#i have been thinking for months now about trying to get my ****** license

[penisbilt]

the bittersweet but absolute flood of relief that comes from admitting defeat at living independently, to have to move back in with parents. we tried! we gave it our best shot for almost 3 years! but living like this (being on our own) is just not possible for us at this time of our lives. we've finally proved it to ourselves that we can't do it. it'll be okay to let ourselves rest now

[tenrose]

My ability to read after work is intricately linked to my ability to perform a house chores during the week in a way I can't explain 🤷

[trans-axolotl]

saw a post the other day that said that psych survivors were overexaggerating and fearmongering for saying that people should be aware that having diagnoses on your record can be a danger + impede your life. and the more i think about it the more annoyed i am. because i think people need to know that there are exceptions to health privacy laws that can make having psych diagnoses and psych hospitalization history on your record risky depending on your circumstances. diagnoses follow you through your health interactions-you do not have to consent to have your information shared between providers. judicial proceedings are also an exception to the HIPAA privacy rule, so for things like custody battles, guardianship, getting orders of protection--the court can petition for medical records. there's so many other situations where even if they can't legally access your information without your authorization, people will require you to disclose diagnoses, records, previous hospitalizations and refuse to give you services/hire you/whatever unless you share that information with them. for example in many states anyone (a provider, a cop, friends and family) can disclose that you have certain psych diagnoses like bipolar to the DMV which then might require that you undergo drivers license review as frequently as every 3 months. my university is actively trying to kick me out right now because i had to disclose my medical record, psych diagnoses, and hospitalization history to them as a requirement to stay enrolled.

and i don't want to scare people or make people think that having a diagnosis on their records is automatically going to mean that it is weaponized against us. because i do know plenty of people who have never faced issues with their records. but i do expect that the community supports the people speaking out about the ways that we have been harmed by diagnoses creating barriers to accessing necessary parts of our life. instead of attacking us or saying that we're lying about things we are currently experiencing.

[thelikesoffinn]

„Astarion ending as the Vampire Ascendant is the correct ending for him, because it is what he wants.”

That is a claim I’ve been seeing pop up more and more often these days. And I think it’s both a very bold and a very odd claim to make.

But first things first: Hello, I’m a licensed social worker! So far, I’ve worked with children, refugees and youths with behavioural issues stemming from bullying and or abuse.

Please be aware that I will be mentioning different kinds of abuse, coping mechanisms, and victim/abuser relationships. If any of this is difficult for you, don’t force yourself through it. My jabbering about a traumatised vampire is not worth your wellbeing, not ever.

I will, however try to stick to Astarion and not use other examples. If, in any case, I do use a non-Astarion example, I’ll add a warning beforehand so that you can skip the part. And I’ll make it clear what will be discussed in the next bit, so that you have a chance to skip it entirely.

This is an effort to make this as accessible as possible for everyone that wants to indulge on a mad woman’s rambling – and I know there’s a few people that like this sort of stuff!

And, uh, there's obviously spoilers for all three acts. Serious spoilers, even.

Before I can get into the whole ‘why Astarion didn’t really want to ascend,’ we need to understand him a little more. And to understand this pretty boy’s brain, we first need to understand the gist of what we’re talking about when we throw around the word ‘abuse.’

“Abuse” is when someone is treated with cruelty, violence, or neglect – often to bad effect – on a regular basis. Repetitively. Check’s out for Astarion, I’d say, but we all knew that already. I mean, if one thing was obvious, it was this.

1. Astarions Abuse

Next we need to look at what kind of abuse Astarion faced over his long years of torment, seeing as different types of abuse will have different effects on the victim.

Not that that is anything we have to worry about with him – Astarion won the abuse lottery, to put it bluntly. In a horrible game of fate, he got everything. He himself indirectly mentions all the types of abuse he faced, albeit never using the correct terms.

The first we properly notice – fitting, seeing as it is often the most obvious form of abuse – is the physical abuse. Astarions scars are probably the biggest tell Larian could shove down our throats, only underlined by Astarion’s tale about the night itself. About how Cazador ‘misspelled something’ every time he flinched or screamed and had to do ‘many corrections. On top of this, Cazador locked Astarion up for months on end and tortured him – or had him tortured – on a regular basis both as a rite and as a punishment.

Next up, we have the fact that Astarion was forced to basically prostitute himself repeatedly. This is what we call sexual exploitation.

“I spent two hundred years using my body to lure pretty things back for my Master.” – Act 2

Two hundred years is a long time, filled with great many people. Now, we don’t know how many of those people actually tapped into the sexual exploitation and how many he could just lure back with other means, but the fact that it happened a lot is undeniable.

Next we have a form of abuse that we often disregard in adults: Neglect. It sounds odd, I know, saying that a fully grown adult was neglected. They can care for themselves, can they not?

Well. Yes and no.

Adult neglect is proceeded by the condition that one adult has to lean on another adult to fulfil their needs for whatever reason. This could be anything, from disability to income-based issues.  

Seeing as Astarion had absolutely nothing, while Cazador had everything, we can assume this was the case. Cazador had the house, the money, the power. Astarion owns but one pair of clothes, assumedly, that he has fixes over and over again. Fair to say, that’s pretty neglectful. (And it’s one more reason to shower the guy in pretty armour and camp clothes. Go ham, people.)

Last we have the form of abuse we actually get to witness later in the game – emotional abuse.

Once again, it’s undeniable that this happened. Especially since we’re all seeing it in the flesh upon meeting Cazador in his crypt.

“Have you no respect for yourself?”

“I strove for perfection in all things. Even those as imperfect as you.”

“A pity you amounted to so little, despite my efforts.”

“A pathetic little boy who never amounted to anything.”

All Act 3, Crypt

Here we have just a few examples of things Cazador throws in his face. It’s like reading a textbook on emotional abuse, this one (and it’s definitely a reason to throw hands).

Blaming the victim, keeping their sense of self and their self-worth as tiny as possible to make them cower and flee. A true classic.

This pretty much shows that Astarion suffered all forms of abuse we commonly see and it is implied – once again by Astarion himself – that at least a few of those instances were ritualistic.

Now, what does that mean exactly? Well, I fear I need to use a real example here, so please skip the next paragraph.

Ritualistic doesn’t refer to a proper ritual – it can, but that’s mostly a thing for those in a cult. So, we’re not necessarily talking about a ‘Vampire Ascendent Ritual’. A husband, beating his wife every evening after his third bottle of beer is also called ritual abuse. It happens regularly. It is part of a routine. Both parties know what will happen.

I can’t find the exact quote, so I’m working of my memory here, but at one point he said that when Cazador invited him to eat and he said yes, he would be served a putrid rat. If he said no, he’d be beaten.

The way it was phrased made it clear that it happened more than once and that Astarion clearly knew what would happen. So, this can be classified as ritualistic abuse.

2. A Note on Conditioning and Compliance

By default, abuse victims are conditioned to behave a certain way or in a certain fashion. This is a natural response to avoid further abuse.

In Astarion, the thing we see most often is his inherent need to please. Not literally, he doesn’t mind being an arsehole. But he initially feels the need to follow Tav’s orders, even if they go against his own wishes.

This can be clearly seen in the conversation with Araj Oblodra. Astarion very clearly doesn’t want to bite her. He doesn’t. But he will do so, if Tav tells him to. This behaviour is not conscious �� he doesn’t know why he does it, he just does – and it is to be expected. This is how he kept himself save for two centuries, so of course he will fall back into his usual pattern when the pressure is high.

This goes hand in hand with the fact that most abuse victims don’t fight. Maybe initially, but not after long term abuse. Especially not after two fucking centuries.

This is true in Astarion – offered by his ‘siblings’ during act 3 and unhappily acquiesced by the man himself. Astarion stopped fighting and, once again implied, cowered, and did as he was told in order to survive.

3. The Astarion we know and love

Obviously, all that abuse does have an impact on our vampire boyfriend. He shows various common signs of abuse and just like with the forms of abuse, Astarion raked every coping mechanism he could find. (Not really, but it feels like it.) It’s also important to note that nearly all of the following things happen inwardly. Astarion is not one of the victims, that tries to rationalise and minimise the actions of his abuser. Quite the opposite, actually.

I’ll note from the beginning, that rationalisation will not be covered in this bit, as most examples will be important later on. But he definitely does it.

One of his biggest skills is to hide every ounce of fear or hurt behind sarcasm and snarky theatrics. He doesn’t seem to hide his anger much, though, so that’s something! Our boy is cool with anger, not so much with being afraid.

“Ahahaha, now that you mention it….I might have done…that.” – Act 3, regarding the Gur children

“The thing that will decide my fate forever more? Yeees, it’s been on my miiiind. Why?” – Act 2, regarding the Ritual

And there’s many more instances that prove this. Honestly, half his dialogue is sarcasm, so it would really be too long to get into and we all know what I mean, right? We have alltalked to the guy before. It’s obvious that he’s sarcastic to a fault.

This goes hand in hand with his penchant for defensiveness. I would personally state that he’s simply not really good with guilt. When talking about fear, he usually just opts for sarcasm or avoids the topic completely, but guilt especially has his defences going up. This is also when he’s most likely to shove all the blame off to Cazador.

“Don’t look at me like that. Cazadors orders.” – Act 3, Crypt

“I just did what I had to!” – Act 3, Crypt

And don’t get me wrong, he does that anyway. And with good reason. Astarion didn’t have a choice for the most part, but he’s still easy to shove things off.

This kind of connects to his penchant for denial.

Astarion doesn’t really like to talk about most things. He firmly believes he is an ‘action’ sort of person that just does instead of plans, which invertedly just means he’s great at pushing the thinking stuff away. He also likes to get rid of stuff, so that he doesn’t need to face it ever again.

“I never want to see these little scraps of misery again. The world doesn’t need to know my shame.” – Act 3, about the children

And yes, this partly rings true. He’s probably ashamed and doesn’t want anyone to know what he’s done. But it’s also very clear that he himself simply doesn’t want to face his own actions, something that is just  underlined by his extreme willingness to red rid of the other spawn.

As mentioned by Astarion himself, he’s big on manipulation. I mean, I don’t think there is much explaining necessary. The guy is willing to do a whole lot in order to get what he desires – which mostly revolves around safety and survival, to be honest – and he’s not really shy about it either. And that’s despite the fact that he doesn’t really like intimacy – especially in form of sex.

It’s not a secret that Astarion is not big on sex and anything surrounding it. This goes far enough for people to consider him either ace or ace coded.

A claim that, personally, I’m not super in line with.

Now, it’s not entirely wrong and if this is your head cannon I’m surely not going to stand in your way – but on a larger spectrum, I think he’s more traumatised than ace. And while those go hand in hand sometimes, it’s a bit difficult for the ace community if you attach traumatised characters to them because it can fuel a whole lot of stigma that is honestly neither needed nor wanted. But I digress!

If it comes to his own behaviour, he’s great at minimising his mistakes. Honestly, he’s a master of minimisation. A very obvious and famous example would be:

“’Killed’ feels like a…strong word. Not many corpses have your vigour.” – Act 1, after killing Tav

Astarion. You literally sucked poor Tav dry and left them flopping around, cold, and dead. Killed is exactly the right word and we all know it.

“Quite the deviation from my usual routine. Capture, not lure. I didn’t bring them in with sweet rolls or anything.” – Act 3, Gur Children

This is another attempt at minimising what he did, if a bit less obvious because at this point there isn’t much he can say. But at least he didn’t sexualise the gur children, right? They’re still spawn but whoo, at least that didn’t happen.  

The next point would be dissociation, which is extremely common in abuse victims – of all forms of abuse.

Astarion himself mentioned certain moments that could be classified as dissociation over course of the story, which is probably the coping mechanism I personally expected the most.

The pale elf has a penchant for violence, but he’s not entirely shameless or abhorrently vile, which gets clearer the more the story progresses. So, two hundred years of forced prostitution, torture and doing whatever other horrible things? Yeah, I’d be more surprised if he didn’t dissociate.

Examples of that would be:

“A moment of disgust to push myself through and then I could’ve carried on, just like before.” – Act 2, after Araj

“I felt nothing the moment I handed them over.” – Act 3, Gur Children

“Did you enjoy it? It felt like you weren’t fully there.” – Act 1, Tav after Sex

The latter is generally more of an assumption than actual prove, but with context it does make sense.

The last common sign of abuse we find in our boyfriend would be his low self-worth. It’s a consistent trait that stays over the course of all three acts, noticeable in many different conversations.

We can see it in his reaction to wanting to break up before finishing his story. We can see it in his genuine surprise when Tav picks him over any of the other characters. We see it in his insecurity whenever Tav asks to sleep with another character. He’s fine with it, but he still worries their decision to sleep with someone else is based on something he did.

It eases up ever so slightly after Cazador is dead, but even then he’s still struggling which is once again perfectly illustrated if you try to break up with him.

“Oh shit. I- Did I do something wrong?”

That is the first thing he asks and I think it speaks for itself. He genuinely doesn’t believe he has much to offer and for Astarion, it’s likely that Astarion will always be the problem.

4. "Oh, I tried them all none of them answered.”

Another big thing that’s important to note, is that Astarion was never saved. No one came to save him from Cazador. There was no darling boy on a white steed riding into that castle to rescue him and princess carry him away. Not even the gods answered his desperate calls.

So, he never received any kindness or luck. To him, the world seems as cruel and horrid as before because he didn’t have the chance to experience goodness in two centuries.

But worse than that, he didn’t even get to save himself. Astarion didn’t stand up to Cazador, he didn’t run out of his own might.

He was beaten to near death and ‘saved’ by Cazador, who would become his abuser.

He tried to save someone and, in turn, was locked up and starved for an entire year.

He was abducted by mind flayers, i.e., saved from Cazador, only to end up tadpoled and on the cusp of getting a fancy, squiddy beard.

Anything that’s good, any kindness, any selfless action…it all came with a ginormous price tag.

5. Over the Course of the Story

Astarions behaviour changes a whole lot over the course of three acts – which is important once we talk about his quests climax – so let’s review what we’re working with!

Act 1 Astarion is guarded as fuck. The man has walls around him that are so high, even the gods can touch them.

A lot of his behaviour in act 1 revolves around staying save and staying liked. He lies, manipulates, and flutters his lashes in order to get what he wants and needs. Instead of asking, like Wyll, Karlach and Gale do, Astarion uses all he has to offer to get by. He is still very much in survival mode and tries to weasel his way through an unfamiliar situation with familiar methods.

On top of that, and most notably, he’s absolutely not fond of kindness or selflessness.

#I saved a child and now my boyfriend is mad

Here, we are most likely to gain disapproval for doing the decent thing – unless you sent him outside for a minute whenever you’re being a good person.

And I’d assume that this is because of two things.

First: The very traditional ‘Why not me?’

As I mentioned before, Astarion wasn’t saved. He hasn’t experienced kindness in a very long time so seeing that the world is literally filled with kind people is hurtful. Why didn’t anyone save him? Why was he left to his own devices for so long? Why should he care about others when it’s so clear that no one ever cared about him? No, dead to all of them. If he didn’t get it, neither will they.

“And what am I owed? What about the injustices I suffered? Am I not entitled to anything?” – Act 3, Crypt

“I was in the prime of my life when I was turned. Everything was taken from me too.” – Act 3, Crypt

And secondly is the fact that, as I mentioned, goodness always has a price. And it’s one most people won’t be willing to pay. That’s how his life has been, so why would theirs be different?

This is precisely why Astarion may disapprove of kind actions, but he mostly neither approves nor disapproves if Tav asks for payment. That’s just how the world works.

