, meowing with fervor.

Noah looked down at her, and back up to you. You reached down and scooped up her small body with one hand, holding her to your chest.

"Noah, this is Narcissa."

He smiled, petting her head with one finger, which she accepted graciously.

"She's probably starving, I'd better feed her." Before you could move toward the kitchen, he put a hand on your arm.

"Let me. Where's her food?"

You pointed him in the right direction, taking the moment to head into your bedroom, kicking your shoes off and reaching for a t-shirt from the closet and a pair of shorts from the drawer of your long dresser. He appeared in the doorway right after you had slipped the shirt over your head, and he leaned against the frame.

"She's fed. Anything I can get you?"

You panned around the room, thinking for a moment. "I've got some chips and salsa in the kitchen. Chips in the pantry and salsa in the fridge. Want to grab it and meet me in the living room?"

He nodded, heading to complete his task. You padded over to the couch, dropping down onto the soft cushions, and pulled your sofa blanket over you. He joined you after a moment, setting the food on the coffee table, your phone next to it.

"Thought you'd want that."

He sat and watched the television as you flipped through Hulu, looking for something to watch. You could feel how uncomfortable he was, trying so hard to keep a wide distance from you, likely so as not to hurt you.

"Noah?"

He looked over, eyebrows raised. "Hmm?"

You made a show of relaxing back on the couch, and motioned for him to do the same. "Take a breath. I'm fine."

He tried, leaning back and exhaling loudly. "You okay with Evil Dead? It's one of my favorites."

"Sure. I've seen it a couple times."

You sat back, now munching on some chips, and offered him the bag. He grabbed some, crunching on them loudly.

The movie played, but you could feel how, as he finally did begin to relax, he was moving somewhat closer to you. It was fascinating. He wasn't doing it on purpose, it was almost as if he was a magnet, and you were the pole it attached to.

"Can I ask you a question?" He looked over at you, listening. "Why did you go dark?"

You could see he was baffled by the so off-topic ask, and he took a moment to gather his thoughts.

"Uh," He looked back at you. "A lot of reasons, really."

"Mm." You nodded, setting the chips back on the table. "Why did you go dark on me?"

This caught his complete attention, and his body turned to face you. "What?"

"You didn't even say bye or anything. You just...stopped coming online. And I had no way to reach out."

He furrowed his brow. "I'm a little surprised you wanted to, Cross."

"Why?"

He made a noise that sounded nearly annoyed. "Well, you never wanted to talk on a call. You never showed your face. You wouldn't even tell me your real name."

Guilt sunk in to your gut, reminding you that he was absolutely right.

"I just figured you weren't interested in maintaining the friendship beyond what it was, so I didn't think about it."

You nodded, understanding. There was nothing wrong with it, but it still sort of hurt your feelings.

"I get it. I was just curious."

"Why didn't you ever reach out?"

You opened your mouth to respond, but had to stop, because you realized...you didn't know. There wasn't a clear, concise reason why. Maybe you liked the idea of Noah being just an idea? A friend? Someone who didn't know you, and all that came with? Maybe it made it easier to feel safe talking to him?

He noticed you were uncomfortable with the conversation, and waved it off. "It doesn't matter now."

You had to agree with that. It wasn't going to change anything.

"Well, let's just watch the movie and you can rest."

You leaned back on the couch, and it wasn't lost on you that Noah was slowly scooting closer still, only now, you were pretty sure he was doing it on purpose. The room felt warm, and you adjusted under the blanket to kick a leg out, it being pressed against his. His eyes darted down to where you had touched him, and back up to your face. You kept your eyes straight ahead, smirking at the situation.

He leaned forward, pulling his beanie off and running his hand through his hair. "Is it warm in here?"

You smiled, just dropping your shoulders. He leaned back, and tried so desperately to smoothly slip an arm on the back of the couch, stretching at the same time.

He wasn't actually doing this, was he?

He was adorable, despite how absolutely ridiculous he was. He was nervous, and you knew that, but you worked overtime to hide your amusement, just shifting so you were pressed into his side.

His hand hesitated on the back of the couch, twitching as if he wanted to just wrap it around your shoulders, your head now resting on his chest.

You sighed loudly. "Noah, just put your arm around me."

"Yup." He gripped you, and adjusted to curl into him closer, leg falling over his. You giggled at him, and he pressed his face into the top of your head, embarrassed. "Clearly, I'm not good at this."

The movie played on, and at the scarier parts, you gripped his shirt tightly. You weren't very spooked, but it was what you did when snuggling on the couch with a cute boy, so you just went with it.

"Cross?" His voice was small, and you pressed in closer to hear him better.

"Hmm?"

"I really want to kiss you, but I'm kind of," He cleared his throat. "afraid?"

You scrunched up your nose and lifted your face to look at him. "Afraid?" His eyes were so big and doe-like, it pulled at something in your chest.

"Yeah, after all that's happened today? What if I miss and...I don't know...break your nose, or something?"

It took a second, but your face broke out in a large grin and you started laughing like a hyena. It was so absurd.

"What?!"

You had to take a breath, the ache in your head beginning to throb a little harder with your labored breathing. "I'm sorry!" You squeaked out, trying to contain yourself.

"Is it that hard to believe?"

You shook your head. "It's not." You could barely hold the giggles in. "That's why it's so funny."

He narrowed his eyes, pulling his arm from where it was wrapped around your back, but you pushed in closer, finally halting your laughing and looked at him.

"Noah," You lifted one hand to press your palm against his cheek. "if you want to kiss me, just do it."

His eyes flipped between both of yours, considering, before he leaned in and you closed your eyes.

Problem is, so did he...

His top teeth collided into yours making a harsh clacking sound, and causing you both to pull away hastily.

"God damn it!" His hand pressed into his gums, and he stared at you. "Are you okay?" You were laughing again, and he growled. "Maybe we should just not even try."

The tears in your eyes glistened, making him look glittery in your vision, and you just smiled brightly at him.

"Fucking hell, Noah."

You lifted yourself up, grabbing his face, and pressing your mouth to his, this time without incident. Your lips molded to his, and you felt him let out a breath he had been holding. His hands cautiously grabbed you, gently moving you to position so you straddled him, lips not disconnecting as he did.

Your hands gripped his hair, pulling his head back and exposing his neck. Your lips went to work laying featherlike kisses on the soft skin when you heard his voice.

"Uhm, Cross?" He was out of breath, and his chest was heaving. "We probably shouldn't do anything too crazy, on account of the concussion." His voice sounded unconvinced, but still, you pulled back, raising an eyebrow at him.

"My brain is fine. Now, let me have some fun, for fucking once."

His fingers dug into your sides, and your tongue was tracing his tattoos on the side of his throat.

"B-But, I really don't know if we should. The doctor said-"

You pulled back again, this time becoming annoyed. "The doctor said I needed to stay in bed. This counts."

"Okay, but, what if it makes it worse?"

You deflated a bit, hands falling down onto your lap. "Do you not want to do this?" Your voice had cracked just slightly, and you silently cursed yourself for it.

His eyes bulged, and he grabbed you harder. "No, I do! I really, really do. I just don't want to hurt you."

Even with the concern and empathy in his voice, you couldn't help but grind down onto his hips, noticing his pants were significantly tighter, and pull a moan straight out of his chest.

"You won't Noah. At least, not in a bad way." You wiggled your brows at him and gripped the sides of his neck.

He looked confused. "Is there a good way?" Incredulously, you dropped your forehead on his chest, his mind catching up a second later. "Oh! Oh right! Sorry, I don't know where my mind is right now."

You just kissed him again, tired of talking - or whatever that was - about it. Noah lifted his hips to push into you, which was the first thing he had done right all evening. You felt his erection beneath the layers of fabric between you, the friction delicious against your crotch. This time, he began placing soft kisses on your neck, barely touching the skin and teasing you.

His fingers loosened around your hips and wandered up to your shirt, slipping underneath and goosebumps rose on your skin where he touched. His hands found your breasts and took them in handfuls.

