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chronically-ghosted · 1 month ago

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i'm empty without you, so come grow within me

AO3 Link | main masterlist | Joel Miller Masterlist

rating: explicit (18+)

pairing: joel miller x f!reader

word count: 9K

summary: with winter approaching, joel takes stock of what he wants and what he has in his life. he wants you, but he's not quite sure he has you, not in a way that only a life in Jackson can afford. joel's an old-fashioned guy, so he's looking for an old-fashioned love . . . if he can only remember how to do it right.

inspired by the songs 'why don't we just dance' by Josh Turner and 'the kind of love we make' by Luke Combs, this fulfills a request from @handsomehelmet for my 1k celebration (creativity struck and now i'm going to make it everyone's problem)

warnings: the nastiest thing i can possibly imagine which is romance and sincerity, some willie nelson lyrics, established situationship, no age of reader specified, body insecurity, feelings of unworthiness/shame, survivor's guilt, blatant disregard for old man knees by eating pussy on the floor, unprotected piv, a teenager bullying fully grown adult to quit being stupid.

a/n: i know everyone gets into a tizzy when Joel doesn’t name what Tess is to him in front of Bill and while there probably was a heaping amount of guilt that accompanied that omission, i wonder if it might be a bit more complicated: he simply couldn’t name one thing because she was all things to him. A friend, a lover, a guide, a support system, a protector, a partner. So he says it the best way he can: “she’s mine.”

come see what else we've done to celebrate 1K followers

By the fourth bag, all you can think about is a warm shower.

A chance to scrub away the dirt smeared on your arms, your neck, probably your face. You’d brought your own work gloves to bag fresh dirt for the greenhouse, but the longer you work, more sprinkles of dirt find their way down the lip of your gloves. You can feel it against your palms, under your nails. The cold winter air lurks beneath the crack of the door, stifled from invading by the artificial heat provided by the generator just outside, and it stifles you too with its oppressive weight. You’re fairly sure the dirt on your forehead has turned to mud, sweat and damp earth encrusted on your dry skin.

By the sixth, you doubt your shoulders will ever move again without popping.

You know Joel’s already do.

Never a particularly chatty man even in his best moods, the greenhouse had become stuffy with heat and silence, both you and Joel too lost in the work to find the energy to even fake idle chatter. But, knowing this about Joel and a certain degree yourself, silences with him were never a bad thing. That was one of the things you enjoyed most about being with him; you two could do your own things together. Many snowy days were spent with him stretched out on the couch, reading, and you working on writing your sheet music on the floor, his knee hovering over your shoulder with your back to the cushions – spent in total silence, and they are some of the fondest memories you had since coming to Jackson and falling into the third and final piece of the Miller-Williams household.

Like with the end of the world, you weren’t sure how you got there until everything had fallen into place around you; Joel and his adoptive daughter had been just another group who were taken in by the town of Jackson . . . until they weren’t. Ellie was just another foul-mouthed kid who had seen too much and had too much taken from her . . . until she wasn’t. Joel was your occasional patrol partner and a fellow Willie Nelson fan. . . until he wasn’t.

Until that unmistakable line, one that seemed to be lost on a global scale beneath the blood and the gore and the grief, had been crossed when he asked you out for drinks and the both of you knew the evening wasn’t going to end in a nightcap.

And then you were partners, even outside of patrol. Partners in re-enforcing a weakened part of Jackson’s outer walls. Partners in cooking, attempting to recreate an enchilada recipe Joel only vaguely remembered from a Tex-Mex hole-in-the-wall fifteen minutes from where he used to live in Austin. Partners when it’s snowing heavily outside and there’s not much to do except to read and, well . . . Joel was a fantastic partner in that.

Joel Miller was a great partner for a lot of things. He worked diligently, quickly and, unless the conversation was started by someone else, silently.

He, in short, was not someone who was easily distracted.

Which, in combination with your own exhaustion and a desire to scrub the first layer of your skin off with a loofah, is why you feel a flare of annoyance when you look up and see him staring off into the distance. His fingers loosely grip the handle of the shovel, his palm resting over the curved point, Joel’s expression is nearly unreadable, except for the small crevice between his eyebrows. He stands, fixated on the greenhouse wall, as if watching the blurry Christmas lights from the town square, suddenly oblivious to the work you two have been doing for the past hour and a half.

“Joel.” Nothing. “Joel!”

You raise your hand to smack him on the leg when, without looking down, he asks:

“When was the last time I took you out?”

“What?”

His weight shifts, holds the shovel by one hand now. You catch a sliver of frustration in those deep brown eyes as he looks at you. He wears what you and Ellie secretly refer to as his “pouty-mouth”, a classic expression when he isn’t getting his way about something but won’t draw attention to the fact that it annoys him.