Once you venture out into act 2, after getting to know him a whole lot more, he starts to mellow a bit – if only towards Tav.

“He’s afraid, so afraid, of everyone but you, who she should fear the most.” – Sceleritas about Astarion

His approval is a lot easier to gain – or at least keep! – and he tends to approve of some more proper actions. He doesn’t throw a fit if you promise to find Mol, he approves of Tav being kind to His Majesty, of saving Aylin and he even approves of Durge apologising to Isobel after threatening to rip her to pieces.

He's slowly starting to open up, allowing Tav to see some parts of him he previously kept hidden. He accepts their offer to help, if hesitantly and, by god, the man starts experimenting with boundaries.

The social worker in me is shedding tears at this. It’s my favourite thing to see in my clients and it’s no different here. Yay to saying no!

Of course, it’s still a bit hit or miss. If Tav urges him to bite Araj, for example, he will only to later notice that he didn’t fucking have to. He recognises this on his own and he calls Tav out on it. Just like he calls them out on not helping him with his Orthon quest.

Good job, chap. Good fucking job.

And the growth-train won’t stop going even as we reach act 3.

In act 3, there’s not many things he disapproves as of right now – those he does, mostly have to do with how Tav treats him and not with anyone else. In fact, he’s more likely to approve good behaviour now, like giving Yenna food or money.

And yes, we need to consider that this could simply be because he gets used to Tav’s behaviour and just learns to roll with it. But it’s also highly likely that he notices that there’s truly good people around. At least one person. And that person is not only good, no, they’re in the process of helping him break free once and for all.

They’re helping him save himself.

By act 3, he has learned that he can absolutely say his piece where Tav is concerned and he’s more likely to disagree with them on certain things. It’s seen during a lot of small dialogue that he’s no longer terribly afraid to be honest with them, willing to listen and talk and he’ll ask for help if he needs it.

“I can do this. But I need your help.” – Act 3, Crypt

Something that can be viewed both positively and negatively is that he’s definitely loyal to a fault. He will stick by Tav’s side, no matter what.

“I really hoped we could avoid being pawns for a dark god, but here we are, I suppose. I’m with you, my dear, wherever this might lead.” – Act 3, After Jaheira confronts durge

As I said, this can be both positive and negative. On one count, it’s a recipe for disaster, seeing as he could be waltzing into a really bad situation for Tav alone.

But on the other side…this is a man who only cared about himself because that is the only person he could afford to care about. He needed to survive. He now has enough room to breathe and the capacity to care for someone else and I’d be inclined to count that as a good thing.

6. The Crypt

All the progress he made in act 2 and 3 is nearly tossed into the wind as soon as the crew enters Cazadors castle.

It’s not an immediate thing, of course.

At first, Astarion tries to stay light and simple and he hides behind flippant tones and relaxed faces. The way he recounts this is almost comically disinterested and the façade is actually quite good.

It’s start’s cracking after we meet Godie, one of the people who tortured him on more than one account, but he mostly manages to remain as upbeat as one can honestly expect for the first half of the journey.

All that, however, is done for the very moment we meet Sebastian. His mask not only slips, no, it full on shatters and there’s none of his apparent lightness left.

Which, of course it does.

The man is suddenly faced with years and years and years of victims. Innocent, unlucky people he lured back to his master over two centuries. People he liked, people he pitied.

“It’s sickening, seeing them again.”

It’s basically a room filled with guilt, exclusively for Astarion. And, as we mentioned before…Astarion is not great with guilt.

The guilt, however, is not where it ends.

No, he’s also faced with reflections of his own past. The spawn pose as reminders of what he did, sure, but also as reminders of what he was.

Weak, desperate, hungry.

There’s an abundance of images of his worst moments, reflected back at him in the thousands. It’s probably like staring into a funhouse mirror, but instead of seeing yourself in a funky way he just sees everything he so desperately doesn’t want to be.

“It should be [who I am]! I don’t want to be like them. They’re pathetic, horrible…”

He’s forcefully made aware of how darn weak he can be, which claws at all the wounds he’s barely had time to close. Something, he of course won’t admit if asked.

“THEY DO NOT [remind me of myself]. That weakness in me is dead, IT’S DEAD. I have a higher purpose.”

The high pressure of the moment brings out all of his act 1 traits in but a few moments. You can pretty much watch how he starts to shut down mid conversation, one of his old walls snapping back into place to remove himself from the situation.

Thing is though, walls usually become a bit brittle after disuse. Especially when talking to a person you don’t usually want to wall out.

Or, in his case, when talking to Tav.

After meeting Sebastian, Astarion shows extreme reactions to Tav nudging any of his weak spots. His reaction varies on whatever choice you make, but it ranges from aggression to defensiveness, to denial and even to downright begging Tav.

“Don’t hate me. I just did what I had to. I swear I did what I had to.”

This probably the most shocking out of all of them, since that is not something we got to witness before. The begging is likely a mixture of intense fear of losing Tav, his low self-esteem and pre-Tav behaviour, since we can assume that Cazador made him beg more than once.

Another old coat he puts back on would also be the least surprising of them all.

Manipulation.

He falls right back into it, using Tav’s affection to get what he want if we trigger the right action.

“If they die and I ascend, I won't have to rely on the parasite to walk in the sun. I'll be free. Truly completely free. Isn't that what you want?”

This, to me, was probably the biggest tell that Astarion was back in survival mode. He’s panicking, for fucks sake, and who can blame the guy? He’s back. He’s about to face down his abuser.

Of course he’s fucking panicking.

Panic leads to an increased craving for safety and, in his case, power. This is why he clings to Tav, why he begs them to love him still. And this is why he jumps head first into the rationalisation pool.

“I will need to sacrifice them all if I want to perform the ritual. - [You can save them.] – What’s the point? They're as good as dead! I thought they were dead. If they are unleashed, they will cause incredible carnage. […] They must die. Better they serve a purpose.”

Another textbook example.

They must die anyway. They’re basically dead. No need to save them now. They’re dangerous, I’m doing the right thing by sacrificing them. I already thought they were dead, so it’s not changing anything for me. They’re a lost cause and I deserve  all this power. I deserve it, because I suffered and nothing will change if they die.

So, seeing as we already spoke about his usual behaviour in act 3 – behaviour he showed after we allowed him to breathe and be himself for a while – I think we can fairly easily conclude he’s not thinking straight.

Astarion is right back in survival mode, where all that matters is he himself. If it weren’t for the seven thousand spawns, he might have moved through this more gracefully, but seeing those tipped the scales and Astarion is absolutely losing it.

Remember that for the last section, per favore.

7. The Ascension

“Astarion wants to ascend and Tav manipulates him into doing what they want.”

That is basically the essence of what people often claim and I can’t help but shake my head at such a blatant disregard of everything he has become. This is completely ignoring the change and growth he has gone through over the course of their journey.

Astarion wants to be free. He wants to be safe. That does not mean he wants to ascend.

And the claim that Tav manipulates him into doing anything is even more baffling. We are all aware that Tav is not manipulative by nature, yes? That is entirely on you. You decide who your Tav is.

And then let’s remember: Astarion is panicked. He’s afraid and he’s not thinking straight. His abuser is on his knees before him and he still feels so weak. And there’s seven thousand spawns that need handling.

Astarion is very much not okay right now.

In fact, reading his thoughts just proves this theory.

“You can see the fear in his eyes but also the hunger. The thick smell of blood in the air and the promise of power being so close is intoxicating to him. All he can see is the power of the ritual and the freedom that power brings. The freedom to do anything. To be anything.”

Tav, however, has none of those problems. They can actually see beyond the current situation and they are fully aware what the consequences are. Astarion is not. As we previously established, Astarion is a doer. Not a thinker. He didn’t think this through, not at all.

The only thing Tav is doing – the persuasion roll – is reminding him of the very real consequences he is facing. The consequences he hasn’t thought about before.

"I know you think this will set you free, but it won't. This power will trap you, just like it trapped Cazador."

And that is the kindest thing Tav could do in this situation. They’re not bodily dragging him away from Cazador. They’re not even telling him to not do it. They’re just offering him the truth. He can do with that information whatever he desires.

“Astarion cries when he doesn’t ascend, that just shows that it was the wrong choice.”

A hare-brained point that I thankfully have only seen once so far.

That crying? That is healthy crying.

That is him, crumbling under the stress that suddenly dissipates. That is him mourning two hundred years of torment. That’s him letting out feelings he hasn’t been able to for centuries.

And, for the love of god, try to put yourself in his shoes.

Two hundred years of torment, ended in but a moment.

Astarion was abused and tortured for so long, afraid for so long only to see his tormentor die just like that.

Cazador died within a moment and all Astarion needed was a darn blade. Of course he fucking cries.

Seeing how pathetic a being the very core of your life’s misery actually is hurts. It hurts like hell because not only are you finally free – free! – no, you’re faced with the fact that this pile of nothing, the thing that’s bleeding out right in front of you…this was what tortured for so long.

This thing hurt you so much. That guy took everything from you, everything you once were, and broke it again and again and again over years.

You were so scared of this thing.

And yet he has the gall and the gumption to die just like that.

It was so easy.

And yet you suffered for so long.

8. Evil Playthrough?

An evil playthrough is really a different setting altogether.

All of this, as you can probably tell, is really only applicable on a good playthrough. Realistically speaking. I’m not sure how the game mechanics handle it.

On an evil path, Astarion never really gets to experience kindness and goodness. Evil Tav will just prove him right in his believe that the world is a vile and cold place, meaning that he realistically would be more inclined to actually want to ascend.

9. Final Conclusion

I think all of this should be enough to make it clear that no, ascended Astarion is not the best ending for the guy. In fact, it is probably the worst. Because it’s just him, running away. He’s running into a lonely and cold state of being, where cruelty and power lord over everything else and he’s running because he’s terrified of being hurt again. He’s running despite desperately wanting to stop running.

“I'll spend the rest of my life running watching the shadows, never feeling safe…no, this has to happen. Here and now.”

And, the worst part is: Nothing about Astarion is left after he ascends. Even his tone of speaking gradually changes, his theatrics fading. He’s slowly losing himself, until there’s nothing but an evil caricature left.

So, in the end, ascension will have proven him right.

That version of him is dead.

[thegalleonsnest]

OK since I haven't seen too many people talk about this since twitter news usually strikes pretty fast over here whenever e'usk does anything ever, let me give ya'll the run down on two things that will go live on NOVEMBER 15TH and why people are mass migrating to Blue Sky once more; and provide resources to help protect your art and make the transition to Blue Sky easier if you so choose:

The Block function no longer blocks people as intended. It now basically acts as a glorified Mute button. Even when you block someone, they can still see your posts, but they can't engage in them. If your account is a Public one and not a Private one, people you blocked will see your posts.

They say because people can easily "share and hide harmful or private information about those they've blocked," they changed it this way for "greater transparency." When in reality, this is an extremely dangerous change, as the whole point of blocking is to cease interaction with people entirely for a plethora of reasons, i.e. stalking, harassment, spam, endangerment, or just plainly annoying and not wanting to see said tweets/accounts. or you know, for 18+ accounts who do not want minors interacting with them or their material at all (There is speculation saying these changes are specifically for Elon himself so he can do his own kind of stalking, and honestly, with the private likes change, it lowkey checks out in my opinion)

Also, this straight up goes against and may violate Apple and Google's app store policies and also is straight up illegal in Canada and probably other countries as well.

If this ACTUALLY goes through, twitter will only be available in select countries, probably exclusively in the US, which would collapse the site with the lost of users and stock, and probably be the last push it needs to kill the site. And if not, will be a very sad and exclusive platform made for specific kinds of people who line up with musk's line of thinking.

2. New policies regarding Grok AI and basically removing the option to opt out of Grok's information gathering to improve their software.

And anything you upload/post on the site is considered "fair game" with "royalty-free licenses" and they can do whatever they please with it. Primarily using any and all posts on twitter to train their Grok AI. A few months ago, there was a setting you can opt out of so they couldn't take anything you post to "improve" Grok, but I guess because so many people were opting out, they decided to make it mandatory as part of the policy change (This is mainly speculation from what I hear).

So this is considered the final straw for a LOT of people, especially artists who have been gripping on to twitter for as long as they can, but the AI nonsense is too much for people now, including myself. Lot's of people are moving to Blue Sky for good reason, and from personal experience, it is literally 10x better than twitter ever was, even before elon took over. There is no algorithm on there, and you can save "feeds" to your timeline to have a catered timelines to hop between if your looking for something specific like furry art or game dev stuff. It's taken them a bit to get off the ground and add much needed features, but it's genuinely so much better now

RESOURCES

Project Glaze & Cara

If you're an artist who's still on twitter or trying to ride it out for as long as you can for whatever reason you have, do yourself a favor and Glaze and/or Nightshade your work. Project Glaze is a free program designed to protect your art work from getting scrapped by AI machines. Glazing basically makes it harder to adapt and copy artwork that AI programs try to scan, while Nightshade basically "poisons" works to make AI libraries much more unstable and generate images completely off the mark. (These are layman's terms I'm using here, but follow the link to get more information)

The only problem with these programs is that they can be resource intensive for computers, and not every pc can run glaze. It's basically like rendering a frame/animation, you gotta let your pc sit there to get it glazed/nightshade, and depending on the intensity and power of your pc, this may take minutes to hours depending on how much you wanna protect your work.

HOWEVER, there are two alternatives, WebGlaze and Cara

WebGlaze is an in browser version of the program, so your pc doesn't have to do the heavy lifting. You do need to have an account with Glaze and be invited to use the program (I have not done so personally so I don't know much about the process.)

Cara is an artist focused site that doubles as both a portfolio site and a general social media platform. They've partnered with Glaze and have their own browser glazing called "Cara Glaze," and highly encourage users to post their work Glazed and are extremely anti-ai. You do get limited uses per day to glaze your work, so if you plan on doing a huge backlog uploading of your art, it may take awhile if your using just Cara Glaze.

Some twitter users have suggested glazing your art, cropping it, and overlaying it with a frame telling people to follow them elsewhere like on Bluesky. Here's a template someone provided if you wanna use this one or make your own.

Blue Sky Resources and Tips

So if your a twitter user and your about to realize the hellish task of refollowing a massive chunk of people you follow, have no fear, there's an extension called Sky Follower Bridge (Firefox & Chrome links). This is a very basic extension that makes it really easy to find people on Bluesky

It sorts them out by trying to find matching usernames, usernames in descriptions, or by screen name. It's not 100% perfect, there's a couple people I already follow on Blue Sky but the extension could not find them on twitter correctly, but I still found a huge chunk of people. Also if your worried that this extension is "iffy," they do have a github open with the source publicly available and the Blue Sky Team themselves have promoted the extension in their recent posts while welcoming new users to the platform.

FEEDS and LABELS

OK SO THE COOLEST PART ABOUT BLUESKY IS THE FEEDS SYSTEM. Basically if you've made a twitter list before, it's like that, but way more customizable and caters to specific types of posts/topics. Consolidating them into a timeline/feed that exclusively filled about those particular topics, or just people in general. There's thousands to pick and choose from!

Here's a couple of mine that I have saved and ready (down below). Some feeds I have saved so I can jump to seeing what my friends and mutuals are up to, and see their posts specifically so it doesn't get lost in reposts or other accounts, and also specialized feeds for browsing artists within the furry community.

The Furry Community feeds I have here were created by people who've built an algorithm to place any #furry or #furryart or other special tags like #Furrystreamer or #furrydev. They even have one for commissions, and yes you can say commissions on a post and not have it destroyed or shadow banned. You are safe.