You couldn't help but giggle at the memory that flashed through your head, which caused him to look up at you.

"What?"

You smiled down at him. "Nothing, it's just that you grabbed my chest earlier when you tried to catch me. I was just thinking, I like this better."

He sighed, his head falling back. "I was hoping you hadn't noticed that."

You kissed him again, pressing back down on him, and regaining his attention.

"Noah?" His eyes looked at yours, his body now rhythmically pressing into you. "Fuck me? Please?"

You didn't mean to sound quite so needy, but it just came out that way. You were aching so bad for it, and you felt as if he didn't slip inside you soon, you may explode.

His eyes darkened, and he smiled back at you, his arms flexing around your waist and lifting you gently to lay you down on the couch. Hands making quick work of your shorts, pulling them off and staring at you. You may have forgotten to put panties on when you changed earlier, so he was marveling at the sight in front of him.

His tongue darted out to lick his lips before he pulled his own pants and boxers down, exposing his cock. You were impressed. Where Noah lacked grace and technique, he made up elsewhere. He slipped his hand into his pocket, fishing his wallet out. He located the condom quickly and applied it, giving himself a few long strokes as his free hand slid down your stomach, fingertips running through your folds for a second.

"You're sure it won't hurt you?" His mouth was hung open, and you rolled your eyes in response.

You reached your arms up, grabbing at him and pulling him down toward you. He fell forward with you, and his hand came down hard on the edge of the coffee table by mistake. He pulled it back, yelping.

"Fuck!" He shook out his hand, and you grabbed his face, forcing him to look at you.

"It's okay. Just look at me." Doing as he was told, his dick pressed against your entrance, nudging for approval.

You rocked your hips up, assisting him as he slipped partially inside of you. The stretch burned incredibly, your eyes rolling back with it.

"Oh, wow." Your words were just breaths, arms wrapping around his neck. "T-That's...wow."

Noah's hips pulled back before snapping forward, driving into you with force. Your body shook with the feeling, clenching down around him. His lips were pressing kisses into the skin on your jaw and collarbone, adding to the lovely sensation.

"Holy fuck, Noah." You lifted your legs to lock around his waist, pushing your hips up. "Harder."

He rammed your body into the cushions, the back of the couch smacking the wall loudly.

"J-Jesus. So good." His words were so quiet, you almost didn't hear. His face was buried in your neck, sweat forming in his hair. "You're so tight."

His whispers were pushing you off the edge. "Ugh, keep talking to me." Your hands gripped his hair, pulling at the roots.

"Fucking can't take it, it's so good. So perfect. So wet." He was railing you so hard, you felt as though you may cry from the sensation. "Just want to stay buried inside you all night, baby."

His words came out so softly, so soothingly that you let your body relax and let go, orgasm ready to tip.

That is, until...

"Ow..." It was almost silent. "Oww..." That was louder. "Ow! Ouch! Fuck!" He sat up suddenly, falling back on the couch.

You sat up, your head still spinning. "What's wrong?!" Your hands wandered over him, but he lifted his leg up on the couch, gripping his calf.

"Fucking leg cramp." His fingers pressed into the visibly tight muscle, and you fell backward, orgasm officially lost.

"I'm sorry!" He tried to reach for you, but you lifted your head, shooting him a warning glance. He pulled back, face turning a deep shade of red.

His cock, however, was stood at full attention still.

Rolling your tongue around in your mouth, you swung your legs off the couch and stood. You pointed to the cushions, and demanded him. "Lay down."

Without hesitation, he did as he was told, laying flat on his back, and stared at you longingly.

Wasting no time, you sat down, sliding onto him with ease now that you'd had a chance to adjust. The angle made you feel so full, so satiated. You let out a long, comfortable moan.

His hands grabbed you, and you began to rock back and forth, begging to chase that lost climax. He peered up at you through half-masked lids, fingers gripping your thighs now.

"Is that better, baby?" You nodded, fingernails scratching down his chest. "Going to come this way? Make a mess all over me?"

Just like Noah was on stage, when he was fucking, he liked to be in control. He was good at it, too.

You nodded, pressing your clit into the skin of his pubic bone. The friction combined with the pressure he was putting on that spot inside you had your thrusts more erratic.

"Can't last like this, honey. You're going to make me come if you keep riding me so fucking good."

His hips were rocking up into you, finding the wave you were riding and helping it wash over you.

"Noah..." You whimpered, hands digging into the skin of his sides. "I'm going to come."

"Yeah, baby, come for me."

His voice, so deep, raspy, sultry, shoved you over that edge, your body slowing down and spasming around him. His hips only had to buck up two more times before he was groaning, leaving fingerprint bruises in your thighs.

You both stayed still, breathing heavily, staring at each other. A grin creeped up onto your face slowly, a matching expression on his.

Both lost in your own universe, neither of you had heard the front door unlocking...

"Hey! I got finished quicker than I expected, so I-"

Both of your heads whipped to the front door, where Isobel had stepped in, duffel bag on her arm and food bags in the other.

"Jesus fucking Christ!" She turn around, covering her eyes with her hand. "What the fuck!"

You and Noah promptly jumped together, scrambling to right yourselves. He pulled at his pants that were still wrapped around his ankles, and you grabbed the blanket from the couch. He sat upright on the sofa, and you pressed against him, pulling the blanket over yourself.

Mortified, you both waited for her to turn around, which she did, eventually.

"Sorry about that, Iz." You said as you interlaced your fingers with Noah's, who was using his other hand to fully cover his face in humiliation.

"Not what I was expecting to see today!" She squealed, walking past the couch toward the kitchen. "I have food, you fucking pervs."

Once she had left the living room, you and Noah looked up at each other, both blushing furiously at having been caught in the act.

Even with the added mishap, you both broke out into large, shining smiles, laughing at the situation.

What a fucking doofus.

[illdowhatiwantthanks]

hi! could i request a rosa diaz fic where rosa has a really awful stomachache while she’s at the precinct, but she doesn’t want to admit she doesn't feel good. she keeps trying to work until reader eventually pulls her aside and rosa opens up and tells reader (rosa and reader aren’t dating yet). then reader brings her home and they get all cozy, and reader stays until rosa feels better. at the end rosa finally admits she likes reader and they kiss and its all very fluffy and sweet. tysm!!

Hey, friend! Hope this is what you were looking for. 🥰 This one took me a little longer than usual, but I'm really pleased with how it turned out. And for all you Rosa Diaz fans, get ready because I've got a lot of Rosa requests in my inbox! —illdowhatiwantthanks

Just Playing

Rosa Diaz x fem!reader Warnings: explicit language, cops (duh, but they don't do any cop things), mentions of periods, period pain, implied sex Word count: 2.9k

Summary: You take Rosa back to her apartment after she has a rough day at work thanks to period pains. But you never could have seen where the evening would take you.

Rosa was nearly bent double as she stood at the podium, reading notes from a clipboard on a new drug ring they’d be investigating over the next several weeks. Her teeth were gritted, and she looked for all the world like she could kill someone. Well, she looked more like she could kill someone than usual.

You were good at reading Rosa, better than the rest of the squad. Maybe because your job allowed you more observation time; you were an officer, sure, but you didn’t carry a gun and you didn’t police the streets. You were their digital analyst, doing your own investigations online and finding information for the squad to use in their investigations. As a result, you had a lot of time in the precinct.

You were quieter than the others, more reserved, more observant. You knew that Jake got loud when he got insecure. You knew that simply telling Amy she was doing a good job was enough to stop a spiral in its tracks. You knew that Captain Holt had a fondness for candy canes, so you kept some in your desk drawer all year round, just to pull one out when it seemed like he needed a pick-me-up. But you knew Rosa best of all.

You’d be lying if you said you watched Rosa for solely platonic reasons. She was pretty. She was smart. She worked hard, and she cared about people–no matter how much she tried to act like she didn’t. Best of all, you could make her smile. No one else made her smile. After your first month or so on the job, she started talking to you. At first you were taken aback. Why was she being nice to you!? Why was she approaching you at all!? Rosa didn’t do small talk. She didn’t do politeness for the sake of being nice. It had to be that she actually liked you. You were flattered. As far as you could tell, Rosa didn’t like many people.