If you want, and I highly recommend it to get visibility and check out a neat community, follow furryli.st to get added to their list and feeds. Once your on the list, even without a hashtag, you'll still pop up in their specialized feeds as just a member of the community there. There are plenty of other feeds out there besides this one, but I feel like a lot of people could use one like this. They even got ones for OC specific too I remember seeing somewhere.

And in terms of labels, they can be either ways to help label yourself with specific things or have user created accessibility settings to help better control your experience on Blue Sky.

And my personal favorite: Ai Imagery Labeler. Removes any AI stuff or hides it to the best of it's abilities, and it does a pretty good job, I have not seen anything AI related since subscribing to it.

Finally, HASHTAGS WORK & No need to censor yourself!

This is NOT like twitter or any other big named social media site AT ALL, so you don't have to work around words to get your stuff out there and be seen. There are literally feeds built around having commissions getting and art seen! Some people worry about bots and that has been a recent issue since a lot of people are migrating to Blue Sky, but it comes with any social media territory.

ALSO COOL PART,

you can search a hashtag on someone's profile and search exclusively on that profile as well! You can even put the hashtag in bio for easy access if you have a specialize tag like here on tumblr. OR EVEN BUILD YOUR OWN ART FEED FOR YOUR STUFF SPECIFICALLY!

So yeah, there's your quick run down about twitter's current burning building, how to protect your art, and what to do when you move to Blue Sky! Have fun!

[phant0mth1ef]

are we still friends? can we be friends? are we still friends? i’ve got to… know. (pt. 2 to the feeling that i’m losing her, forever). part 3

to say you didn’t expect to see a pair of bright red eyes staring you down as you walked into the facility was an understatement, you hadn’t made eye contact with those eyes in over a year, and you flinched the moment you realized just who you were looking at.

you’d stumbled into inasa once you snapped out of your daze, catching yourself quickly as your cap hit the floor, the boy using his wind in order to float it back onto your head.

“thank you.” you mumbled before going to take your spot in line, coincidentally right next to your former best friend.

“why haven’t you called me?!” so now he wants to begin a conversation.

“been busy.” you shrugged, refusing to even look at him because you knew you’d start crying the moment you met his eyes again.

“okay? you could’ve texted me or some shit!”

“my phone stopped working.” you were competing for the title of nonchalant final boss at this point with how casual you were being.

“bullshit. i saw you with it at the exam! just tell me why you’re avoiding me like the plague.” it may not have looked like it, but bakugou was scared out of his mind. you’d changed since the licensing exam, he could sense it in the way you carried yourself. you were being cold.

“what the hell happened to you?? you used to always call me, always text me. what happened?” did he seriously not know what happened?

“you happened.” and that was all you were able to say before the proctors for the training session entered the room, quickly commanding you all to stand in line as your face changed to a softer expression.

it was a casual sparring session, so why were you sending rocks the size of boulders his way? his mind was too clouded to even dodge them effectively, the words you said still playing out in his mind as he mindlessly sent out explosive attacks.

you’d tried to pack up as quickly as possible afterwards to avoid a confrontation with your former best friend, but you heard the clanking of his boots hitting the ground and just let out a sigh.

“what?” you snapped.

“what me? what you!” he was starting to get angry, the way he would get angry back in middle school.

“what about me?! you’re also at fault here. i was the one always trying to get in contact with you! i just grew up and realized that if you wanted to, you would.” you begun to shove all your things into your duffel bag, accidentally smashing your fist into the ground.

“what the hell does that even mean?! you’re the one who stopped calling me outta nowhere. i didn’t tell you to do that.”

“don’t you get it?! i was the one always calling!” you shoved your bag to the floor as you stood up straight, your voice getting strained as you finally made eye contact with bakugou.

“i was the one who always had to start talking to you first! it made me feel like a nuisance. and then one day i hear you telling your new friends that you think i’m annoying? like what the fuck, katsuki. none of this is my fault. if you’d just been a man and picked up the phone, this could’ve been avoided.” you had a habit of crying once you got frustrated, so naturally the tears were threatening to fall from your eyes.

he didn’t have any words, letting out a scoff as you picked up your bag and shoulder checked him on your way out, sending him stumbling back as he just stared at the ghost of your presence.

later that night he sat in his dorm room, his finger hovering over your contact but never once pressing on it, unsure of what he’d even say if you decided to pick up.

“i mean how the hell am i supposed to apologize? she’s so confusing. like damn sorry i called you annoying but it isn’t even that big of a deal anymore that was months ago!” bakugou was ranting to his little group of friends that were huddled on his floor, suprised that the boy would even invite them, let alone drone on about his issues with the friend that none of them even knew about.

“so you called her annoying but you didn’t know she was listening?” mina spoke up.

“yes but that was months ago! i don’t even know how to talk to her anymore because she won’t listen to me.” he sprawled flat on his bed.

“sounds like you’ve dug yourself a deep hole bakugou.” kirishima said, a hint of disappointment in his tone.

meanwhile, back at shiketsu, your group was currently huddled in camie’s dorm, and you sat on the bed while they formed a circle around you.

“i don’t know who he thinks he is but i am not going to beg for him to be my friend, i am not going to be as pathetic as i used to be!” slow teardrops fell from your eyes as you recalled back in middle school when bakugou found more friends and slowly begun to leave you behind.

“i know, and i get that, but you should at least try to give him a chance. he’s making an effort.” she tossed you your phone that was sitting on the desk, a notification on the lock screen.

[kats 💥🫂]

Meet me at the spot tomorrow. Please. 4 PM.

tags; @riverozada @lupitalove @msjaeger @aintseennothinyet @wendeeeee ask and you shall receive sorry if its kinda bad 😢😢

[kiss-me-muchoo]

𝐦𝐲 𝐠𝐨𝐨𝐝 𝐠𝐫𝐚𝐜𝐞𝐬 || 𝐉𝐨𝐞𝐥 𝐌𝐢𝐥𝐥𝐞𝐫 𝐱 𝐟𝐞𝐦!𝐫𝐞𝐚𝐝𝐞𝐫

summary_ Joel’s mother arrives for the weekend, she wants you to break up with him, even trying to set him up with his real state gorgeous agent. But Joel only has eyes for you.

warnings_ NO OUTBREAK, age gap! (20s/ late30s) but not specifically stated so do what u want, angst, fluff, mentions of dildos and inappropriate use of nightgowns, implied sex. NO PROOFREAD

notes_ Am I the only one who thinks good graces from Sabrina Carpenter is very pre-outbreak Joel! ????? HAPPY SEP 1! JOEL’S BIRTHDAY MONTH AND WE’RE CLOSE TO 🍂 AUTUMN 🍂

✰ 𝙄𝙉𝘿𝙀𝙓 (𝙈𝙖𝙨𝙩𝙚𝙧𝙡𝙞𝙨𝙩 𝙝𝙚𝙧𝙚)

♪ ♫ 𝙏𝙝𝙚 𝙬𝙤𝙧𝙨𝙩 𝙥𝙡𝙖𝙮𝙡𝙞𝙨𝙩 𝙖𝙗𝙤𝙪𝙩 𝙋𝙚𝙙𝙧𝙤 𝙃𝙀𝙍𝙀

Eating cheap burritos, and sitting on the stairs of your parent's porch, by the end of the summer, Joel Miller asked to be your boyfriend.

“Can we be together?” you nearly choked at his words.

“Like… a couple?” He nodded, smiling shyly.

Truth is, you were shocked. You felt the tension since you met him in winter, but actually hearing from him that he wanted to be your boyfriend, being older and wiser than you, it was very shocking.

“Yeah… I’d like that, Joel”

And with that, he gave you the first kiss you had received in years after a hateful relationship.

You were in your twenties having a boyfriend in his mid-thirties, with a teenage daughter, and a hilarious brother, and his mother hated you.

But that wasn’t a worry at the beginning of the relationship.

-

You literally ran to the sidewalk as soon as you heard the mail bus speeding away.

Immediately you collected the package that landed in your grass. Because, since your parent's house was comfortable and big enough, they were not in a rush to kick you out. You were a local in the state university so… Why find a place away from your family and boyfriend?

Before you could have even thought about rushing inside, you heard Joel’s truck pulling into his home. Your hot neighbor had arrived.

Already blushing, you said hi to him.

“Hey, pretty one… Whatcha got there?” You looked down at the package in your hands.

“Books…” Joel noticed your shy smile, so he knew you were hiding something else.

“If you had let me find you a junk car, you could have avoided ordering them online” you rolled your eyes.

“Joel… we’ve talked about this, when the time comes and I feel confident, I’ll get that fucking license” he nodded, smiling widely at the sight of his girlfriend. He thought he was already too old to be into dating. But you hadn’t even tried, it was him who couldn’t get you out of his mind. And while he was embarrassed at the beginning, especially with your parents because of the age gap, now he was thankful.

“I know, baby. I’m not pressuring you, and certainly, I love being your chauffeur whenever you need me to…” you had told him you had been in a little car crash when you were eighteen, making you feel some panic about being behind the wheel again. And now, you weren’t afraid anymore, you just didn’t want to pressure it, the time would come naturally, it always did.

“So, I will go and open the package. I’ll come later to watch a movie with you and Sarah” you said walking towards the door, but Joel came hurriedly to grab you by the waist and hold you tightly.

“Sarah is having a sleepover with her friends. Tommy is doing extra hours at work. Why don’t ya come and show me what’s inside the box, darlin?…huh” you blush harder.

“Why are you implying there’s more inside the box?… other than books?” He smirked, his fingers were playing dangerously across your hips and you watched around to see if there wasn’t any nosy neighbor around.

“I know you like the palm of my hand, baby”

“Okay, you got me, Joel. I bought two cheesy romance books, a naughty nightgown, and a hearts dildo” he laughed, grabbing your hand and guiding you inside his house.

“You got to be kiddin’ me” you went straight to his kitchen to grab a knife and open the damn box.

Joel saw you very thoughtful, avoiding his gaze and noticing the shy smile resting on your face.

He got closer and almost choked once he saw the contents inside the box.

“You’re gonna kill me, y/n…”

There were indeed two books, a hot pink nightgown with lacy orange cleavage, very y2k. And the damn dildo, made of plastic that simulated being made of crystal, pink with a big pink heart handle.

“I told you…” you said playfully, Joel chuckled.

“Naughty girl…” Before you could blink, Joel picked you up, making you sit on his table and kissing you immediately.

“Are you gonna let me see you in that nightgown? Maybe let me watch you use that little toy?” Your cheeks were on fire as you listened to your boyfriend.

“God, Joel… shut up,” you said giggling.

“You cannot expect me to simply ignore what’s on the table, darlin’…”

“This is what we’re gonna do… we’ll seat and read one of my books while I wear the nightgown, I’ll be in your lap and you’ll get hard, so then… I’ll consider giving you a show with that fucking dildo."

“Fuck, baby…” Joel literally moaned.

“Let me tell my parents I’m staying and that Sarah is here,” you said, sliding off of the table. Joel knew your parents respected your relationship with him, but you still find it awkward to be publicly romantic in front of them. And he respected it as well.

“Fine, I’ll order Chinese food and we are taking a shower together”

“I can’t wait,” you said with your phone in your ear, watching your boyfriend disappear in the hallway.

-

Two weeks passed with simplicity and the summer was officially dying. You noticed that overnight you were slightly cold and the same in the morning. However, the days were still warm.

“Have you seen my everyday shirt?” Joel asked wandering in his closet, which made you giggle.

“I have it…”

“Darlin’…What am I gonna wear for breakfast then?” you hid under the sheets of his bed, feeling how he slowly made his way towards you.

In the sudden quietness, you tried to stay still, hoping to hear his footsteps approaching. You couldn’t lie, it built some tension and panic.

In a second, Joel finds his way to wrap his arms around you and captures you in an invasive embrace.

“JOEL!” You yell, being a little too dramatic.

He started tickling you, making you squirm and yelp, Joel couldn’t stop laughing.

“Hey, weirdos…” suddenly Sarah called from the doorframe. Joel uncovered you, lifting the bedsheets from your face and body, letting you see his daughter holding a phone in her hand.

“Grandma called, she’s coming this Friday.” The girl said, smiling at you.

“Oh… that’s nice.” You said, brushing Joel’s arm and trying to stay chill.

“I’ll call her later…” Joel muttered.

“Are you staying for dinner, y/n?” Sarah asked you.

“If you want to…” the girl nodded at you and then disappeared through the hallway.

You sighed, throwing yourself into the soft pillows. It was then that you noticed Joel hadn’t said a word and hadn’t touched you in at least two minutes, which was odd.

“Why do you suddenly look constipated?” Joel rolled his eyes but chuckled.

“We had plans for this weekend and you know my mother is not very… fond of you” Slowly, you nodded.

Mrs. Miller was quite young, Joel following her steps of being a parent in their youth. The woman made it clear the first time she met you that she didn’t like you. There wasn’t an actual confrontation but she usually ignored you.

“Why is it though? Because I’m younger?”

“Dunno, baby…” Joel said shrugging.

“But do not worry about her. We’re still havin’ fun. I won’t let her make you feel weird”

“I know that, Joel” he finally kissed you, soothing you in the way.

You won’t worry about that, because you immediately forget the moment Joel puts his arms around you and kisses you deeply.

-

It amazed you how fast things changed in two days. The moment Mrs. Miller arrived, she barely gave you a glance. She pleaded with Tommy, Sarah, and your boyfriend to have a family private dinner. Joel literally begged you to go with them but you wanted to be a reasonable girlfriend, so you said it was fine.

The following morning, you asked Joel if he wanted to have breakfast with you alone but her mother suddenly claimed she wanted to see some of the most famous spots of Texas. And in the afternoon, she made Joel take her to the mall because she wanted to crochet something for Sarah. Why didn’t she ask Tommy?

“Mrs. Miller, good evening” you greeted her, looking at how she was already perfectly styled, drinking a coke. She only gave you an awkward smile.

“Hey, love…” you then greeted your boyfriend giving him a little kiss on his cheek. The way his mother was staring made you feel odd.

“Are we going, son?” Mrs. Miller asked. You frowned confused. It was so strange to feel like the older woman was competing with you for Joel's attention.

“Uh-…” Joel stood there unsure of what to do.

“I promised Sarah that I would crochet a plushie for her…” The woman finished her drink while looking attentively at Joel, waiting for an answer.

“Fine, but it must be quick”

“I’ll get my jacket” Mrs. Miller finally disappeared.

Feeling irritated, you turned to face Joel.

“We were supposed to watch a movie together…” the man was visibly stressed out. And you didn’t want to annoy him but it was getting tiring to get dodged because of his mother.

“I know… I just…-“ you sigh, trying to be once again the comprehensive girlfriend.

“It’s okay, Joel. Enjoy having your mother around. Just let me know before making plans…” he nods, hugging you as if thanking you.

Through the door, her mother appeared once again, this time, holding the house wireless phone.

“Joel… Nani is calling you” Joel steps away from you and frowns.

“Who’s Nani?” You ask, crossing your arms and hoping to not sound too jealous.

“The real estate agent that works with Tommy and me. I just don’t get why she’s calling the house number” he sounds honest as he answers.

Your heart pounds a little faster and insecurity fills you in. You trust Joel, but you didn't like how nice his mother sounded about that girl named Nani.

“That’s the type of woman my son needs. You know?…” Mrs. Miller whispered as you brushed past her.