She especially didn’t like people today. She was clearly not okay. And you weren’t the only one who could tell.

“Any questions?” Rosa asked, finishing up her presentation, and pressing a hand over her abdomen.

Jake raised his hand and Rosa rolled her eyes.

“What, Jake?”

“Are you feeling okay?”

She glared at him. “Why, fuckface? Do I not look okay?”

“No, no!” he squeaked, hands up in defense. “You look great. Everything’s great. Carry on.”

You fiddled around in your bag, waiting for everyone else to leave the room before approaching Rosa, who leaned heavily on the podium, eyes closed.

You approached her cautiously. After all, Rosa was known for her explosive temper. She’d never exploded at you, but there was a first time for everything you supposed.

“Are you really?” you asked quietly.

“Hmm?” Rosa grumbled, inhaling sharply.

“Feeling okay?”

“Yeah, I’m fine.” Her voice was decisive, rough.

You lifted your eyes to study her face. When she finally looked at you–her expression pained, exhausted, embarrassed–you knew. She was not okay. The fact that she’d let you see that she wasn’t okay underlined just how not okay she was.

“What’s going on?” Your voice was low, your posture casual so that no one observing would be able to tell you were concerned about her.

“Cramps.” Her cheeks reddened a bit, and you nodded. She didn’t need to say anything else. You got it. Any woman would get it.

“Why don’t you go home?” you suggested.

“I can’t,” she said tersely, glancing into the squad room to make sure no one was watching you two.

“Rosa,” you scolded her. “It’s not gonna kill you to go home an hour early.”

“No, I mean, I can’t.” She grabbed your arm, and gently pulled you aside to where no one could see. Your stomach did little somersaults, and you felt bad for getting excited when Rosa was clearly in pain. “I tried getting on my motorcycle. It felt like I was being stabbed in the fucking uterus. I’m just gonna call a cab once everyone else heads out.”

“Well, that’s dumb,” you blurted out before you could stop yourself. Rosa raised her eyebrows at you. It’s true, you weren’t normally that blunt. “I’ll take you home. You shouldn’t have to stick around here just being in pain. That’s stupid.”

“No, Y/N, don’t need to do that. I’ll be fine.” She started walking away, and this time it was you who grabbed her.

“It’s fine, Rosa. I don’t mind. I’m done with my work for the day. We’re friends, right?”

Rosa looked at you long and hard, like she was thinking through a problem, before nodding thoughtfully. “Yeah. Yeah, we’re friends.”

“Okay, then.” You threw your bag over your shoulder. “This is what friends do.”

You started to walk out of the room, swinging your keys around your finger before stopping and turning back to Rosa. “It’ll, uh, be a minute, though. Just so you know. I parked… pretty far away.”

She grinned at you. “Yeah, I heard about that. You don’t use the precinct lot?”

“No! You have to pay for it! I’m not paying for parking at my job.”

“So where do you park then?” Rosa asked, sitting heavily in a chair and spinning.

You shrugged. “Wherever there’s street parking.”

“I’ll give it to you, Y/L/N,” she said, shaking her head. “You’re committed.”

You shot her an awkward, two-finger salute before walking out of the precinct and starting the several-block trek to your parked car.

You were kind of hanging out with Rosa tonight! Sure, she wasn’t feeling well. Sure, she might just be desperate for a ride home. But it counted… right? You’d parked just a block away from a bodega and silently thanked this morning’s parking gods. You picked up an assortment of things, some you knew Rosa liked, some that you’d want when you were on your period. And then, at the last moment as you waited to check out, you grabbed a bouquet of baby’s breath. It always made you feel better to have something pretty to look at. They might be a little too much, but it’s not like you’d gotten her roses or anything. Baby’s breath was a just friends flower? Right?

You threw your shopping bag in the backseat, then zoomed to the precinct for Rosa. You texted her, then waited, growing more nervous by the second. You’d never been alone with Rosa. Not like this, not in an enclosed space that wasn’t work. She sat with you at lunch sometimes or you went out for drinks with everyone after work, but this was different.

Pull yourself together, you thought, taking a deep breath as Rosa opened the passenger door and sat down heavily, leaning her head back.

“You alright?” you asked, trying to sound casual.

She nodded slowly. You waited for her to tell you where to go, but she was quiet.

“Uh… Rosa?”

She glanced at you.

“I kind of need to know where you live.”

Rosa seemed to think deeply about this, then leaned back and said, “Turn left up here. I’ll tell you where to go.”

You put the car in drive and simply followed.

When you pulled up next to Rosa’s building–a pre-war dairy refurbished as lofts–you followed her in quietly, stunned into silence, the bag of bodega groceries swinging at your wrist.

The elevator took you up to the fifth floor, and you couldn’t help but gape at her huge windows, the sealed concrete floor, the top-of-the-line appliances and expensive furniture.

You set the grocery bag on the kitchen island and took it all in, eyes wide.

“No offense or anything, but… how the hell do you live here on a police officer’s salary?”

“I don’t,” Rosa said bluntly, opening her medicine cabinet and rustling around. “I flip old cars in my spare time.”

“Oh.” You were glad Rosa was turned away from you so she couldn’t see you flush bright red at the thought of how she’d look fixing a car.

“Fuck!” she exclaimed, slamming the cabinet shut. You jumped. “I’m out of–”

“Midol?” you asked, pulling a series of medicines out of your bag. “Tylenol? Advil? Aleve? Pick your poison.”

Rosa looked at the pills, grabbing the Midol, then staring at you so hard you blushed and turned away, rummaging through the grocery bag. You couldn’t see it, but her eyes softened as she watched you.

“You brought me painkillers?” she asked, a faint smile playing on her lips.

“Mmhm.” You nodded, still avoiding her eyes. “And…” You pulled things out of the bag like it was a magic hat. “Takis, Hot Cheetos, chocolate, a frozen pizza, and Moose Tracks.”

Now it was Rosa’s turn to gape at you. But somehow that made you blush all the more. “I just…” You stumbled over your words. “I always like pizza and chocolate when I’m on my period. And I know you love Takis and Hot Cheetos. And you always have Moose Tracks in the freezer at work.” When Rosa didn’t respond, you kept talking, trying to fill the silence. “It’s no big deal or anything. I didn’t want you to have to go out later or–”

“You noticed my Moose Tracks?” she finally said, smirking, her eyes twinkling.

“Well, yeah.” You shrugged. “I notice a lot.”

“Uh-huh…” Rosa mumbled, watching you flutter around the kitchen, opening cabinet after cabinet to find a glass and get her and yourself some water. You were so nervous your mouth was dry.

“Go lay down or something!” you told her, flustered. “I’ll bring you some water. Do you want me to put the pizza in the oven for you?”

“That depends, will you stay and eat it with me?”

Rosa seemed to have transformed all of a sudden. She’d been largely preoccupied with her pain before, and you could tell she was still feeling it, but it was like a switch had been flipped. Where before she’d been, if not distant, just vaguely nice, now she seemed smug, confident, almost… flirty? As if she had something on you. You desperately hoped that what she had on you was not the fact that you had a massive crush on her.

“Uh… s-sure,” you mumbled. “If you want.”

“I do,” she said, flopping onto the couch and covering herself with a blanket. You brought her a glass of water so she could take her pills, then preheated the oven, fishing a sheet pan out of a cabinet and placing the pizza in to bake.

You sat down on the opposite side of the couch from Rosa, inching to the very edge, and trying your very best not to touch her. You never, ever wanted to make her feel uncomfortable by touching her, even by accident. But she spread out and pressed her feet against your thighs, making your breath catch in your throat.

She scrolled through shows on her TV, then asked you abruptly, “You ever watch Drake’s Hollow?”

You shook your head.

“You should. We could now, if you wanted to.”

“Yeah, okay,” you said encouragingly, willing to watch literally anything with Rosa.

“We’ll start at the beginning so you know what’s going on,” she said, searching for the right episode. “It’s not good. It’s like… the McDonald’s of television.”

You grinned. “Like the frozen pizza of television.”

“Yeah.” She smiled at you. “But sometimes it’s all you want, you know?”

Rosa was right. Drake’s Hollow was not good. The acting was awful. The plot? Melodramatic and borderline ridiculous. But it was fun. You loved to gasp at the hilarious twists and turns. The melodramatic, lovelorn speeches of the characters. To yell, “Boo! Dump his ass!” at the screen when the husband was revealed to be cheating on the wife.

For her part, Rosa loved watching you watch Drake’s Hollow. But you wouldn’t know that. You could hardly believe your luck that you were here. In Rosa’s apartment. With Rosa next to you, so close she was touching you! That you were watching this stupid, stupid show together and making a frozen pizza. You were on cloud nine. You couldn’t even bring yourself to look at her, so scared were you that you’d fumble and get awkward again and ruin everything.

“Bathroom?” you asked, standing during a commercial break.

“Down the hall to the right,” Rosa said, pointing behind her.

You stared at yourself in the mirror as you washed your hands, patting cool water on your cheeks in hopes that it’d bring down the flush that hadn’t left since the moment you’d stepped foot in Rosa’s house. You heard the oven timer go off and quickly dried your hands.

You walked into the kitchen, and your stomach dropped all the way to the floor. The pizza was out of the oven, cooling. And Rosa was standing at the island, pulling the slightly rumpled bouquet of baby’s breath out of the grocery bag. The bouquet you’d foregone, thinking it probably was too much.

She looked at you, and you looked away.

“Did you buy me flowers?” she asked.

Fuck, you thought to yourself. Fuck, fuck, fuck.

“Yep,” you sighed, trying to sound nonchalant. “I just… like to have something pretty to look at. You know, when I’m… on my period.”

It was a ridiculous excuse. You knew it. Rosa almost certainly knew it. She wasn’t stupid. You exhaled heavily and slapped a few slices of pizza onto a plate, hoping that a return to the couch, to Drake’s Hollow, would return everything else to normal, too.

You heard Rosa fill a vase with water, heard her arrange the flowers before grabbing her own pizza. Be cool, be cool, be cool, you told yourself as she sat back down, setting her plate next to yours on the coffee table.

You avoided her eyes, waiting for her to start the show again. You got more and more nervous the longer the silence went on, the longer the paused screen vibrated on the TV.

“Y/N,” Rosa finally said, her voice softer than normal.

Fuck, you cursed internally. You’d fucked it up. She knew. She knew and she didn’t feel the same because of course she didn’t, and now you’d ruined everything. It was all going to be awkward and weird now. Fuck.

“Flowers aren’t a thing that friends do.”

You let out a shaky breath. “They… could be?” you ventured, knowing as soon as it left your mouth that it wasn’t true, not for you and her.

She carefully slid her hand into yours, and you felt your heart stop.

“And what if I wanted to give you flowers?” she asked.

You blinked, not quite believing your ears, and turned to look at Rosa. Her face was light, playful, so much softer than usual. Was she teasing you? Tricking you? Making fun of you? Surely, she wasn’t that mean. She could be ruthless, sure. But she wasn’t cruel. Not to people she cared about it.

She gently grasped your chin, and your stomach did flips. Then she leaned forward and she kissed you. Just like that. So simple, so easy, so soft. Softer than you’d ever imagined Rosa to be. A softness she probably didn’t let many people see. She was so gentle, her fingers light as feathers against the skin of your face, her lips barely grazing yours, as if to ask for permission.

When she pulled away, you were breathless, even though she’d barely touched you, barely pressed her lips to yours. You just looked at each other for a moment, as if to gauge the other, as if to ask if this was real. But you–you’d wanted to kiss Rosa since the day you met her. The fact that she wanted to kiss you? Unbelievable. Beyond your wildest imagination. Rosa fucking Diaz. Absolute enigma. Terror of the Brooklyn 99. Wanted to kiss you.

Before you could even fully register what you were doing, you’d surged forward, grasping her face in your hands, pressing your lips to hers with all the fervor of an unrequited love that had, against all odds, become requited. She laughed, smiling into the kiss, pressing her hands against your collarbone, curling them around your neck.

When you finally ran out of breath, you leaned back, grinning, hand pressed to your forehead. Rosa laughed again, and you turned to her.

“This isn’t a prank, right?” you asked.

“No!” she scoffed, grabbing a slice of pizza and taking a bite. “I’m not that mean.”

You raised your eyebrows.

“Okay, I wouldn’t be that mean to you.”

“Wow,” you smirked, taking a bite of your own slice. “You really do like me.”

“Shut up, nerd,” she grumbled, mouth full, shoving her shoulder into you.

But you could tell by the way her eyes sparkled, by the way the corners of her mouth turned up, by the way she let herself linger next to you, skin touching, that she was playing when she called you names.

But she wasn’t playing when she kissed you. Wasn’t playing when she turned Drake’s Hollow back on and tentatively tucked herself into your side. And she certainly wasn’t playing when the pizza was done, the ice cream eaten, the show over, the night late. When she said, “You might as well stay if you want to. You’ll have to drive me in the morning anyway,” then stood and walked to her bedroom, giving you a look that let you know you were meant to follow. And you did.

[terresdebrume]

I think I want to point at the elephant in the room today

The problem when we have the ever more frequent conversation of how to keep a fandom alive after the show it's based on stops airing is that we tend talk about it in a way that ignores the very real differences between the juggernauts of old fandoms like Star Trek and newer shows like Dead Boy Detectives, namely:

1. The difference in amount of material

2. The accessibility of said material

Part of the reason why Star Trek or The X-Files still have active fans so long after they aired is because those shows had multiple seasons with an average of 20 episodes each. For the X-Files' 11 seasons that's about 200 episodes each with their own storylines, themes, interesting ideas and frustrating mistakes right there to inspire Fanart, fic, meta, and any number of fanwork. I'm not even going to do the math on Star Trek: this show got about a bazillion shows

Dead Boy Detectives, and a lot of genre shows nowadays have like... Eight episodes. Ten, if we're lucky. Fandoms for procedurals or more broadly appealing shows fare better (Lone Star comes to mind, or sitcoms for example) because networks tend to keep them online longer, but genre series get ever shorter with ever fewer opportunities to really grow an audience... Think of all the shows that got popular on Tumblr in the past few years and tell me how many got a proper season? Shadow and Bones was cancelled. My Lady Jane: one season. Gentleman Jack, two (three?). Good Omens: maybe 3, depending on how the network handle the Gaiman situation. The Umbrella Academy got four seasons. Stranger Things, with 5 seasons and 42 episodes managed to equate roughly 2 seasons of the X-Files (probably not even that if you account for episode length). The Witcher currently has 3 seasons for 24 episodes.

Contrast this to shows like Dead Boy Detectives with, again, eight episodes. Maybe 16 if we get really lucky, but I'm not holding my breath. This is just materially WAY LESS soil for a fandom to grow in. It's not that people aren't motivated, it's that as much as you want to keep it going, there's only so much to say about 8 episodes! George Rexstrew, who plays one of the leads, even recently admitted that he's running out of things to say about his performance, and who can blame him? So after a while, you gotta turn to AU which by definition are always going to be potential hits and misses, since they diverge from what brought people to the show in the first place.

I know we're all real good at spinning yarn but sometimes it gets really hard not to run out of fiber.