The only thing you did was to side-eye her and finally leave. You would call Joel in the night apologizing for leaving without saying anything. Although you weren’t in the mood to give explanations. An odd feeling grew in your guts, and that night, you couldn't sleep well.

Maybe the woman hadn’t been mean to you, but your blood was already boiling by the way Joel was handling the issue.

It was the day you were supposed to go with Joel and Sarah to the pumpkin patch. But with her mother being added to the plans, you weren’t so excited anymore. At least she would arrive later.

“Are you going to get ready anytime soon?” Your mother asked in your doorframe.

“I’m not excited to go anymore.”

“Let me guess… Joel’s mother?” You nodded at her. Your mother took a seat beside you in the bed.

“I’m gonna ask you something, okay?” Once again, you nod at her.

“You love Joel?”

“Very much, Mom”

“Then fuck off her mother, respectfully. You only have to be a good partner for Joel, not to prove anything to his mother, y/n”

She had a point.

“Now get ready and enjoy your evening with your boyfriend. If her mother joins, you are not there for her, remember…”

So you chose a cranberry sweater, you make a Smokey brown eye look that matches your gorgeous fall boots and 2000s coach handbag.

-

The sky is baby pink, which contrasts with the trees and their drying leaves. There’s a lot of series of lights decorating the pumpkin patch and making the place feel like it’s already later than it already is.

The laughs of Sarah and Tommy pull you back to reality. You spot them making fun of Joel who had bought a slice of pumpkin pie and the whipped cream of it was spattered across his face. How on earth did that happen?

“What are you doing?” You asked when your boyfriend stood beside you. He had a green and caramel open flannel with some white tee and jeans. He looked so fucking hot.

“My wallet fell and when I grabbed it, I forgot I had the cake in the other hand” you started giggling, whipping some of the cream with your pinky finger.

“Silly baby…” he rolled his eyes at you but then fixed his eyes on your lips. He couldn’t resist you, so he had to lean and kiss you.

Your fingers trace the little heart where his beard doesn’t grow as usual, and his big calloused hands find their usual spot between your neck and shoulder while the other softly grasp your chin.

“We can see you from here!” Both of you heard Sarah playfully yelling, which made you giggle and move away from Joel.

Sarah comes enthusiastically, gripping her father’s arms before also grabbing your hand.

“Hey, Tommy and I will go around and play…” you nodded at the girl, noticing the beige sweater with a pumpkin print. You wave at them one last time before turning to see Joel licking the rest of the whipped cream from his face.

His mother hasn’t appeared yet, claiming she would arrive later because she wanted to take her time. You haven’t told Joel about what she said last time you saw her. You also avoid prying about Nani. You just wanted to enjoy some quality time with him, only to remember how happy he made you.

“We should go to the haunted house and let me finger you in the mirror room”

“Joel, you’re disgusting” you answer laughing so hard at the unexpected comment.

“I was kidding, let's go and buy more food, I don't think I want to share my pumpkin pie with you”

“I like that plan” you answer, kissing his cheek. He offered his hand, which you gladly took.

“JOEL!” When both of you turn, you see his mother alongside a tall gorgeous woman.

“What the fuck?” Joel whispered.

“I found Nani!” Mrs. Miller said excitedly.

Nani was at least 5’7, with long dark hair, tanned skin, and green eyes. She had the thin body of a model and her clothes looked expensive. She also had a perfect smile.

“Joel, I was expecting you to call me,” the woman said giggling.

"Isn't she lovely, Joel?" His mother questioned with a fake smile.

Your heart stopped. You didn’t even know how to feel. You just stood there, ignoring the way Mrs. Miller was probably celebrating your downfall.

Joel turned to look at you, half pleading you and half panicking.

“Are you Joel’s daughter?” Nani asked and you wanted to cry.

Your eyes watered and you gripped your bag with violence to beat the anxiety.

“No, I’m not. Please excuse me… and nice to meet you” you said to the woman before bolting from there.

You heard Joel calling you but you ignored him.

-

That night you went out to take out some trash. The trash cans near your dad's car gave you the perfect view of Joel's porch, where he was smoking a cigarette. He had said in the past that he found himself smoking whenever he was under pressure or stress.

You remember his face when his mother appeared with Nani. He looked confused and annoyed as hell. But you also remembered the way he had barely put effort into trying to make you feel comfortable around his mother.

"I can see you, y/n..." You heard him calling you, but you had already turned around to go back inside the house.

"You know I love you so much, baby..."

Tears prickled in your eyes. You sighed.

"Seems like you can't love me enough when your mother's around" you spitted back, facing him, watching his hurt face before entering your house again.

-

The tranquility that filled your house was impressive. Your parents went out to a concert and then, they would have dinner, so they left you alone. And since you were ignoring Joel’s calls, your homework and chores were done, and there wasn’t anything else to do. Opting to play Lesley Gore in a low tone, you decided to bake something. It was colder, the neighbors had already begun hanging fake ghosts on their doors, some carved pumpkins decorated the grass and the smell of cinnamon was in every coffee shop.

But in your house, you started by placing all of the ingredients in the little island of the kitchen. Oat flour, granulated sugar, condensed milk, eggs, cinnamon and pumpkin purée.

The second day you didn't appear near the Miller’s house, you found Sarah and Tommy on your floor demanding to know why the hell you were mad with Joel.

You told them, avoiding some parts to discuss alone with Tommy but they both understood you. And it was obvious that Tommy would go and tell everything to Joel, but you actually hoped he did.

They also shared Mrs. Miller was officially gone. Tommy and Joel had a big argument with their mother. You couldn’t help but think it must’ve been hard for Joel. But then you remember how little effort he did to soothe you. Although Tommy promised you Nani and your boyfriend had nothing to do together, you were still mad.

And then a sudden knock on the door made you look away from your progressing baking. You weren’t expecting anyone, your parents had their keys and you didn’t order anything.

On the other side of the door, there was Joel. Looking nervous, holding a box of takeout and another bag with flowers peaking.

“Joel…” you weren’t expecting him. At least not on that day.

“I’m truly sorry, baby…” he said pleading.

“I wanted to enjoy having my mother around but I wasn’t expecting her to behave that way and it wasn’t my intention to lose you over that” You tilted your head.

“You haven’t lost me, dumbass. But I’m far from being happy…” he nodded.

“Can I come in? I brought your favorite noddles and tempura.” A little smile appears on your face.

“I was about to bake pumpkin and cinnamon rolls”

He had his dirty dark blue shirt, disheveled hair, and cozy joggers. Even when you weren’t pleased with him, you could feel the strong love you felt for him running through your veins with eagerness.

He followed you to the kitchen, where he placed the takeout and the other bag, then turned around to see you.

“Before anything else, I want to be clear and discuss what happened”

“Okay…” you answered.

“When Sarah’s mother left… I had nobody. Tommy was still a boy. Only my mother saw everything” Slowly, you offered him a cup of warm tea made of apples, cinnamon, cloves, and oranges. You were open to hearing him, just hoping he’d apologize.

“My mother helped me a lot eventually. But she knows how much I struggled… I was confident about not wanting to be involved with another woman. I even ignorantly started to believe all were the same” he says, drinking from his cup and watching you attentively.

“But thankfully I met you. We became friends before anything, you always showed how much you liked my family. And you turned out to be an amazing partner. You’re more than I could have ever wished for, y/n” you blush, nervously smiling at him. But he rushes to grab your hand as if he needs to confirm to you his words.

“I thought my mother was going to be happy for me finding the love of my life” he means it, you can tell by the way his brown eyes look up at you.

“Before this, I hadn’t even talked to Nina. I knew she was around but that was it. My mother had given her my number, Can you believe it?” For some reason, you laugh which results contagious for him.

“She said she wanted a woman like Nani for you” you admitted.

Joel sighed, rolling his eyes and pinching the bridge of his nose.

“I can’t believe her…”

For Joel, it had been difficult after you left the pumpkin patch. He apologized to Nani, explaining that it was a mistake and that had a girlfriend. Then Tommy and Sarah arrived home mad at him after visiting you. It was when he decided to have a talk with his mother. It didn’t end very well. And that was what tore him the most. Joel expected his mother to respect his relationship.

But he hoped she would understand one day. At the moment, it only mattered to him to make you feel loved and secure.

“I can easily see a bright future by your side, darlin’… I won’t let some stupid shit to ruin it.”

You knew very well Joel’s heart was too big and warm. You trusted him and you knew he never wanted to hurt you. Contrary to what his mother said, Joel was the type of man you needed. And you had him apologizing, promising to be good, and hoping to build a future along you.

“You haven’t lost me and I doubt you ever will, Joel….” you said hugging him tightly.

“See… I’m so lucky to have you, baby” Stepping on your tip toes, you kissed him deeply. Finding comfort in his embrace as usual. The memory of his mother is long gone.

“Love you…” he said in your ear.

“Love you more…” you whispered back.

And with that, the rest of the afternoon consisted of baking the fluffiest and softest pumpkin and cinnamon rolls, made with much love by you and Joel. And to his mother’s dismay, you would marry Joel Miller the following spring.

______________________________________________

I’m writing a new fic for Pedro’s Reed Richard’s and another Marcus Acaius based on the infamous emerald ring <3

[hellodropbear]

like she used to

alexia putellas x sister

i have been writing this for ages and it has just sat in my documents folder since january. i don't usually post stuff i write so this will probably get taken down at some point. i've written 13k words so far but this is just the first 4k.

~~~~~~

I hadn't expected to get the call up, not at all really. But Mapi tore her meniscus and apparently the first team found themselves in need of a backup centre back and I was the best option from the B team. It's a compliment, really. Mami is very proud of me and she is excited for me and my sister to play together in a few weeks, even though she is still recovering from her surgery and I will probably not make it off the bench. I am only 15 and 10 months, usually they wait until you are at least 16 and a bit before you can play. 

But, I don't really know how to feel. Thankfully Alexia won't be in training with me for now and I try to avoid thinking about what will happen when she eventually gets better and I have to face her again.

Alexia is my older sister by a lot. There's a 14 year age gap between us and I used to completely and utterly idolise her. She and Alba were two superheroes, always by my side when I needed them. I put them on a pedestal like they were the greatest human beings to ever walk the planet. To me back then, they were. 

I was only four when my father died. All I remember from that time was the big black invisible sheet that hung outside his study and the dark and scary emotions that swallowed our house whole. Alba and Alexia would argue about who got to cuddle me at night and I was so unaware what was happening that I would happily agree, wiping away their tears when it all got too much. 

The death of our father made our family unit stronger. Mami, Ale, Alba and Elena - it was all any of us needed and we supported each other in whatever ways we could. 

Mami had to pick up more shifts at her job, so she couldn't pick me up from school. Alexia had just got her license so she would come in a break during training and pick me up in her training gear. 

Alexia didn't have time to drop me off at home so I would sit and watch the training with whoever wanted to give me company when they were injured. 

Most days, Alba would come and pick me up and take me on the bus all the way home. She would play cartoons on the TV as she sat at the table and did school work. Some days, when she had the time she would sit with me and watch Alexia's training and we'd all go home together. Alba used to say she enjoyed the training. Looking back, I think she just wanted a free ride home and an excuse to not do her homework. 

As I grew up, everything just worked. Alexia and Alba were still living at home as a support to Mami and everything was perfect. My sisters were my idols, my Mami was my shining star. She still is. She would do anything for her daughters, as long as it meant we were all happy. 

That is why it has been so hard for her over the past two years. 

I have not been happy, not really. My football has been thriving, I have represented my country in the under 17 age group and I am a consistent starter in the Barcelona B team. I spent two years in La Masia before they sent me to the B team last year and I have only been improving since. Everything is going well. Mami says I have had a better start to my career than Alexia did. 

Maybe that is why Alexia hates me. Maybe Mami is just saying that to make me feel better about it.

Alexia and I, despite the 14 year age gap, were always inseparable - for the first 12 years of my life. She was at every single school event, football game, she picked me up from trainings when she could and would train me herself in the garden. We shared a common passion that Alba was not interested in at all - we both love football, we eat, sleep and breath it. Football is everything. She was the one who gave me that mentality. 

"Football is life, Lena, you are lucky you are so good because now you also get to live football and hermanita, it is the most incredible thing." 

She had whispered that to me when I was 11. We were sat on the beach, a place we visited frequently throughout my childhood, both of us staring out at the reflection of the moon on the sea. Alba was fast asleep, her head in Alexia's lap as she snored lightly, completely oblivious to our conversation. 

It all fell apart over three years ago, although I don't have the first clue as to why. 

It was not an explicit event that ruined everything, more my older sister growing up and flying the nest that was so secure and established over years and years of shared success, happiness, failure and grief. She moved out of home long before that, but her split with Jenni upset her, I think, a great deal. I wouldn't know because she didn't really tell me anything - that was strictly Alba's business. 

I didn't even know they had broken up until 5 months after it actually happened. 

"Mami, why does Jenni never come over any more?" 

It was an innocent and normal question, but the look on my mother's face told me everything. Everything about Jenni and everything about my sister. 

I think that was the first knock. She hadn't done anything wrong but I had loved Jenni and Jenni had loved me. I would have thought that she would have told me they broke up. Maybe she didn't want to, maybe she just forgot. She does a lot of that these days. 

Before she and Jenni broke up, she still came to all of my games. She never missed one game before I transferred to La Masia and would insist on taking me out to ice cream after every one. She would tease me for not scoring like she does, even though I play as a centre back. 

"You need some training from Mapi, she is a centre back and has the most lethal free kick, hermanita! She is the best defender I have played with, but don't tell her I said that. I think you will grow up to be better than her." 

She was excited that day, I had made a few good saves and I think that was the first time she really saw that I had the potential to be great. 

I remember the first game she was late to. I noticed immediately but we both pretended she was on time - she only made it to the last 10 minutes but I put it down as traffic or being caught up at training. She was busy, it takes a lot to be La Reina. 

I remember the first game she missed entirely. She wasn't there at the beginning and she wasn't there at the end. I was 13 and I didn't have a phone yet so I couldn't call Mami and ask her to come pick me up because Alexia was too busy. I told myself it was because she was too busy. I didn't want to say she had forgotten because that was too hard for me to handle. 

I remember vividly sitting outside the stadium as the sun set. My coach had asked where my sister was, I was a bit stuck with what to say but I managed to convince her I was fine and she could go home. 

Alba came and picked me up after work that night. It was dark and she looked sad but when I asked if she was ok, she just shrugged her shoulders and said everything would be fine. 

I found out from Mami a few weeks later that Alba was sad because I had never once been forgotten anywhere. Alba saw that as the destruction of our strong family. I suppose she was not wrong. 

Alexia never said anything about that game but she was at the next. She didn't take me out for ice cream after, instead patting my head and telling me she would drop me off at Mami's work. 

"I have things to do, Elena, I am very busy. Hopefully soon Mami will let you catch the bus on your own. Maybe Alba can take you soon so you know the correct routes." 

Her words hurt more than I could admit to myself, I told myself to stop being pathetic. Mami asked why I was crying when I walked into her office. I told her I had played terribly and she comforted me. I think she knew I was lying. I think that is why she had tears in her eyes when she released me from her grip-like hold.

Since that day, Alexia has been to 3 of my games. She went to one more of my old club games but she was sat beside Alba, her eyes glued to her phone the entire match. I was so unfocused that the ball deflected off my face and we conceded. I was taken off with a bleeding nose but when I looked up in the stands, my sister was still staring at her phone. Alba had run down the stairs and was by my side when I entered the little sick bay. 

I cried then too. Most people thought it was because of the bleeding nose or the conceded goal. Alba knew that wasn't the real reason. 

The penultimate game she watched was the final of the under 15s Catalonia cup. I don't know what she did during the game because Mami told me not to look up. She said she didn't want me to get distracted but I think she meant to say she didn't want me to get hurt. 

I think I still idolised Alexia at that point in time. She was still my older sister and she was still the best player in the world. She still had weekly dinners at home, although she wouldn't sit next to me and sneakily take all the food I didn't want off my plate anymore. She stopped staying to watch a movie after dinner even though my favourite part of the week was falling asleep in her lap as her hands combed softly through my hair. 

I remember when I was accepted into La Masia, Mami held a nice big dinner. It was right in the middle of covid so it was technically illegal, but we had a lot of my family over. Mami invited a few of the Barcelona girls as well and Mapi and Leila reminded me of what it used to be like before Alexia stopped loving me. 

The reminder of the before was more painful than I liked to admit, and the night ended when the tears that had been burning in the back of my eyes finally spilled out as I was talking to Mapi. 

She immediately pulled me into her arms and asked what was wrong and I struggled to find a lie that would be believable. 

I settled on saying I was upset about everything changing - which I suppose was true. 

I remember Alexia looking mortified and breaking eye contact as soon as I looked at her. She told me off that evening when Mami was in the shower and Alba was talking to someone else. She told me I needed to be grateful for everything I have been given and that she paved the way for me. 

It was even worse when she said I would never achieve the things she has. She said it was because I didn't have the mentality that she did, that I had it all so easy. 

It hurt the most when she told me she was disappointed in the person I was. 

"I hope we never share a shirt, Elena, because the day you play in the first Barcelona team is the day that we have run out of players. It will mean that football players are week and female footballers can not be weak. You do not have it in you to be like me, to do what I have done to get to where I am."

The venom in her voice sent a cold shiver down my spine and I felt like I had been stabbed. I didn't cry that time. I waited until I was in my bedroom to sob my heart out. 

The last time she ever watched me play was the next day, but she didn't have an option not to. I played terribly, my first game as a La Masia student, my sisters words repeating over and over in my head. 

That was really what tipped the relationship I once shared with Alexia on its head. The pedestal I had put her on was destroyed and suddenly she was just another player. I barely saw her as my sister any more. She couldn't love me, you wouldn't be able to hurt someone you love so much. 

I have barely seen her since. She still comes to our family dinners on Thursday nights - she still very much loves Alba and our Mami. But I tell Mami that I have training with Barcelona B late on Thursdays. It finishes at 6 and dinner starts at 7, but I just organise to go to my friends' houses for dinner instead. 

Sometimes we both have dinner together at home, but it is awkward and I hate it. I think she has probably forgotten about what she said to me in June of 2021, but I don't think I will ever be able to. 

She doesn't like me, but it's ok because I have learnt to accept that. But I will never not love my sister because she was once everything to me. 