As for accessibility: the Big Olds benefitted from two things. One, they were broadcast on much wider-reaching channels, if not from the start, then when they eventually made it on public networks. They had a regular play time, and you could stumble onto them by accident, this getting interested and picking it up. And two: the popular shows had a decent chance of getting tape or DVD sets, which made them easier to own and show to your friends so they could binge the story and join you in the fandom

By comparison, look at the barrier of access for Dead Boy Detectives:

Need to have a Netflix account

Need to see it somewhere in your recommendation (good luck if you come in more than a month after it released)

Need to see people talk about it as they binge (need to be in the right place at the right time, and by that I mean where fandom happens since Netflix has a habit of doing zero advertising for new shows)

Need to keep paying for a Netflix account if you wanna rewatch, or figure out how to do a piracy, which is getting more difficult and riskier every year

Need to be willing to get invested in a forever unfinished story

And when on top of that the writing in the first episode is, let's say it frankly, far from the best, that is a LOT of obstacle to overcome for a pretty small sandbox

So like, yeah, sure, we should be willing to keep making a fandom happen after a show ends, but at some point we can't ignore that the effort it takes to keep fandoms alive is getting way more intense than it used to be

[fophelia1331]

Aight, I'm kinda tired so I'm gonna wait to give the whole big lore drop, but here's some stuff about my Project Sekai unit swap AU.

All the cutouts are courtesy of @prosekaiuwu, aside from the VBS Miku, MMJ Miku, and Luka heads (which I cut out myself).

Groups:

COLLAGE

A performance squad that blends wildly different sounds together. The roots the respective members have in classical, idol pop, musical soundtracks, and street songs are all honored in their new sound.

Genre: Mixed

Faded Smiles

Many smiles and cheery sounds, though the lyrics they sing often have deeper meanings. Each member has loved and lost... you can hear it in their voices if you listen long enough.

Genre: Indie Pop

fragile

The lyrics are distorted, the melody is crisp yet echoing. The nostalgia for childhood from an observer far away. The sound of crystal and glass.

Some Notes:

Genre: Denpa

Heartbreak Re-Take

Lone souls put their hearts together in this band. Half rough around the edges, half polished to perfection. The songs call out, the music tells you that it will all be okay.

Genre: Shoegaze

Monochrome (K)Nights

There's a story to every tune, and a hundred more they could tell. Three members of different background and talents work together to immersive each passersby. Every day a new tale is woven.

Genre: Lyrical (with aspects of musical numbers and indie)

Serpent Intent

Mythology, folklore, and tradition are at the core of this group. They pay homage to what has brought them to this point in life with music that carries one through time itself. The wings of a butterfly... the words of a serpent.

Genre: New Wave

Haruka enrolled at Kamiyama instead of Miya Girls. She's in class 1C with Akito, and he ends up shooing some nosy classmates away from her a couple times.

RIP to the Wonder Stage, the source of the easiest backstory angst for Emu. Sorry hun. (In clearer words: the stage was demolished. I didn't do it because it was easy, but it is easy angst.)

Honami dropped out of Miya Girls early into the year, but was classmates with Emu for a short time. She's doing online courses now.

Honami also doesn't work as a caretaker at all, so definitely not for Kanade.

Kanade was going to visit her father in the hospital when she heard piano music from down the hall. She ended up in the ward Saki stayed in and saw Saki at the piano. Kanade listened for a bit, but Saki couldn't play for long because of her health. Kanade left, but she didn't forget the song Saki played.

Ichika couldn't always make it out to visit Saki at the hospital. Thus, she ended up giving some notes and gifts to Tsukasa so he could deliver them. The two had an excuse to spend some time together, which was equally appreciated. Ichika and Tsukasa were both kinda lonely, so it was nice to have someone around.

Ena ended up needing to go to extra lessons before her night classes, which Tsukasa also was a part of. Ena immediately would say Tsukasa was annoying, though she admired how bold and upfront he seemed to be.

Though Ena and Tsukasa weren't really friends, Tsukasa was one of the few students in their extra class who went out of his way to speak to everyone. He was one of the only people Ena had interacted with at school. When Ena got forced back into day classes and put into class 2A with Tsukasa, he immediately offered to help her get used to the new schedule. Ena's fate was sealed. She became friends with Tsukasa.

Shizuku can play violin. Look at her. Violin. Shizuku. Yes.

Mizurui friendship in middle school. Mizuan friendship in their first year of high school. Rui transfered to Kamiyama, falling back in with Mizuki, and now An. Mizuruian rooftop trio.

(M(K)N was the first group I came up with. I really liked the way An and Mizuki looked in the knight costumes? (I don't remember what it's called, but it's in the base game, no card unlocks.) So I added Rui in there, and I loved that group ever since. What a dynamic. I could see them going roller skating on the weekends.)

Serpent Intent: also known as, how much can I angst Minori while building that Miya class 1A group? I mean, there will be Shiho and Kohane angst too. But the start of the group is built on Minori angst.

Kohane will totally get a glow up, and it's [hopefully] going to be a bit different from her VBS one.

I said this would be simple. I think I lied to myself. Well I'm gonna call it here for now, but I'm totally going to put up some more about this AU, so stay tuned! And I'm open to questions/asks too. Thanks for checking this out!

[scrubbinn]

Slime HRT Day 1: First Pages

I was told I should write down my experiences in this journal. I'm only really doing this because I was told I didn't have to share my writings with anyone except for emergencies, whatever that means. Today is the first day of my new life, and becoming something not human anymore.

I've seen a lot of social media about species HRT. I think it’s supposed to be “Human Removal Therapy”. There’s a lot of people online bashing it, and I'm sure someone is going to try and ban it eventually, but for right now it's pretty unrestricted. To be honest, I am fascinated by it. Becoming something inhuman seemed so, I don't know, cool I guess, but it felt distant, like it would never happen to me, or I'd be labeled a freak by my friends. It was only until my girlfriend brought it up in a passing conversation that I gained the courage to admit I was curious about it. She said I should go for it. The amount of joy I felt then and there was like a 20 ton weight had just exploded out of my chest, but in a good way! We spent the rest of the night talking about treatments and articles, I never felt so happy except then and there, to be seen like that.

My legs were shaking when I met with that doctor. I was told it was normal to be nervous, but it really felt like I was going to just have a breakdown the entire time we talked. There was a lot of psychological exams and way, WAY too much paperwork that basically said I was sure I would be happy and cool with going through with this process. The doctor was patient at least, though he was rude with how little he tried to hide the boredom of his job. Besides that, there was something about him that just made him feel like this was the last thing he wanted to do, the kind of man who’s a total pushover. We eventually got to the question I was dreading “what was I here for, what am I looking to be?” My voice just suddenly stop working right there. It's so funny how I saw an actual dragon on my way here and somehow my request seemed so much more ridiculous. That stupid doctor kept prying me to just tell him until my frustration surpassed my anxiety, and I was able to blurt out that I wanted to be a slime.

I don't know when or why, but I've always liked the idea of slimes. It's their fluidity I think. Being able to morph myself the way I want whenever I want. I mean, how can I trust I'll be happy with my body shape everyday when I can't even pick a favorite color. I spent so much time writing out my own ideas of how their biology worked, or creating a bunch of slime girls for stories I never finished writing. It took me a while to realize I wanted to be just like them, like how it took me a while to realize I wanted to be a girl too.

I thought I'd get laughed out of his office, I mean I've seen the photos and stories of people on slime HRT but it just felt different, like I was going one step too far, I was probably just super anxious, I felt so relieved when he just showed me a list of slime variants instead of laughing. There were so many different options on the list, slimes made of just gel, sap, wax, and there were so many different colors, but that was the problem, they all felt right, I wanted to be any of them.

It was so selfish to ask, but I needed to know if a slime that could change color was possible, or something that could truly transform into any kind of slime. He asked what I meant, if I was looking into becoming a shapeshifter. I shook my head no and said I wanted something like a chameleon. He took off his glasses and pinched his nose, like the weight of every request he ever had just hit him. We, kind of, argued for a while. Well it was him telling me all the different reasons it wouldn’t work or how some people had set up safe LED strips to become a slime strobe globe of different colors, but for some reason it was the one thing I didn’t want to budge on. The one thing I was certain I wanted was that I wouldn’t be certain about my final choice. I was actually ready to just punch this old man until he suddenly folded to my demands and told me he'd need time to make a new variant for something like that. Something about a membrane and chromatophores I think. He also stated, bluntly, that I still needed to pick the type of slime. Being able to switch from red to blue is one thing but there needs to be a base. 

There were a lot of good options, to the point it took me an hour to go through everything and just think about it. I was probably pushing him a bit too close to his next appointment with how long I was searching through options. It certainly makes me wonder how anyone can just know the answer right away. Eventually I had to settle on one and chose the soap variant. I was told it wasn’t actual soap, but it smelled nice and helped deal with germs. I’m not a germaphobe but I like the idea of smelling nice all the time.

After that, I was told I would be contacted eventually when my medication was ready. The wait could be best be described as brutal. There were a lot of calls I made only for me to be told it wasn’t ready yet. I thought I got scammed, like I went to the wrong place and that quack doctor was just faking everything and I wouldn't ever get to be the real me. The most I got was a message once a month saying the research was going well, if I was lucky. 

It was about a year when I got a call back from him, explaining that my medication was ready. I'll be honest, I thought he wouldn't have ever completed it and just stole $600 out of my bank account for a single appointment. I have it now though, a bottle of gel capsules. They taste awful, like shoving soap into my mouth, which makes sense thinking about it. Apparently I won't need to take my normal hormone medication after a bit. Which is good because it's really expensive to pay for both. I guess that concludes my thoughts on the first day. The doc wants me to keep writing down my physical changes but also that I write down my emotional state as well. I don't really get why that’s so important, but whatever, it’s the least I can do if I finally get to be the slime girl I always wanted to be. I can't wait to see how I turn out.

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

Next

Thank you for reading through this story. While I’m sure it’s obvious, this is a story inspired by @ayviedoesthings own Dragon HRT as well as @welldrawnfish Fish HRT. I’ve loved these stories ever since they first came out. But I never felt like I had a story of my own to write until I read @sandyca5tle own slime HRT. Please check out all these people’s stories if you haven’t already, and thank you to sandyca5tle for really lighting the fire in me that made me want to try my hand at this sort of thing. I have plans to continue this for a while, not sure how long it’ll be but I want to be able to write a new segment at least one post every one to two weeks. I hope you enjoyed this, and please let me know if you have any advice on how to improve my writing. Thank you so much for reading all this, seriously, it means the world to me. 

[beggars-opera]

Hey, can we move our advice about kids on the internet into the 21st century please?

I 100% agree that we should all be as private as humanly possible online, but I also know that I do not follow my own advice, nor does anyone else, including you, probably. Yes, many of us were raised in a time in which the internet could be completely anonymous, but that was in the era before social media. Facebook, Instagram, etc. started as tools to interact with people already in your social circle, which is why personal information is used on them, but they've evolved since then for better or worse, and we need to acknowledge that. Simply telling teenagers that they have to operate under an avatar at all times like we're on a 2002 message board and that they are brainwashed idiots if they don't isn't helping anyone.

If I was giving someone real life advice, it would be this:

If you are a minor, know that there are predators out there who are more than willing to interact with you, so honestly, sincerely, do consider being as anonymous as possible. That means not using your full, or even your real name (this is the perfect time to use the name you always wished you had, mine was Morgan after Morgan le Fay), and putting things on private as much as possible so only people you know, or those you can vet, can interact with you.

If you do choose to show your face, know that this comes with risk and buffering that with other things (like using a pseudonym or never tagging your exact location). This can go a long way to protecting yourself. If you're just posting aesthetic images, sure, make your IG public, but if you're documenting your every move maybe stick with friends only for now.

Even if you are not a minor, creeps will still find you. Again, assumption of risk. Either way, though, the block feature is your friend.

If you're being open online because you're really dead set on being an influencer, know that is going to come with a whole world of pain all its own assuming it actually pans out, so it's probably not worth it. Also you probably won't make it as an influencer, hon, I'm so sorry but statistically it's true.

If you're posting certain things traceable to you this could also bite you later at work, or for prospective employers.

When interacting with strangers online, always assume that people are hiding SOMETHING. That isn't always a malicious thing - they could also be protecting themselves! But don't take everything they say at face value. Online personas are always acting of a sort.

If you find yourself becoming friendly enough with someone that you want to meet them in person, take stock of how much you know about them. Do they post photos of themselves frequently enough that you can tell they are who they say they are? Are they willing to video chat with you before meeting irl? Are they willing to meet with you in a neutral, public location or with a group of friends, or do they act sketchy about that?

To the above point, meet people for the first time in a neutral, public location, preferably with a group of friends, just in case. Look, I've broken this rule myself and even though nothing happened, I still kick myself for it.

Trust your gut. You are the creator and the curator of your own online existence, so do what makes you feel safe.

[mirrorball-leclerc]

track 001. right where you left me

─── ❝ break-ups happen every day, you don't have to lose it ❞ ───

series masterlist // next

liked by louis_graham, isabellaperez, babs.rodriguez and others

dulceperez it's hell week and i'm struggling to cope

view all comments

isabellaperez never have i ever been more grateful for online school

↳ dulceperez we get it you travel for funsies and i get stuck with crippling student dept.

↳ isabellaperez what fucking debt? tio checo said he'd pay for your schooling!

↳ dulceperez alright then, i get the crippling student anxiety.

maejones you got this baby!

↳ dulceperez i really don’t! tell max to send the red bull i’m going to need it, i know you two are still besties!!

↳ maxverstappen1 did checo cut you off again?

↳ dulceperez YES!! SEND HELP!! SOS!!

louis_graham still can’t get over the fact that you know f1 drivers.

↳ dulceperez my uncle is an f1 driver?

↳ babs.rodriguez forget it lou, she won’t understand. she probably grew up around michael schumacher or something.

↳ isabellaperez well, you’re not wrong

mickschumacher if you die can i keep your couch?

↳ dulceperez what the fuck schumacher?

↳ mickschumacher it’s a very comfortable couch.

↳ freyavettel he’s right, it’s very comfortable. i’ve had some great fucking naps on it.

louis graham so the f1 drivers in your comments are just normal?

dulce perez pretty much, yeah

dulce perez we live in monaco, you're telling me you've never ran into like lewis or charles? hell nico lives in monaco.

barbara rodriguez never. louis graham nope.

dulce perez huh, it's not like monaco's that big. i run into my ex all the time. granted he's like best friends with my sister.

barbara rodriguez who the fuck is your ex? and why is your sister best friends with him? dulce perez because she can be? i'm not going to tell her "oh no isa, you can't be friends with arthur because we broke up." dulce perez they were friends way before we dated.

louis graham so his name is arthur? interesting, one look at your sister's instagram tells me that you dated the one and only arthur leclerc.

barbara rodriguez a leclerc? you dated a leclerc? and you let him get away?

dulce perez look, he was busy with racing and i was busy with school. it wasn't going to work out between us so we just broke up.

louis graham interesting how you two still follow each other.

dulce perez we're still friends. that wasn't going to change because we dated.

barbara rodriguez 9 times out of 10, people fall in love all over again.

dulce perez not me. i won't.

dulceperez posted new stories

low quality picture, high quality girl or some fucking corny shit like that. who the fuck gave this guy alcohol?

arthur leclerc does she have a boyfriend? who is he?

mae jones what is this nerd going on about?

isabella perez is this about my sister?

arthur leclerc forget i asked. isabella perez so it is about my sister.

mick schumacher is this about the guy on her story?

isabella perez that's just louis. one of her roomates. remember arthur? they became friends when she started school. arthur leclerc oh. yes. i remember.

freya vettel oh he's totally still in love with her.

lando norris honestly arthur just tell her. get it over with.

bailey winters i doubt you should be giving people advice.

lando norris oh seriously! we get it, i fucked up! isabella perez oh you royally fucked up norris.

lando norris oh be quiet isabella, how many times have you broken up with austin by now?

isabella perez my relationship has nothing to do with this! focus on arthur and my sister!