~~~~~~

"Pequena Putellas!" Patri's excited shriek is what welcomes me into the dressing room on my first day. She tackles me into a hug and squeezes me tight. "It has been such a long time, mi favorita!" 

The last time I saw Patri was only last year at the champions league final. I had sat with my whole family but I went to the bathroom when everyone else went and spoke to the players. I don't think Patri would have seen me. 

I can only smile as she continues. 

"I remember you as the little 8 year old who would sit and watch our training sessions after school! I was so confused by you when I first arrived here, you know. I remember the first time Ale let you play a game with us and you were so good!" 

"Nobody doubted that you would be on this team one day!" A new voice entered the conversation.

"Marta!" I hugged the brunette closely. She was always one of my favourites. 

"I am proud of you, pequena putellas." 

Her words are familiar as I have heard them out of my mothers voice time and time again my whole life. But they seem foreign coming from Marta and it is an unwanted reminder of my sister. I don't know why - maybe it is because I have always associated this Barcelona team with her. I don't remember the last time she said she was proud of me. 

I don't remember the last time she said anything to me, really. 

"Gracias, Marta, I have missed you." I bury my head into her neck and she holds me closer. 

"You have not been around as much since you transferred to La Masia. I wanted to come and watch but Ale never extended an invitation and I didn't want to overstep." I shake my heads at her words and she frowns. 

"Alexia doesn't have time for my games, she hasn't for a while. It takes a lot to be La Reina." 

Marta's frown deepens at my words and the attention of a few spanish players is captured. I should have spoken quieter, I forgot how many people in here speak catalan. 

"It is ok, she is very supportive, but she just can't come to my games. She makes it up in other ways." I am lying through my teeth but Marta will never know. 

"I am sure, she must be very proud of you, being selected in this team for the first time, it is a big deal, you are very young."

All I can do is nod, my energy is all being put into holding back my own tears. I don't know if Mami told her. I don't know if Alexia even knows that I was selected. 

"Get changed now, I am sure Jona will want to talk to you before the session, especially with the game tomorrow."

I nod again as Marta pats me on the back and walk over to the cubby that says my name. It feels a bit surreal, really. 

I never really thought I would see my name on a Barcelona cubby, accompanied by my new number that I chose in the meeting a few days ago. It was always a dream, but I never thought it was achievable. Alexia always seemed like a superstar, a superhuman of sorts and I would never reach that kind of level. 

But here I am in the team that I always wanted to be in - in no way am I anywhere near my sisters level but I am on my way to being like her. I just wish she cared. I wish she was proud of me like Marta is. 

Her cubby sits across from me and I try to tear my eyes from it but it sits and stares right back at me. I feel like an intruder in Alexia's space, this is not for me, she would not want me to be here. 

I tie my laces quickly after that and head out onto the pitches to begin training. 

I have trained with the first team twice before, but the Barcelona Bs were always slightly seperate and we could keep our distance from the first players. Jonatan is a familiar face and I feel comfortable as he smiles and me and motions for me to follow the others to the gym. 

It is weird, being promoted within my own club. I am not so much a new signing, but a replacement - I am not good enough to be in the first team but they had no other options when Mapi injured herself. 

I used to worry that people would say I only get opportunities because my last name is Putellas. When my sister told me I was weak all those years ago, that idea sort of cemented in my head, I suppose. 

I never told my Mami what her daughter said to me because it would upset her. I told Alba half of it when she found me crying in my room a few days later but made her promise to not tell anyone. She couldn't say anything to Mami, Alexia, anyone at all because it would only make Alexia think I was weaker. 

She was furious and tried to tell me it was untrue but it had already been said. I believed Alexia's word more than anyone else. To me, she was a superhuman. 

But when I spoke to Jonatan a few days ago he made me feel like I was wanted within this squad. He made it clear that he wants me to integrate completely into the squad in the next few years and that he can see me playing soon even though I am only 15. 

I told him I didn't want anything special because of my surname. 

He told me that he chose me because of my first name. 

"Elena Putellas,"  he said with a grin, "you may be as good as her, but you are not your sister. This is a professional environment. As long as you perform, which I know you will, nobody will care what your name is."

It was a big boost to my confidence. 

Aitana Bonmati caught up to me quickly as I walked to the gym. 

"You are big now." I chuckled but did not look over, I didn't need to really. "But not that big. You are only 15, si?"

"Yes, I am 15." 

I met Aitana when she first joined the club. She always used to say that she would steal me and take me home with her because she thought I was adorable. It is strange that I am now sort of in the same team as her. 

She started playing for the first team when I was 8. I was older then, I played my own football and liked staying with Alexia so I could kick a ball around with her teammates when they were done. 

Aitana was one of the few who would stay every time I was there. When Alexia didn't want to wait she would drive me home herself, all the way to the other side of Barcelona. We would always stop for ice cream on the way home. 

"I have not seen you in too long, Lena. I have missed you a lot but you have been doing very well in the B team. I am very proud and I take credit for your abilities." She spoke in such a dead pan voice but it was somehow still filled with emotion. 

"I have missed you too, ABC." It was a nickname I gave her the first time she drove me home. I had been learning about the alphabet in English class and had the little song stuck in my head when she told me her full name. I used to sing her initials in the tune of the song but it quickly merged to me just saying the three letters. 

"I have been to a few of your games, you know?" 

I look at her in confusion, I have never seen her there. She just nods. 

"Alexia never invited any of us but she was never at the ones I went to so I would sit in the stands with a hat and glasses so people wouldn't recognise me, but I was there. I went to your La Masia games as well. You have become a phenomenal player, Lena."

She has always spoken with such sincerity. I have missed her a lot. 

"Maybe you can drop me off at home again tonight? I have missed you."

She chuckles and pulls me into a side hug. 

"I was waiting for you to ask, little Lena. Oh you are not so little any more!"

I chuckle as well and let my head fall onto her shoulder as we enter the gym. My eyes scan the room, looking at all of the players on their equipment, nerves quickly settling inside me. 

"Don't worry, it's all easy." Aitana seems to read my mind. "Just come with me and I will show you how to do everything. It will become second nature in the next few days."

The gym session went quickly as I was taught all the different exercises. I was familiar with most of them, having done a very similar program in the past with the B team. 

We went out onto the field to do some drills and I played well. Jonatan was impressed and so were the first players. My teammates? Maybe, not quite, I don't think. I still haven't been in a team list, so I suppose I'll be their teammate when that eventually happens. 

It wasn't until we reached the ice cream shop that Aitana started asking me all the awkward questions. I should have seen it coming. 

"Why do you never come to our games anymore, Lena?" I was very grateful for the scoops of gelato in my hands. Eating it delayed my response as I tried to come up with something to say. I shrug as I eat.

I can not say it is because I do not get along with Alexia. It is too hard for me to say now, even after all these years. 

"I'm not sure. I suppose I got busy with my own training and school. I have been to a few but I usually go home with Alba pretty quickly after they finish." It is only half a lie but she just shrugs, apparently not believing my words. 

"And why is it that I am driving you home from your first ever first team training? I thought Alexia would have wanted to." I anticipated a question like this but that does not mean I wanted her to actually ask it. 

"Alexia is busy." I hope that Aitana understands I don't want to talk about it. I haven't spoken about my broken relationship with my sister to anyone. I think she can sense something is wrong though, because she puts her spoon back into her ice cream and grabs my arm so I am staring right at her. 

"If you ever want to talk, I am right here, Lena. I know you don't like people knowing what is going on inside that crazy head of yours but it is good to release your feelings." 

She definitely knows something is wrong so I appreciate her not pushing. 

"I have outlets, I play football, I play the piano, I am ok, aitana, I really am." 

She eyed me as if to say she didn't believe me but dropped the topic anyway. 

"When did you get so good?"

chapter II

[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.

[thisaccountisagainstmywill]

BG3 Characters Safest Driver Headcanons

I've been thinking about that poll from months ago way too much, so I've pulled this from my drafts. In this essay, I will explain why Boo is the best driver. Astarion: Terrible. Absolutely terrible driver. He is doing his makeup with the visor down, looking at the mirror more than the road. Suspend your disbelief, he's driving in this universe. He can use mirrors. ♥ You have to grab the steering wheel, regularly. Without warning, the man twists around to find his purse in the back seat because he wants a different eyeliner than what he grabbed. You are on aux duty. He hates everything you've picked. 2/10, he lawyered his way into that license Gale: You would think he would be safe, but then you remember that Gale didn't pay attention in boring classes. And how hard could driving really be?? The man knows how to drive perfectly textbook. He also thinks he knows how to do it better than everyone else. He does not adapt well to poor drivers. The roads are full of poor drivers. He is yeling "Zipper!" at the merging traffic. You spend five minutes in the parking lot so he can find just the right song for the trip.

6/10, you will probably not die Halsin: The man drives slow, I'm sorry. He's fuel efficient as you can get with the windows down. He pulls over and stops traffic for ducks crossing the road, no matter what the current road conditions are. He stops to show you the new tree the neighbor got. He is a Yellowstone Park tourist. He wants to show you the world, one traffic-stopping mid-road parking job at a time. There is no music, we are listening to nature today. 4/10, you will be rear-ended with him and not the way most people want Jaheira: I stand by what I said last time: Jaheira reminds me of so many older women I know. She drives like she wants someone to start shit with her. She's so conditioned by having 5 kids fighting in the backseat at all times that every time she's behind the wheel she's having Vietnam-level flashbacks. Her blood is pumping in her ears. There is no road, there is only the red of her vision. She won't start the road rage incident directly, but by god, she will end it. (You tried to ask about music, but the look she gave you when asked killed the question.) 5/10, you make it to your destination intact. But at what cost? Your pants are a different color at the end of the trip than they were at the beginning. Karlach: Karlach is talking with her hands while she drives. She's fiddling with the radio constantly. You've blown four red lights. Three of them were the same red light because she took a wrong turn. She will not use GPS, she's got the vibe of where she's going. She was trying to show you something on her phone at the same time. It cannot wait. It was so good you have to see it right now. The tunes are so loud she hasn't heard the sirens behind her. 4/10, the tunes almost make up for it Lae'zel: You are helping her check her mirror distance before you get in the car. You are buckled in before the car even starts. You are not allowed to touch the light in the car if it is dark out. She was taught that it's illegal to have on at night and she takes that shit seriously. You are on blindspot-watching duty at all times. You're not allowed to have music on the in car, it is a distraction. 7/10, we are efficient, but we are miserable Minsc: Minsc cannot drive. Minsc was meant to drive today, but Minsc got into the wrong seat. We are all relieved. Jaheira trained him wrong on purpose and will kill you if you correct him. 0/10, don't even try. He will survive the accident, you will not. Minthara: Minthara, light of my life. She is gremlin cackling and riding bumpers the whole time. People are pulling off constantly to get away from her. You are white-knuckling in the passenger seat and are too afraid to let go of the bitch-bar. You pray her airbags are up to date because your life has not stopped flashing before your eyes since you got onto the road. We are exclusively listening to The Flight of the Valkyries. 7/10, it is shockingly efficient when no one else is on the road anymore

Shadowheart: I have been in many a 'Shadowhearts' car. The car is more of a problem than she is. She drives the type of car that makes people go, "You live like this?" She drives a manual. She was not trained to drive a manual. Almost every single dash light is on, the ones that aren't had their bulbs die out years ago. We don't know how old that trash is, but it lives here now. She has one of those cassette players that has to hook into your phone to come out the speakers. Good luck finding the right adaptor in the mess. 4/10, girl get your shit together Wyll: Wyll is the best driver, hands down...when he is alone. Like all things in his life, his greatest flaw is being too polite. He turns his whole fucking head to look at you when you talk because that is the polite thing to do. The road is secondary to how important your conversation and companionship are to him. And you can't not talk him! He's asking you genuine questions about your day because he's interested. You get to listen to whatever you want and he's totally down for it even if it's not normally his thing. He'll find something he likes about it. Alone: 100/10, he somehow makes everyone better drivers by just being on the road With you: 5/10, Wyll, please, look at the road. ;_;

Boo: My eyes are closed. It's better this way. We made it there in record time. I don't know how it happened. I don't need to know how it happened. ?/10, it's best if you don't think about it

[eddiemunson-reader-shame]

Dad!Eddie Munson x Mom!Reader: Boy Moms

Good morning Hawkins I decided to take a break from my fanfic for a minute and write this short little thing out because fuck it I want to write little mundane crap about Dad!Eddie. Also because you know this GIF is how the fuck Eddie's sitting watching the conversation happen when some deranged boy mom starts speaking. Let me just preface by saying before I get mobbed: There's nothing wrong with whatever gender a child is, but boy moms scare the shit out of me. Seek therapy.

Warnings: boy moms (gags), sexism

****

“Having a boy is just life changing. I’m sorry that you’ll never get to experience true love.”

The silence was so palpable that you could almost hear the comedic sound effect of the metaphorical record scratch in both of your brains as all thought stopped. Eddie had been in the middle of packing the diaper bag in the stroller while you were putting your four-month-old in the bassinette. The two of you had been politely trying to cut the brunch date short.

You immediately wondered if you misheard the woman in front of you.

Not quite slack jawed, just with wide eyes, you and your husband both leaned forward over the pristine white linen tablecloth of the café table. One of your “mom” friends - a woman by the name of April Laurentis - sat back across from the two of you and flounced, the magenta of her Avon lipstick bleeding into the cracks of her mouth. She was admittedly not the typical company you kept. Rather a desperate attempt to connect with other parents in Hawkins, and so far had been the only mother to agree to have brunch with an impoverished pair of fresh out of school metalhead parents who lived in a new doublewide with an uncle in Forest Hills Trailer Park.

“I’m sorry, what?” Eddie asked, blinking away the confusion in his face.

“You had a girl, and girl mothers just do not have the same bond as mother and son.” April said, flouncing her blown out curls dyed autumn barley.

She looked right at you and pointed a manicured finger.

“You won’t know true love until you have a son.”

You mouthed a soft ‘what the fuck’ under your breath, watching as Eddie leaned his elbow on the table. His wide brown eyes were fixated on the older woman before him; the corners of his mouth drooping in a grimace that made his smile lines transform into deep trenches on his face. His fist went to his mouth, as if trying to stop himself from speaking.

But of course, Eddie and his big mouth…

“So you’re saying that my wife…” Eddie had to really emphasize the ‘wife’ part, “Like… the first actual girlfriend I’ve ever had, since high school… I’m not her first true love?”

Eddie was a lot of firsts: first boyfriend, first true love, first sexual encounter, first baby daddy to your unwed eighteen-year-old self until Uncle Wayne paid fifty dollars for the marriage license at the Hawkins courthouse after Charlotte was born. Now hopefully, he was your first and last husband.

“Of course not!” April scoffed, “Because little Charlotte is YOUR first love, daughters are always their father’s first love… Your wife will never know true love until you give her a son.”

April dismissed this with a hand wave while her two-year-old started banging a spoon against her chair. You and Eddie just stood there, unable to comprehend the woman’s delusions of a particularly horrifyingly obsessive nature.

“… so you’re saying that your son, little Timmy over here…” you pointed.

“Tanner.”

“Right, Tanner… you’re equating Tanner here to romantic love…?” you asked, dreading the answer.

“It’s just different.” She argued, “You’ll never understand the bond I have with my baby boy. He’s my whole world!”

“And our daughter is what…?” Eddie asked, “A statue? A ghost? An object? What exactly are you trying to imply here? That my kid requires a penis for them to be counted as a valid member of the family to be loved? That’s a little medieval fiefdom of you, don’t you think?”

No sooner did the words leave his mouth, April began to go off on you even though you hadn’t even said anything, ranting about how you would never understand the deep bond that a mother and son shared because you hadn’t birthed one. Her spiel devolved into a delusional, impassionate speech about how you and Eddie would never understand: her heart was breaking just thinking of her baby boy loving another woman other than herself, and how she couldn’t imagine how Eddie’s mother must have felt when you ‘stole her son away from her’.

You had to lay your hand across Eddie’s chest to prevent him from turning over the table at that comment, and with one last hateful look, April gathered up her child and left the café, slamming a ten-dollar bill on her untouched plate of mixed greens.

For a long time, both you and Eddie just stared after her retreating form.

“… Am I on glue or did that really just happen?” you ventured after a while.

“No… that sure did just happen,” Eddie replied, “That was definitely a real conversation, and it was batshit crazy.”

“I won’t know real love, until I have a son.” You repeated, looking at your baby.

Charlotte had her fist in her mouth, gnawing away at her chubby little fingers with her gums.

“So like… the whole high school sweethearts meeting, falling for one another during a gig at The Hideout, having insane amounts of sex, popping out a kid, moving into the trailer park together, and getting married… That’s not love?” you asked.

“Apparently not.” Eddie responded to your rhetorical question, “I guess your husband is just some dude who occasionally contributes sperm, and the kid is the true love? Mark that down as fucking gross.”

“… okay so you totally picked up on the weird Oedipus vibes from her right?” you quickly asked.

Eddie, still horrified, nodded.

“Oh, hell yeah I did.” He said, “That was definitely Oedipus Complex... you didn’t hear the banjos?”

“I was hoping I had misheard.” You admitted, giving a full body shudder.

The two of you stood, put a few crumpled bills on the table and flagged down a waiter to collect the tab, then began the long, awkward walk to the Gaucho. Both of you were still downright horrified at the turn the conversation took, wondering what sins you committed to get to this point.

“Um… so… Definitely blacklist April as a potential mom friend.” You said, pulling down the visor on Charlotte’s bassinette to protect her from the sun.

“Most definitely blacklisted, I don’t want to know what kind of screwed up family life she’s had leading up to that delusion.” Eddie said, pushing the stroller along the sidewalk, “And I don’t want to expose Charlie to it either.”

“Oh she totally grew up overshadowed by her brothers.” You said immediately, “That’s textbook Freud. And she probably still has all those residual mommy issues, plus a hell of an Elektra Complex.”

“One hundred percent.” Eddie said, “Deep-seated mommy daddy issues, and from the sounds of the first love comment, a dead bedroom.”

“Jesus H.” you laughed, covering your mouth while Eddie let out a dark giggle, “Oh my god… that’s kind of terrible.”

“It’s true!” he argued, “You can’t sit here and tell me she has a great marriage with comments like that!”

“Yeah but that’s gross to say!” you argued back, still unable to help the uncomfortable laughter.

“Trust me,” Eddie laughed, “I guarantee you she was rotting with jealousy. Especially when at the beginning she made comments like ‘It must be so nice that your husband babysits your daughter for you’.”

You shook your head, wrapping your arm around Eddie’s as you both began laughing and making hideous gagging sounds every time either one of you brought up April’s weird son complex.

“See this…” you said, waving your hand in a circle, “This encounter we just had, this is why the aliens won’t talk to us.”

“Amen to that, baby.” Eddie shuddered, “They lock the fucking doors when they drive by us because of ‘boy’ mothers like April Fucking Laurentis.”

[mylasteverlution]

Disco Elysium has a lot of fascinating fictional technology but I have been rotating the radiocomputer in my mind for months now. From what I can gather, they operate in a way very similar to modern cloud computing. It doesn't seem like the mainframes we interact with have any processing capability. Instead, they use antennas to process "on air":

SOONA, THE PROGRAMMER - "Alright, well... All radiocomputers perform operations up on air, so in order to gain more processing power you need to invest in a *good antenna*."

The only information we get about what "on air" really means is from the same conversation with Soona:

YOU - "Wait, what's 'on air'?" SOONA, THE PROGRAMMER - "On the *front*. The unified front of radiowaves, licensed and controlled by Lintel in the East-Insulindic region." SOONA, THE PROGRAMMER - "It's all around us," she waves her hand, "that's what 'on air' means."

The nonspecific language used here really invokes cloud computing to me. I think there are two main possibilities for how this could work, one being much more likely than the other.

The more likely answer is that information is sent to and from the in-game equivalent of data centers, which would host massive computers with processing capabilities. I'm not sure what their processors would look like, but they'd almost certainly be analog (the lost Feld tape computers are most likely the in-game equivalent of early digital computers).

The significantly less likely (but more interesting) answer is that in-game radio waves are somehow capable of processing information on their own. I have no idea how this would work, and as far as I know there's no real-world analog. But it's clear the world of Disco Elysium has some crazy things happening with radio waves (see how they interact with the pale), so I'm not ruling it out entirely.

The filament memories are like hard drives, but my guess is they would function more similarly to an optical disc (CDs, DVDs), which use patterns in the disc to encode information that's read using lasers or light. The filaments glow inside the mainframe, so it's not a huge leap to assume they're read using light.

The amount of thought put into radiocomputers is so fascinating. As far as I can tell, their version of the internet has been wireless from the get-go, which makes perfect sense! Antennas and other wireless radio technologies would have to be pretty damn powerful to communicate across and force dimensions on the pale. And you have to assume huge amounts of government money has gone into funding their research and development for those purposes. The technology of radiocomputers is so tailored to the world of Disco Elysium, and it's been a lot of fun trying to untangle how exactly they would work.

[redocity]

Buck teaching his gf how to drive a car since she only has her motorcycle license bur he's scared she's gonna grind the gearbox too hard in his jeep so they borrow Eddie's car?

AUTOMATIC DRIVE — E.BUCKLEY

after half a decade of motorcycle driving, you want to actually learn to drive a car. buck thinks an automatic drive is your best option.

evan buckley x fem!reader | 1.1k | fluff | masterlist.

a/n— the default in the uk is a manual car (they call it a stick shift in the us right?) and let me tell you, i wish i learned in an automatic it would’ve saved me so much grief

It was a warm Saturday afternoon, the kind of day perfect for a drive around the city.

Except for the fact that you were about to learn how to drive a car for the first time.

Sure, you had your motorcycle license and had been riding for years, but cars? Whole different story. And Buck, bless him, was trying his best to be supportive.

"You'll do great," Buck said, offering you a reassuring smile as you both stood next to his beloved Jeep.

You gave him a look, raising an eyebrow. "You sure? You were just muttering about the gearbox under your breath like two minutes ago,"

Buck winced slightly, rubbing the back of his neck. "Okay, well, my Jeep is… special. It’s been through a lot, you know? The wildfires, rescues, that time it got stuck in the sand dunes—"

"I get it, Buck. Your Jeep’s your baby, I don't want to ruin it," you said, trying to keep from laughing at the anxiety creeping into his voice. “I don’t really need to be able to drive a car anyway—”

“No, no, you wanna learn to drive, you’re gonna learn to drive,” He sighed, looking between you and the Jeep, then pulled out his phone. "How about we call in a favour?"

—

Fifteen minutes later, Eddie rolled up, leaning out of the window of his family SUV with a raised eyebrow. “So, you’re trusting me with this? Or am I trusting you with my car?”

Buck laughed, walking over to greet him. “We’re trusting her with your car. I thought mine would be a little too, uh… temperamental for a first-time driver.”

Eddie glanced at you, a smirk playing at his lips. “Right. And you think my car’s gonna survive?”

You rolled your eyes, but there was a grin tugging at your lips. “I promise not to grind the gears off your car, Eddie. I’ve been riding motorcycles for years—I think I can handle a sedan.”

Eddie chuckled and tossed Buck the keys. “It’s automatic, so there’s no gears to be grinded. Plus, you’d have to try pretty hard to kill the engine on accident.”

Buck let out a visible sigh of relief. “Thanks, man. You’re saving me a lot of stress right now.”

“Yeah, well, you owe me one. If my car comes back with any dents, you’re on babysitting duty for a month,” Eddie called out, as he climbed out of the car. “Also, I’m borrowing your Jeep,”

“Yep— Shoulda seen that coming—”

—

You slid into the driver’s seat of Eddie’s car, feeling a little out of place compared to your usual motorcycle stance. Buck was in the passenger seat, hands already on his knees, clearly trying to keep calm.

"Okay," Buck said, his voice calm but a little tight. "First, adjust your seat and mirrors."

You grinned at him. "I know that much, Buck."

“Right, right. Just… making sure.” He took a deep breath, his hand hovering near the dashboard. “Okay, now foot on the brake and shift into drive. And, uh, easy on the gas, alright? It’s not like your bike.”

“Easy on the gas. Got it.” You followed his instructions, shifting into drive and slowly pressing on the pedal. The car began to roll forward, and you felt a little rush of excitement. “Look, I’m doing it!”

“Yup! Doing great,” Buck said, his voice pitched just a little too high. His hand was now gripping the side of his seat, knuckles white.

You turned the wheel gently to navigate the quiet streets around the neighborhood, keeping your speed at a comfortable pace. Everything was smooth for a few blocks, and Buck’s tension seemed to ease.

“This isn’t so bad,” you said confidently. “It’s actually kind of like riding, just with more—”

Suddenly, a squirrel darted across the road.

“Brake! Brake!” Buck yelled, his arm instinctively shooting out in front of you as if to shield you from some invisible impact and his foot pushed into the floor like he had a phantom brake pedal of his own.

You slammed on the brake, and the car jerked to a hard stop. Both of you lurched forward slightly in your seats, but the squirrel scampered off unharmed.

There was a moment of silence, both of you staring out at the now-empty road. Then, you burst out laughing, the adrenaline turning into a kind of giddy relief.

“Are you okay?” you asked between giggles, glancing over at Buck.

He had his head in his hands, but he was smiling, shaking his head. “Yeah, I’m fine. Just, uh… maybe a little traumatised.”

You grinned. “Come on, I didn’t even hit it! I’m doing great!”

Buck leaned back in his seat, taking a deep breath. “Okay, okay. You’re right. Just… maybe next time, we ease into the brake a little slower?”

You nodded, still grinning. “You got it. No more squirrel-slamming.”

—

A little while later, after a few more practice rounds of smooth turns and gentle braking, you pulled the car into Eddie’s drive, parking it with as much precision as you could manage. It wasn’t great.

Buck let out a long sigh of relief as he unbuckled his seatbelt. “See? That wasn’t so bad.”

“Yeah, you seemed totally calm,” you teased, nudging him as you stepped out of the car.

Eddie emerged from the house, taking his keys back with a grin. “No dents. I’m impressed.”

“Thanks for letting me borrow it,”

Eddie waved it off, though he shot Buck a knowing look. “No problem. Just remember, Buck, if I ever need backup with Christopher or you’re feeling brave enough to return the favour… you owe me.”

Buck groaned, but he was smiling. “Fine, fine. Babysitting in exchange for not destroying your car. Deal.”

As you walked back toward Buck’s Jeep, you slipped your arm through his. “So, what do you think? Did I pass your driving test?”

Buck grinned, pressing a kiss to the top of your head. “With flying colours. I just might need a drink after this to calm my nerves.”

You laughed, squeezing his arm. “Deal! I’ll drive us there.”

Buck froze, eyes wide in mock terror. “Uh, maybe I’ll handle that part…”

[batmanisagatewaydrug]

hi, i'm fourteen and i have this friend who asked me if i wanted to try eating her out. not a girlfriend, a friend. i don't have any feelings for her but i do think she's gorgeous and she's probably the best friend i have and the most mature 14 year old i know. i trust her a lot. im definitely not opposed to trying to give her head, either. i'm just worried it might be a bad idea, and i'm anxious that i won't do it right and she won't even feel good. i definitely don't want to have sex this early but does giving someone else head even count as real sex? she wouldn't really be touching me at all, except for she did say she'd want us to make out before i did it, though i'm not entirely sure why, but i am okay with it. i'm also worried about, like, STDs, because i've never been with another person like... sexually, i've kissed other people but i haven't in a while. but i think she might have done stuff with people? i don't know how recently. like... i don't know, do you think this is a really bad idea and we're too young or is this fine? how do you even eat someone out, like, what do you do? sorry if this is annoying i just really need an adult to ask about this and it's not like i can ask my parents since i'm not really supposed to do this.

hi anon,

thank you for asking! I'm really grateful to be an adult that you trust enough to talk with about stuff like this. it's not annoying, and I'll do the best I can to give a helpful answer based on everything you've told me.