mick schumacher i can't believe i'm saying this, but how are freya and i the only ones that are mentally healthy??

isabella perez because arthur is stupid. mae is in denial about her feelings. i'm codependent. lando is a dumbass. bailey is collateral damage to lando's dumbassery. AND YOU'RE IN FUCKING DENIAL!! SO IS FREYA!!

freya vettel wow. can't wait for the day all of you are mentally healthy and in healthy relationships.

mae jones at this rate isabella's doomed to divorcing and remarrying austin like 7 times. isabella perez literally fuck you. stop writing songs about max!

bailey winters you're all insane.

arthur leclerc you are too bailey.

mae jones don't worry arthur. i know how to figure out if you'll be seeing her soon arthur leclerc oh no. that's not good.

mae jones odds of seeing dulce at the monaco gp this year?

dulce perez that depends am i allowed to take my emotional support idiots? isabella perez i thought i was your emotional support idiot? max verstappen ooh she's been replaced.

esteban ocon i think we're better off asking what are the odds charles finishes the race.

charles leclerc this is why you've never won a race bitch.

daniel ricciardo who the fuck are her emotional support idiots?

dulce perez my roomates

lando norris BOOO!! WE'RE YOUR EMOTIONAL SUPPORT IDIOTS!!

lewis hamilton you may be an idiot but i am not.

mae jones we're her emotional support chaos gremlins natalia ruiz that makes more sense.

max verstappen you should ask checo if you can bring your friends, not us.

dulce perez i did. he said yes. see all of you back in monaco. dulce perez i just have to ask them.

dulce perez thoughts on attending the monaco grand prix?

barbara rodriguez on my bucket list but currently too broke.

louis graham also on my bucket list but without means of going.

dulce perez i feel like we're forgetting that my uncle is literally an f1 driver??

louis graham SHUT THE FUCK UP!! TELL ME YOU DIDN'T?!! barbara rodriguez NO FUCKING WAY!! I KNEW GOING TO SCHOOL IN MONACO WOULD PAY OFF!!

dulce perez wow. way to use me.

louis graham listen, we love you. you're great. but attending the monaco grand prix is such a dream.

barbara rodriguez I GET TO MEET SIR LEWIS HAMILTON!! YOU DON'T UNDERSTAND HOW MUCH THIS MEANS TO ME!!

dulce perez we're going to support red bull not mercedes.

barbara rodriguez yeah but red bull doesn't have lewis hamilton does it?

louis graham personally, i will be supporting aston martin. wherever sebastian vettel is that is where i am.

dulce perez traitors both of you.

barbara rodriguez ARTHUR IS LITERALLY A FERRARI ACADEMY DRIVER! SHUT UP! YOU'RE THE BIGGEST TRAITOR OF ALL!!

dulce perez WHO THE FUCK TOLD YOU THAT?

louis graham we went stalker mode. we had to find out everything about leclerc.

barbara rodriguez he's a cutie. why the hell did you dump him?

dulce perez we are not talking about this.

louis graham BOOO!! AS THE CHILDREN SAY, SPILL THE TEA SIS!!

dulce perez no!

babs.rodriguez, louis_graham, dulceperez posted new stories

who let me be here?? where is lewis hamilton??

holy shit!!

VAMOS TIO CHECO!!

pierre gasly soo...dulce

dulce perez before you ask no. pierre gasly like not even a little bit?

rowan todd why must you ask this, you idiot?

pierre gasly i'm an instigator

dulce perez the answer is no because he has a girlfriend, you moron.

charles leclerc but if he didn't have a girlfriend?

dulce perez you too?

charles leclerc ANSWER THE QUESTION PEREZ!

dulce perez no. not my type.

isabella perez ARTHUR! WHO WAS THE CUTE GUY ON THE PODIUM?! THE PREMA GUY!!

max verstappen SHE'S GOT A CRUSH! arthur leclerc oscar? isabella perez brb gonna go stalk his instagram.

freya vettel anyone is better than a*stin

arthur leclerc trust me when i say he's 100 times better than that guy.

mae jones WAIT! WHO'S YOUR TYPE DULCE??!

natalia ruiz perhaps monégasque? rhymes with shmarthur? dulce perez you people are insufferable. daniel ricciardo THAT WASN'T A NO!

mick schumacher arthur just probably let out the biggest sigh of his life.

arthur leclerc at least i'm not in denial about my feelings. mick schumacher HEY! WE'RE NOT TALKING ABOUT ME! AND YOU SHUT YOUR MOUTH LECLERC!!

sebastian vettel i should consider retirement. that would mean i wouldn't have to deal with this.

fernando alonso i retired and they didn't let me leave. there is no hope for us.

lewis hamilton i told you that your biggest mistake would be showing weakness to max.

max verstappen YOU'RE THE ONE WHO COMFORTED ME FIRST! NOT SEB! lewis hamilton oh sure, i was just supposed to leave a kid out, crying in the rain because his girlfriend had just broken up with him? mae jones sorry, what?

daphne jones idiots, all of you

esteban ocon how's that hidden relationship going for you daphne? daniel ricciardo it's not our fault they haven't figured it out yet, now is it? lewis hamilton and i'm currently in the lead to win this bet so zip it ocon.

isabella perez GUYS! CUTE PREMA GUY IS SINGLE!!

lance stroll at least one thing is still normal around here.

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¡leclerc-s speaks! and thus it begins! okay, listen, i love ross, for story purposes he younger than he actually is. idc what anyone says. i don't if i like this 100% but i'm still posting it.

¡disclaimer! this is in no way making assumptions about the people involved in this story, this is all fake. it is a fanfiction please don't take any of what is said seriously. this is all for entertainment purposes and as a creative outlet for me. enjoy!

[doodlenoodleboi]

A fellow Toasty lover I see...👀

Do you have any headcanons for them yourself, both general and within a relationship? I'm curious :3

Nakedtoster Headcanons!

◦ Toast loves Final Fantasy as everyone knows and because of that he’s becomes rather irresponsible with money when it comes to it. Buying the books, props and every single game.

◦ Toast and Xyx are the best of friends Toast can find your IP address and Xyx loves trolling people

◦ When Toast gets in a relationship and his significant other gets any type of hate online best believe Xyx is trolling them online, it’s a hobby of his.

◦ Toast owns a pair of pink cat ear headphones half as a joke and the other is because he likes cats and his hair is pink.

◦ Toast has been misgendered often in public because of his pink long hair.

◦ Toast comes off as the type to have a comfort game like, animal crossing, Minecraft, or Roblox.

◦ He doesn’t own many consoles he’s a PC and a Nintendo switch and maybe a Ds or something from when he was a kid.

◦ Toast is not against doing inherently feminine things like makeup and painting nails if you want to. He might not even take off the color off hid his nails because he’s too lazy.

◦ If you’re in a relationship with Toast he most likely sees you as a friend and a lover next.

◦ He would love it if you played Final Fantasy XV comrades with him and Xyx.

◦ He definitely wears those cringey shirts saying I left my video games for this not because he likes them but I they were gifts and couldn’t care less what he wears most of the time.

◦ If you have been with Toast long enough eventually he might dedicate a character In the games he makes to you.

◦ When it comes to dates with Toast they aren’t common given he is an introvert but you will be treated to snacks and Resident evil and the bad Final Fantasy movies he claims doesn’t do them justice yet but watches them anyways.

◦ Toast is the type of guy to go to comic con and other conventions, after all it’s hinted that he is a content creator with his Final Fantasy advertisement.

◦ He generally likes anything concerning Capcom for the most part and enjoys story more than combat.

◦ He can solve a Rubik cube no problem and rather good at puzzles of all sorts.

◦ I don’t know why but once again I see him as a monster energy drink consumer not so much on G fuel not even if he was payed.

◦ Toast can cook but only basic things like a proper breakfast and a sandwich dinner is a 100% on you or take out because even if he tried the food might be bland. He is willing to learn through.