I think maybe, in your case, this might not be a great idea right now. it sounds like there's a lot about this situation that makes you nervous in a way that's not fun - the kind of nerves that come from being excited to connect with a new person are one thing, but I'm hearing much more anxiety than excitement in the way you're talking about this.

oral sex (using your mouth) definitely counts as real sex - it's definitely not just putting a penis in a vagina! - and can be just as intimate and emotionally complicated as any other kind of sexual expression. you said you don't want to be having sex at your age - which is totally normal, and completely your choice to make! - and that includes oral sex as well, so maybe it's best if you sit this one out for the time being.

I want to be super clear that I'm not saying this out of any sense that no people your age should be sexual; I think wanted sexual exploration between young teens can be a great way to start exploring sexuality and finding what feels good! but that doesn't mean that every teenager has to be having sex, or that they're immature if they don't. people are ready to explore sex at lots of different ages (and some people never do at all), and none of them are weird or wrong. you could feel totally different in ten years, one year, a month, or even a week, but right now you don't feel ready, and what you feel right now is what's most important.

holding off until you've had time to learn more about sex may also help, because every situation is less scary when you feel more prepared. (it's why they make you spend so many godforsaken hours practicing driving before you can take the test to get your license.) in the spirit of learning, I want to share some resources about some of the things you had questions/concerns about.

this page on Planned Parenthood's website talks about lots of different kinds of sexually transmitted infections (STIs, also frequently called sexually transmitted diseases, or STDs), including how they're spread and how to treat them. I don't want to make STIs sound scary - I recently wrote a whole post about how they really shouldn't be! - but because it is important to know what risks there are if you plan to be sexually active so that you can do your best to minimize those risks, and what to do if someone does catch an STI. an important thing to remember is that, at your age, it might be difficult for you or your friend to get tested for STIs without help from your parents, which may be awkward and unpleasant or totally impossible if you're unable to tell them why you need a test in the first place. that's an important factor in deciding whether or not to have sex!

additionally, here's some info about dental dams, which are basically condoms for oral sex - they're a flat piece of latex, like a condom that got rolled out, that goes between the mouth and the hole.

and to help with your question about how going down even works, I recommend this video by sexologist Dr. Lindsey Doe. you won't be seeing any real genitals in this video, although there is a drawing and some nude Barbies, and you'll probably want to listen with headphones unless you're alone. there are also links to more of Dr. Doe's videos on the topic.

and lastly, for more thinking about this topic, I want to direct you to Scarleteen's answer to help figure out when you're ready to start having sex, which is very good on its own and has links to some other good reading on the topic. Scarleteen is a great resource specifically designed and run to help answer teenagers' questions about sex without judgment, and I recommend them very heavily.

I hope that this has been useful, and helps you feel empowered to make whatever decision is best for you.

[gatorbites-imagines]

Bakugou x male reader where Bakugou got a thing for lingerie so he buys some to try on but is a little self-conscious and kinda runs away to bathroom to hide so reader don't see him, reader comfortes/reassures him that ofc he's beautiful and pretty. after comes the fucking

Katsuki Bakugou x male reader

Headcanons

(Aged up characters, obviously)

Im not dead, how is everyone? Trying to get back into writing now that I have time. Not too smutty, more focused on the fluff, but I hope that’s still enjoyable.

Reader is based vaguely off Hiromi Higuruma from JJK, cuz im a sucker for tired lawyer type dudes.

Katsuki has always been the type of person to put on a tough front, that didn’t lessen after you two started dating. You met after he graduated UA and set up his own agency, when he needed the best legal help to set it all up.

He didn’t really know how to act around you in the beginning, with your dry humor and the fact that you didn’t take him too seriously. You had a quirk license, but you never once planned on being a hero, since the system was corrupt and broken in your eyes.

This also led to your guys first major argument, way before you started dating. But being forced to work together for months meant you guys grew closer. At this point Katsuki also learned about your quirk, which was the ability to see and use people’s karma against them.

This meant you could “see” when people were lying, but it was more of a sense than sight, but that’s the easiest way to explain it. it was also how you were able to point out quite early on that he was lying through his teeth when he snapped that he didn’t like you.

Being with somebody who could easily point out when he was bluffing or trying to hide how he really felt, was something Katsuki wouldn’t like in the beginning, since it meant he couldn’t use his usual defense mechanisms.

But as time passed, Katsuki was able to be himself more and more around you, seeing as you could always sense to some degree when he was hiding something, and all your court work meant you could easily tell when there was something he wanted to say but couldn’t get himself to do it.

It meant that Katsuki finally allowed himself to start exploring other parts of himself and his interests. Being soft and harmless has never been something the explosion hero had seen himself as, but with you it just came easy.

And if he imagined being your cute little househusband who would greet you when you get home form a difficult case, who would undo your tie for you and massage your shoulders, only to show you the silk pieces he wore in your favorite colors, then it was just for Katsuki.

Katsuki can’t explain what came over him when he bought the lingerie pieces he had been glancing at for months. Maybe it was the extra hours of hero work that left him loopy and exhausted, or it was that deep urge to be small, soft and pretty, instead of big, tough and strong,

He could deny ever having bought it, since you guys had your own personal finances. That was until it came in the mail, in a nondescriptive box that just looked like any other package. It had Katsuki thinking it was something random he had bought, until he opened it up and was met with soft pink tissue paper and a personalized “thank you for supporting my small business” card.

The stickers, raspberry candies, and a guide on how to wash and care for the lace, was shoved aside. Bakugou went bright red as he pulled the tissue paper open and saw with his own eyes the pieces custom made for his build, in the softest of pinks and whites.

Part of him wanted to just throw it away, even if hed spent way too much money on it. but another part of Katsuki was excited, a soft shudder run down his spine as he rubbed the material between his calloused fingers. Maybe he could just… try it on. That didn’t mean he had to use it for anything, right?

It didn’t take Katsuki long to move into the bathroom across from your shared bedroom. It was large enough for both of you to have your space, but most importantly, it had a large mirror where you could see yourself with ease.

In his nervous excitement, Katsuki didn’t realize the guide for caring about said lingerie had been brushed to the floor, just barely tucked under the kitchen table where hed dumped the other packages you guys had received.

The blonde was a blushing mess as he tucked the lingerie on, breathing shaky and uneven as he felt the soft delicate lace and fabrics brushing against his muscular scarred body. Hed always looked strong and dangerous, but like this he could almost see himself as… delicate.

The shape of the lingerie made his already small waist seem smaller, whilst also supporting his pecs and squeezing around his thighs in ways he knew would have your hands twitching with the urge to grab.

Katsuki was too distracted with admiring himself to notice you arriving home, your tired voice calling out to him as you knew he would be around. His silence had you raising a brow as you tucked off your coat and tie.

The pile of packages wasn’t anything new. Being a hero meant Katsuki got a lot of mail shipped directly to him, and you got things every now and then too, though it was normally thank you gifts from clients.

The soft pink paper under the table caught your attention, and after picking it up you could help but huff softly in interest. Was Katsuki trying to surprise you? How sweet. Better not keep him waiting then.

Your quirk allowed you to see vague splashes of color and waves, each color and swirl showing different feelings and intensities of said feelings. His embarrassment and arousal had you softly chuckling to yourself. The shame and fear mixed into it was worrying though.

It wasn’t hard to figure out where he was. If the light under the bathroom door wasn’t enough to tell you, then the intense swirls of colors radiating through the doors cracks was another sign. This truly made him feel good, you could tell. It also meant you felt bad that he hadn’t come to you with this before, as it clearly made him feel some type of way.

“Katsuki?” you pipe up, knocking softly on the door, eyes locked onto the swirls of color and waves that seemed to twist and turn, wanting to gauge his reactions and feelings. The flashes of new colors and erratic waving made you frown. Why was he scared? Self-conscious?

You didn’t say anything about what you had found in the kitchen, instead letting Katsuki take all the time he needed to answer. A gruff but meek “what?” snapping through the door.

Inside the bathroom Katsuki started to feel horrible, wrapping his arms around himself. Hed been so distracted oogling at his body and the lace that he hadn’t even noticed you coming home, what type of hero was he to not realize?

The self-conscious feelings welled up, the imperfections he couldn’t see before almost blowing up to a much larger, much more noticeable scale. Why would you find him attractive like this? All muscles, sharp edges and ugly scars?

“What are you doing, honey?” you hum, keeping patient and open. Sure, you were jittery with the want to see him in whatever he had bought, but it was clear Katsuki was uncomfortable, mostly with himself than anything.

“Just- fuck. Go away for a moment, ill be out” he snapped, voice raising a few octaves that told you he was starting to get distressed. Katsuki couldn’t figure out why his eyes were welling up, or why he felt so weak and vulnerable like this. But the very thought of you seeing him like this and rejecting him felt worse than any wound he had ever gotten.

“What if I want to see” you mumble, close enough to the door to know he would hear you. Your quirk let you see the rapid fluctuations in the colors and swirls. Shock, annoyance, depressive self-hate, self-consciousness, begrudging acceptance.

He clearly wanted to demand to know how you knew what he was wearing, but Katsuki grumbled a little to himself. Of course you knew, you knew everything, you weren’t heroes go-to lawyer for no reason.

You took a small step back as the door unlocked, and nothing could have prepared you for the sight that would meet you. A hot breath was puffed out your nose as Katsuki stood so meekly before you, scarred arms still protectively wrapped around himself.

The longer you went without speaking, the more distressed your lover seemed to get, his red eyes

flicking from your face to the wall to the floor as he worried at his lip.

Finally, your explosive lover seemed to snap, throwing his arms out in a frustrated “say something for fuck sake!”, his eyes wide but shiny in a way that spoke of tears. His usual posturing and loud tone didn’t really have the same effect when he was wearing that pretty lingerie, and he was flushed so prettily in the face.

“you’re so pretty…” you finally muster out, his still locked to his face and body, hands clenched at your sides as familiar heat bloomed inside you like hot syrup. It wasn’t the usual ravenous hunger that had you bending him over the kitchen counter, or shoving him under your desk in your office, but it was similar.

He scoffed at your words, but his redder face and the bright colors swirling around him made it clear he felt flattered and noticed, a soft whimpered noise leaving his clenched lips when you finally started to touch him.

It was strange to have your usually self-assured and decided lover shuddering and gasping weakly from your hands just running up and down his sides, brushing against the delicate lace and the different stitches and patterns.

“s-stop saying stupid shit” he mumbled, his voice even sounding softer and more vulnerable than Katsuki normally allowed himself to be. The tone of Katsuki’s voice jumped up into a yelp as your hands grasp at his pecs, petting at his nipples through the sheer fabric, already so hard and sensitive from all his self-admiration earlier.

“If you don’t believe me, let me show you” you grumble out, finally looking Katsuki in the eyes with the look of a wolf about to eat its prey. The explosion of bright colors around Katsuki was euphoric in your eyes, even as he yelped when you picked him up with ease. The bedroom was right across the hall, but that wouldn’t stop you from carrying him there.

Katsuki wrapped his arms around his chest again as you laid him carefully on your shared bed, too flustered to look you in the eye. But you knew he wanted too, he was just to shy to allow himself to feel this way, which just meant you had to show him.

The gasped yelp that left him as you slide his thighs apart brought a hungry smirk to your face, Katsuki’s wide red eyes finally snapping to your own as you slowly slide lower and lower between them. You would make sure Katsuki felt more confident before the night was over, that was a promise.

[americas1suiteheart]

I have something called Juvenile Myoclonic Epilepsy that I was diagnosed with when I was 15 which isn't caused by flashing lights or strobes, but rather hormones. So, I decided to do something with a reader that is epileptic, just not with something exactly like mine. Enjoy!!

I Won't Tell, I Promise

James Wilson x Epileptic! Reader

Summary; Y/n has been working at Princeton for 4 years, hiding her epilepsy in fear of losing her job. But what happens when an episode comes out of no where?

Notes; Everyone I've met and told I have epilepsy always thinks it's light sensitive, but it's not. I wanted to kind of have this as a thing to give a bit of what it's like dealing with that stigma.

Warnings; Foul language, mentions of taking prescription drugs, epileptic episodes, angst.

Word Count; 4,230

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You've been working at the Princeton Plainsboro teaching hospital for a short while so far.

Before Prinston, you worked at a hospital all the way over in Oklahoma City as a nurse, then to Chicago as a doctor.

You probably would've never gotten this job if you mentioned what would be considered a "safety concern", to anyone.

You were diagnosed with Myoclonic Epilepsy when you were 17 and though it was said to be hormonal, it still hasn't gone away 26 years later.

"It'll go back to normal, just give it time, it usually goes away by your 20s," the neurologists and your mother constantly reminded you that. And nearly 30 years later and they were wrong.

That's what upset you the most. The fact that they assured you that it would go away and you would no longer have to take anymore of the god damn medicines or switching them constantly. They lied to you.

But, no use in moping about it. It is what it is. This problem, this disorder, is what pushed you to do what you do now. Neurology.

The doctors and neurologists could never figure out what was "wrong" with you. Countless tests, week long EEG's, CT scans, blood tests and draws, more brain scans, everything you could think of. Nothing.

No tumors ever found, nor any family history of it.

You'd just figure it out yourself.

Being in the medical field for almost 20 years has just earned you one of the larger titles.

Dr. Y/n L/n | Head of Neurology.

You had your own office on the floor where all of the MRI and CT machines resided. Made recently for you.

You just got that title just a couple months ago, and man was it difficult.

You had to take an extra dose of medicine due to the amount of stress and lack of sleep you were getting. And you weren't about to give that title you worked so hard for up.

Maybe (you knew it was,) mixing one of the strongest medications with another concentrated one was a bad idea.

750 mg of Levetiracetam, 370 mg of Lamotrigine, and 50 mg of Clobazam 3 times daily. On top of vitamins due to deficiency.

Now, that high of a dose of the Levetiracetam was already bad enough, but mixing it with the Lamotrigine made it worse. But you couldn't have an episode on the job. You feared that if you did, you would lose not only your title, but your job, and at the worst, your medical license.

You just couldn't risk that.

"...Y/n? You okay? Can you hear me?" A hand waved in front of your face with a couple snaps, trying to get your attention

Now see, that was the tricky thing with epilepsy. Absent seizures. You never knew if you'd just spaced out or had another small seizure.

"Oh, uh, sorry. Yeah, I just spaced out for a second, my bad." You respond, forcing a smile with a chuckle.

"Oh, good. Thought I lost you there," Wilson says, putting his hand down and taking another bite of his salad.

Your watch begins to beep, indicating it was time to take the second medication of the day.

One in the morning, one during lunch, and one at night, taking each one with water and food.

"Um, give me a second, I gotta go get some water real quick. I'll be right back." You awkwardly rush.

"Don't worry, I'll get one for you. I've gotta throw my trash anyways."

"No, Wilson. Really it's fine I can get it," You began to panic. Don't panic.

"Then I'll go with you," Wilson smiles, getting up with his trash.

You mutter out an "Okay."

'He's going to ask about the pills. I've never taken my meds in front of anyone before. What do I say?' You began to freak out even more. 'What if he sees them and tells Cuddy about them? I'll lose my job.'

Technically you weren't supposed to supply your own medication to yourself. That's how House got in trouble. It's not like I'm abusing them, though. Right?

"What's that timer for?" Wilson asks.

"Well, sometimes I'll be working and I'll forget to grab lunch, so I don't want to forget to eat, y'know?" Liar.

"Oh,"

You continued walking in an awkward silence before you quickly went to the food bar and bought a bottle of water.