◦ From what I can tell Toast dyed his hair he’s a natural blonde that dyed his eyebrows brown/black or he’s a brunette that has to bleach and dye his hair every so often. Whatever the case is, Toast would appreciate it when you help him with his hair.

◦ When it comes to you guys first kiss he is rather clumsy out of all the Blooming panic love interest I think he has the least romantic experience.

◦ Every year he allows you to pick out his glasses frames as he couldn’t care less what he picks through most of the time it remains the same and you’re just putting random frames on his face to see how they look.

◦ Toast doesn’t necessarily need glasses but he’s couldn’t see the writing on the board in the back of the class. He still wears them today to “enjoy the effort but into the games and graphic blah blah.” He doesn’t want to admit that he’s actually a bit blind.

◦ His favorite thing on would probably be a sundress (an actual sundress) or cosplay/ convention clothes.

◦ He loves the taste of Pepto-Bismol

◦ He does have back problems given his horrendous posture during gaming.

[anotherstudtouse]

What Are Friends For?

CHAPTER 1

SUMMARY: When your coworker, Lex Foster, asks you to pretend to be her girlfriend, you agree against your better judgement.

WARNINGS: None that I can think of?

Toy Zone -- As many complaints as you have about the place and its owner, it was one of the only places hiring seven months ago when you desperately needed some extra cash to help pay for the online classes you were taking. It wasn't much -- and still isn't -- but it's enough to get by. Sure, there are other (arguably better) places hiring now. Sure, your boss, Frank, can be a bit of a jerk at times.

     You've definitely thought about applying elsewhere a couple times, but the urge is always squashed not long after starting another shift. You can't imagine working somewhere else and no longer seeing Lex as much as you've grown accustomed to. If you could go back in time and tell your past self that Lex Foster, of all people, means as much to you as she now does, your past self would've checked you for a head injury or several. Although the two of you had attended the same high school (until she dropped out), the circles you'd each ran in had never intersected. As she affectionately teases you now, you've always been a bit of a nerdy prude.

     Seven months into your job at Toy Zone, though, you've grown to really know -- and really like -- Lex. You love her dry humor, strong heart, and love for her sister. You love the way you can see her lock eyes with you over Frank's shoulder as he rambles on about the newest toy that's sure to fly off the shelves if you could just stock them faster, rolling her eyes before launching into a ridiculous imitation of him that you have to bite your lip not to smile at. You love the way she always waits for you to take your breaks together so that you can stand out back with her as she smokes, always making sure to blow it out away from you. You love the way her eyes light up when she talks about her sister, you love the way she cares so much about things even if she tries so hard to act like she doesn't, you love how strong she is, you--

     You need to focus, and you definitely need to stop thinking about your coworker and friend so much, because the more you think about her, the more you realize your feelings are becoming more than simply platonic, which is a problem. It's a problem not only because Lex only just broke up with her boyfriend a month ago, but also because she's, as far as you know, straight. The risk of ruining this friendship you've grown to cherish is just too high. Besides, it would make working here too awkward when she inevitably rejects you, and then you really would have to look for another job.

     "Come here often?" a playful voice sounds off behind you, the only warning you have before the owner of it is sliding between the stack of 'Sugar-Gliders' toys beside you and yourself. There's not a lot of space, however, so as Lex leans her shoulder against the shelf, you can feel her Toy Zone vest brush against your arm.

     You glance at her as you finish straightening some of the boxes in front of you, an amused smile spreading across your face. "Considering I'm here almost every day, you'd think I would've made an impression by now. Now my ego's bruised."

     "I'll kiss it better if you go on break with me now." The comment is an obvious joke, delivered as offhandedly as the multiple other flirtatious comments Lex has made toward you in the past couple months. Even if she doesn't mean it, it momentarily makes it harder for you to breathe nonetheless.

     You laugh it off, trying to ignore the warmth you can feel in the tips of your ears. Picking up another box, you mull over her request. "I should finish stocking these first or Frank'll chew me out."

     Even as you speak, she's plucking the box out of your hand before placing it back on the stack. "I'll tell him I made you do it; he already thinks I'm a bad influence on you."

     "And you don't?" You raise your brows at her, your gaze lowering pointedly at the box she'd literally just taken out of your hand.

     She scoffs, her hand flying to her heart. "You wound me, Y/N. Now I'm the one whose ego needs kissing."

     Shaking your head, you step back out of her space. All this talk of kissing, joking or not, is making the close proximity way too overwhelming. Maybe a break would be a good idea after all. "Come on before I change my mind, drama queen."

____________________________________________

     As you lean back against the wall out back, Lex doing the same a few feet away with a lit cigarette between her fingers, you can tell there's something on the shorter girl's mind. She's been unusually quiet, and you can see her glancing at you every few seconds out of the corner of your eye. You click the side of your phone, turning the screen dark as you slip it back into your pocket. "You okay?"

     She almost seems startled when you speak, apparently not realizing how obvious she's been. "Oh, yeah, yeah. Just -- I've got this favor I gotta ask, and I'm trying to figure out how to ask it."

     Well, now you're really curious. Lex has never asked you for anything other than occasionally covering a shift for her before. You turn to face her, leaning your shoulder against the wall. "People usually start by saying what the favor is," you joke in an effort to lighten the mood. It seems to work, the corners of Lex's lips quirking upward as she mirrors your movement and turns to face you.

     "Okay, smartass." There's a pause as she takes a hit of her cigarette, the movement drawing your eyes to her mouth. You swallow, gaze quickly returning to her eyes. She doesn't seem to notice. "I need a girlfriend."

     What the fuck? You didn't hear that right. You couldn't have. Your lips part but no words come out for a second, then two, then three. Then, "I-- And that's-- Huh?"

     Apparently your stammering has put her at ease or something because she's chuckling now, taking another hit of her cigarette, and Jesus Christ does she have to be so hot when she smokes?

     "Relax, Y/N. I know you're not into girls; I'm not really asking you out. It's just -- You remember Ethan, right?" There's another pause to take another hit, as if she's giving you time to remember him, as if you could forget the guy you'd been jealous of for months leading up to their break-up. "He keeps trying to get back together. He thinks if he just keeps trying, I'll come back to him eventually or something. I just thought maybe if he sees I've moved on, he'll give up."

     Okay, so there's a lot to unpack there. You don't know where she got the idea that you're not into girls, but considering the one relationship you had in high school was a secret one with a girl deeply in the closet, you suppose you can't fault her for the assumption. You try -- and fail -- not to feel disappointed at the explanation that Lex isn't actually, truly asking you out for real.

     She looks a little anxious again, watching you, waiting for your reaction. You know you should say no. This could really only end one of two ways, after all -- Either it ends in a fake break-up and you have to learn to live with the knowledge of how it feels to be loved by Lex but without the reality of it, or it ends with your real friendship becoming too awkward and loaded to survive.

     But if you say no... If you say no, this guy keeps bothering her. If you say no, maybe she asks someone else, and as wrong as it would be for you to say yes, you don't want her to ask someone else.

     "... Okay," you finally answer with a resolute nod.

     "You totally don't have to," she's quick to reassure, dropping her cigarette and stomping it out before stepping closer to you. Despite her reassurances, she looks relieved with your answer. "I can ask someone else; I just-- I dunno, I don't really trust anyone else."

     You give her a smile that you hope is just as reassuring to her as her words are to you, trying to ignore the way your heartbeat has begun to pick up speed. This is a bad idea. This is a bad idea. But it's for a good cause, right? That's why you're saying yes. No other reason. "Lex, it's fine. I'm happy to do it."

     "Thank God." Another step closer brings her into your space, and before you know it, she's tugging you into a hug. You can smell the cigarette smoke sticking to her leather jacket coupled with the faint scent of the forest. It's got to be some kind of cologne or something, you think. The forest scent, not the cigarette smoke. "I really didn't want to have to ask someone else."

     With one of Lex's arms firm around your waist and the other wrapped around your shoulders, you relax into her embrace and return it. Hopefully she can't feel the pounding of your heart against your chest as you reply, "Of course. What are friends for?"