"You left me, what was that for?" Wilson chuckles with a hand on his hip.

'Do I just tell him? He'd be the first to know apart from my family or friends back in my hometown. No one since I left there knows about it. But I could trust him.'

"Uh, well.." You begin.

"Wilson! Come here!"

You turn around to see House marching (or trying more so,) toward the two of us.

"House-"

"Shut up, I need you. You can talk to Ms. Addict later."

'Shit, did House know?'

"Excuse me, what did you just call me?" Unbelievable.

"..real bold coming from you, House." You continue.

"At least I admit it! You’re exactly like me!" House shouts as he walks away with Wilson.

"What do you mean by 'Ms. Addict?'" Wilson asks, you being able to hear him as he walks away with House.

'If House knows, will he tell Wilson? Shit, more importantly, will he tell Cuddy?'

You sigh as you walk out of the cafeteria and go down the stairs to your respective level and enter your office.

"God, I've gotta stop this shit.." You say, picking up some x-rays of brain scans.

The patient was an 8 year old little boy. He was experiencing small seizures regularly, without any family history of seizures or epilepsy diagnosis'.

He'd been in the hospital for nearly a week now, countless tests were run, and he'd been attached to an EEG machine to see what would spike when he had an episode.

'Shit.'

You looked more closely at one of the radiographs. On the right side of his temporal lobe there were two black masses, most likely tumors, which looked to have been roughly 5 to 6 inches in size.

"Fuck.. Fuck, what do I do with this." You began to panic. There shouldn't be masses like that. This could just be something wrong with the machine, right?

You can't just stand there. You had to say something.

'Wilson,' You thought to yourself.

He would be the one to go to. You could only hope that they weren't cancerous tumors.

You gather up the rest of the radiographs and make your way out of your office to go to Wilson's, hoping that House was finished doing whatever he does, and that he would be in there.

"Hey, Dr. L/n, I was wondering if you have any updates on Noah yet?" The boy's mother stopped me in my tracks.

"Oh, good afternoon, Mrs. Pieters. I was actually just looking at Noah's radiographs now. I'm going up to Dr. Wilson's office right now to go over them with him, so the final results should hopefully be out soon," You explain anxiously, still trying to sound as professional as possible.

"Oh wonderful! Once again, thank you for putting Noah in your care. You have no idea how lucky and relieved we feel now." She replies, a big smile on her face.

You feel so bad...

"Of course, Mrs. Pieters. Noah's health is one of my top priorities right now, and I couldn't be more happy to help. If you don't mind, though, I really need to go over these with Dr. Wilson right now."

"Of course. Sorry for keeping you," She apologized.

You wave her goodbye and rush to the stairs to reach Wilson's office.

You urgently knock on his door, waiting for a response, yet none came. You knock once again, and still no response. "James, are you in there? There are some radiographs I need to show you,"

You wait more, and still no response. Maybe House or Cuddy know where he is.

You go next door and open House's door, not even bothering to knock.

There House sat, throwing and catching his oversized tennis ball.

"What the hell-"

"Do you know where Wilson is?!" You cut him off in an urgency.

"He's probably in the bathroom touching himself, I'd check in there if I were you," He says sarcastically.

Oh..

"I'm being serious, House!" You roll your eyes and shout in frustration.

“Why, do you want to finally confess your undying love for him?”

You look at House with your mouth agape, looking like a fish out of water trying to create a response that wouldn't make you seem flustered. “I-”

You figured it would be near impossible to have an actual serious conversation, though not that you wanted one, with House. “I’m just gonna go ahead and go to Cuddy’s..” You sigh, frustrated with the time you’d just wasted trying to talk to him.

“Fine then! Be-” House shouts before you shut the door on him, silencing whatever bullshit he was going to say to or call you.

You make your way to Cuddy's office, looking at the radiographs on your way to make sure they really were something to be concerned about, though you would still look them over no matter what.

You knock on Cuddy's door and barge in, the same way you'd just done with House's. "Cuddy, have you seen Wils-" You say, stopping as you see Wilson standing at Cuddy's desk, going over some files.

"Oh my gosh, thank god. James, please, I need your help and time just for a moment," You plead.

"James? I got upgraded to James now?"

"Not the time now, Wilson,"

"Can you two do this somewhere else?" Cuddy says, a tinge of annoyance barely clear.

You leave Cuddy's office with Wilson following behind.

"What is it I can help you-" He says before you urgently (rudely,) cut him off.

"It's about Noah's MRI and CT scan results," You sigh, sadness in your voice.

Wilson's face softened, "Please tell me it's good,"

You pull up the radiographs and show them to him, not being able to see it all that great.

"Let's go to my office,"

You and Wilson make your way into your office, you put the pictures onto the intensifying screen and take a look at them once more, that feeling in your stomach getting deeper.

Please don't let it be bad..

"Those black masses right there at the temporal lobe, do you think those are.. tumors?" Your voice shakes.

Wilson inspects the pictures and points out the same two that you feared.

"Th-these ones?" Wilson questioned.

You nod your head.

You were horrified, but at the same time, you were anticipated. If these were the cause, then you would know why this was happening to him, unlike you with yours.

Wilson lets out a deep breath and turns to you, "We're going to have to run some more tests.. these are.. definitely tumors, but we don't know if they're cancerous..."

You sigh and rub your hands over your face.

Wilson walks to you and rubs your back with one hand, and places the other onto your shoulder.

You shiver at his touch, you began to feel dizzy and after taking your hands away from your face, you see black auras begin to obscure your vision.

And then, you blacked out.

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

Your head was pounding and your tongue was swollen. You looked around you in confusion as you found yourself laying on your side.

Where am I?

A hand ran through your hair as someone softly assured you that you were okay.

You get up before quickly falling back down to the floor.

"Hey, hey, L/n, just- sit back down. You're okay," a familiar voice assured you.

You blink slowly.

"Hey, look at me, look.. What's my name?"

You look at the male, his face becoming more familiar, though not enough until a couple seconds passed by, him staying patient with you.

"Wilson?" You slur.

"Good- um, what's your name, now?"

You felt like you were going to vomit. Your head was still spinning, though you were starting to become more familiar with your surroundings,

"Y/n? What happened?" You groan.

"Y/n, you just had a seizure.."

Those five words sent you into shock, though now it was beginning to quickly rise up to a panic attack..

"What?"

You put your head into your hands and brought your knees to your chest, a lump began to form in your throat and tears welled up in your eyes, "No, no, no, no, no, oh god, no..." You sobbed. You let yourself stress out enough to the point that you had an episode after not having one for nearly 6 months. You were doing so good. God there's no way you're going to ever drive again.

"Hey, hey, hey, it's okay, it's okay, Y/n." Wilson tried to assure you as he patted your back.

"No, no it's not okay.. shit," You choke up.

You wipe the saliva off of your mouth, presumably from spitting up during your episode.

You rock yourself back and forth, head still in your hands.

Wilson stayed quiet. He had no idea what to say, but you preferred that he didn't. You needed some silent time to gather your mind together.

"God.. fuck, I'm so sorry, James. You shouldn't have had to deal with that.." you exhale and apologize, afraid to even look at him.

"Y/n, don't- don't apologize,"

"You're not going to tell anyone are you? Please don't tell anyone, please, Wilson," You pleaded, tears welling up again at the thought of losing your job.

You didn't know that House had already known before. House had overheard you when you were speaking to Noah that one day, and then found out how much you were taking a day, earning your new nickname 'Ms. Addict'.

Him being the huge blabbermouth that he is, he obviously felt the need to tell Wilson. Wilson didn't know if he told him because he had some sort of worry for you, or if it was just him being an asshole, but by God was he glad that House told him.

"I won't tell, I promise." Wilson said as he wiped the tears away from your face, cupping it with his hand.

You melt into his touch and sigh.

"How.. how much Levetiracetam have you been taking..?" Wilson questioned.

You look at him in confusion, "What? What are you talking about?"

"Your meds.. how much of them are you taking?"

House.

"House- House told me, just earlier today," Wilson admitted hesitantly.

House!

“I’m gonna kill him!” You suddenly shout in a fit of sudden rage.

You get up only to fall once again, not just triggering your vertigo, but also making the previous dizziness you’d just had only mere minutes ago worsen.

You grab onto the nearest table to stable yourself, stumbling around as you try to pathetically attempt to speed walk.

 “L/n– L/n hold on just– Y/n!” Wilson says anxiously.

“Fuckin’ asshole, I’m gonna kill him.. How does he even know?” You grumble to yourself.

You stumbled around the workplace, bumping into things and nearly dodging others, looking like a lunatic disguised as a doctor, or to be more accurate; House.

“Y/n!” Wilson calls out to you, catching up to you far more quickly than you had been “speedwalking”.

He stops you, getting ahold of your left arm and goes in front of you, grabbing your other arm after successfully stopping you from even taking one more step.

“L/n, don’t. I know he’s an asshole but let's just go back to your office so we can sit you down, and then talk about this, okay?”

You were upset, and overwhelmed. He was right. You should go back to your office, sit down, have some water, and focus on Noah.

Noah..

You nod at him and turn around to make your way back to your office, one of his hands on your back and another out in case you fall.

He was so.. caring. You’ve never had someone care so much for you. You haven’t had that in years, you’d forgotten just how nice it was to be cared for, even if it were in upsetting circumstances such as now.

You smile to yourself as he helps you to your office chair, thanking him.

Wilson pulls up a stool in front of you, “L/n, are you okay?” He questions, taking your hands into his own, warm and calloused.

“Yeah, I guess I just freaked out a bit. I’m alright,”

“How much medicine have you been taking, L/n..” Wilson asks concerningly.

You sigh. You didn’t want to admit you had a bit of a.. problem with substances, specifically your prescribed ones. God, I really am House..

“Uh,” You look away from him. You were more than ashamed of yourself. There was a reason the drugs were controlled, because they were addictive..

It had gotten to the point where you depended on them too much. The Clobazam wasn’t even necessary, either.

“750 mg of Levetiracetam, 370 mg of Lamotrigine, and 50 mg of Clobazam.” You mutter.

“750 of Levetiracetam??”

“Yeah.. three times daily.”

Wilson sighs and lets his head fall low, muttering something to himself.

“L/n, you could overdose on just the Levetiracetam and Lamotrigine together twice, maybe even once! But you're mixing it with the Clobazam, too? Three times a day? Who’s prescribing you this much medicine?!” Wilson was genuinely concerned for you, he didn't mean to sound or come off as angry or upset, but that’s definitely what he sounded like.

"Myself," You looked at your hands, his were still holding yours.

"..I'm sorry but- I couldn't risk having an episode, especially not here. If- if anyone else found out I thought I might lose my job or- or my medical license, I can’t risk that, I- I worked so hard for this title, I can’t let it be taken away because of some stupid-” You started to get worked up and hysterical. So much build up just over the years of not telling anyone your worries, not even your parents or friends from home, all of it just spilt out in front of Wilson.

Wilson gets up and pulls you into a tight hug, stroking your hair as his chin rested on to of your head. “I won’t tell anyone, and I promise you, I absolutely promise you that you won’t lose your job if anyone else finds out,”

You tense up, but the sound of his heartbeat so close to your line of hearing made you relax into his arms, wrapping your own across his torso.

“I don’t know about you, but this is one of the first times that I’ve ever been happy that House is an asshole. I’m glad he told me. I’m glad you’re safe.” Wilson continued, holding you closer to him.

His overwhelming affection and concern began to make you tear up. He actually cared for you.

And though House would never admit it, so did he.

You began to cry into Wilson’s lab coat, still not letting go of him in fear that you would lose him forever if you did.

“I care for you, Y/n. I never want you to feel this way.”

He didn’t even care that you were dirtying his coat with your own tears and snot, he only cared for you at that moment.

“Oh, you finally found him. Did you find him in the bathroom touching himself like I said he was? Is that why you’re crying? Do you need a hug from me, too?” House says sarcastically as he barges into your office.

You take your face out of Wilson’s coat to scowl at House. “Fuck off, Greg..” You sniffle.

“House, it’s really not the time for your shit, and that’s a highly innaproppriate thing to say- wait, where did you get that from?” Wilson says, pulling away from you.

“I’ve heard you,” House ‘whispers’ very loudly.

House hobbles over to you and stares for a few seconds before ruffling your hair, making it messier than it already was before.

“Addict,”

“Says you, asshole,” You respond, trying to smooth out your hair for it to look decently.

“..Uh, how did you know? About my..” you continue.

“You have really gotta start being more quiet when you talk to your patients about stuff like that, it was hard not to hear you blabbering to that kid. Do you just do that with all of them? Pretty wreckless if you ask me,” House responds.

“And my medication?”

“You’re not as sneaky with it as you think. Maybe being more open about it would raise less flags. You just might actually be worse than I am, Ms. Addict.”

Wilson stood aside, watching the interaction between his best friends. They hated eachother, but cared for eachother at the same time. He smiled at the scene.

“Whatever,” You say as House leaves your office.

“You two are an interesting pair,” Wilson chuckles.

“He’s a child.” You roll your eyes and smile.

House pops back into your office, sticking only his head in through your doorway. “Druggie addict.” and he disappears once more.

“There’s my point being proven,”

“Oh, I never doubted you,”

You look up at Wilson, with him looking back down at you.

You took in his features for a good couple of moments, 

his thick brows were one of the most noticable features of his, in the best way possible in your opinion at least. You could never imagine him with what people would concider “normal proportioned” brows. They sat atop those puppy dog eyes that held a sort of tired softness to them, you could just get lost in them forever. A single section of hair seperated from his usual kept up hair, laying on top of his forehead. His smile. My god, his smile was so nice.

“What?” Wilson lets out a breathy laugh.

“Nothing, you just look nice today,” You reply back before getting up out of your chair in your best efforts, successfully making it back to Noah’s Radiographs.

“Thanks, you do, too,” He stood next to you at a closer proximity than before.

You and Wilson looked closely at Noah’s Radiographs for a few minutes before Wilson declared, “I don’t think you have to worry about these tumors too much, they look benign to me. We just need to remove them and Noah should be fine,”

You let out a sigh of relief. Noah was an amazing kid. You have no clue what you would do if you had to give news that he had something that could possibly be a cause of death. At least you found the reason for his.

You lay your head on Wilson’s shoulder and smile, “Thanks, James.”

He brings his hand up to grab your waist, pulling you closer to him and laying his head onto yours, “Thank you for letting me help out with him. He’s lucky to have you,”

“..though, I think I would be even luckier to have you, Y/n.” Wilson continues.

Wilson had always been good with his words when he wanted to. They always came out to be smooth, yet not too vulgar or forward. Thats exactly what it felt like now. It felt genuine, it felt like it actually came straight from the heart, and now you felt like yours was about to practically beat out of your chest.

“I think you would, I’m just special like that,” you giggle.

Wilson raises his head off of yours and looks at you, taking in how beautiful you looked before placing a small kiss to your head.

You grin, practically from ear to ear and lift your head off of his shoulder to press a kiss to his cheek, only for him to lift your chin up. You two were practically teasing each other, for as when you went to close the gap, he lifted you up and carried you to your office chair bridal style and sat down with you in his lap, now closing the gap himself as he spun around in the chair with you.

You smiled into the kiss and you could feel he was too.

This would be one of your most memorable days ever, in so many ways. Not only because of Noah, but because of this moment with James that you would never imagine would happen to you in a million years.

Its not to early to think to yourself or say, you love him.

You love James Wilson, and you would scream it from the top of your lungs so everyone else could be reminded of it.

You were in love with him, and he was in love with you.