“Tell me about the last date I took you on.”

You huff, standing up with a pop in your hips. Your knees are aching from kneeling on the cold winter ground and your skin fluxes between overheating under your jacket and stiffly frozen on your extremities.

“Joel, c’mon, be serious. We’ve got three more –,”

“I am being serious.” Dumb-founded, you watch as he digs the tip of the shovel into the ground with a hollow chunk. Crosses his arms and continues to frown at you like you just suggested doing away with the Christmas holiday entirely. “We’ll get to this, but I want you to tell me right now what we did on our last date.”

You roll your eyes, humoring him. “Fine, I don’t know what crawled up your ass, but okay. On our last date, we . . . we did . . . you took me to . . .”

It’s your turn to frown. He raises a petulant eyebrow and it’s eerie how many times you’ve seen that exact expression on Ellie.

“Okay, fine, so it’s been a while. We’ve been busy – we’ve all been busy with the winter season coming. All of Jackson has been out battening down the hatches. What does it matter if we’ve let things slide a bit?”

He doesn’t answer immediately, quiet in his Joel way. He glances out through the blurred greenhouse glass and maybe he was actually staring at the string lights hung over Jackson’s square. Normally, you didn’t mind being unable to dissect his every expression, every sigh, every carefully wielded silence, but when it came to you and his feelings about you – feelings that were always implied in those silences – you wished you had a little window, some hint, as to what rumbled on behind those earth-dark eyes.

Joel drums his fingers on the handle of the shovel, unease rolling through his body as he shifts his weight.

“Matters some,” he tells the ground. “With the holidays comin’ around . . . matters for Ellie – her first winter here in Jackson. Matters for Tommy, with that new baby of his . . .”

“Your nephew,” you supply as much as prod. Sometimes the only way to get an honest answer out of him was when he was just a bit pissed off and less guarded. Instead he just nods, gloved hand on his hip, thick jacket widening his already confounding broadness.

“It matters because it’s important. To me. It’s important to me.”

He meets your gaze and you’re struck full force again with that feeling like you drank too much of the Tipsy Bison’s shitty whiskey too fast. Same feeling that couldn’t be drowned even with the Tipsy Bison’s shitty whiskey when you shared a drink with him for the first time. When you managed to laugh when he bet you a whole day of stable cleaning duties that Willie Nelson and Chris Stapleton survived the apocalypse somewhere in a shack in Tennessee. Joel Miller was disarmingly funny when he wanted to be.

And even worse, disarmingly sincere.

You take his gloved hand in yours. You feel the sensation of his fingers threading through yours but not the heat you’ve grown so accustomed to.

“Alright, then. What do you want to do about it?” You ask quietly, to the upturned collar around his neck, his green flannel peeking out from behind the zipper of his jacket. “I don’t know if you’ve noticed but there’s a lot of snow on the ground so that makes our options for date night kinda limited.” You scrunch your nose at him because you like to see the light in his eyes bloom when you do.

He chuckles, a rumbling sound, and he drops his forehead against yours, fingers tightening their grip around yours. Suddenly in your throat, your heart pounds. He’s never this affectionate in public. Maybe it’s those miraculously blurred greenhouse glass walls.

His breath smells like that peppermint toothpaste that came in last week, infused with the warming-coil smell from the greenhouse.

“Dunno yet.” He admits. “I’ll think of somethin’.”

“No ideas yet?” You raise your eyebrows against his forehead and he grins, shaking his head.

“Not yet.”

“Then can I make a suggestion?”

“‘Course.”

“We finish bagging this dirt, then head home for a shower. In a really sexy way, obviously.”

He huffs, smothering a laugh, and quick as lightning he kisses you on the cheek. But in the same movement, steps away and grabs the shovel again. You don’t have time to react to the fact he just kissed you for the first time outside of the four walls of his house before he’s scooping up dirt. You drop to your knees to pick up the bag again, your legs already weak.

“We both know you’re going to pass out on the couch the second we’re home.”

Your voice is steadier than you feel, as you look up at him. His face is flushed and that worry line between his eyes is gone.

“You got me pegged, Miller. You got me pegged.”

Two days later, he stands in the middle of his living room, hands on his hips, surveying his handiwork. All of the furniture has been pushed to the far ends of the room, up against the walls or against the staircase out in the hallway. He’s kept the overhead lights off and put the standing lamps in the corners, bathing the room in a despondent glow. He thinks, after a quarter of a century never even entertaining something like this, it might be interpreted as romantic. He hopes you’ll see it that way at least.

He hears it now, in his head, even though she’s out in the disconnected garage, snug and warm as he could have possibly made it – you worry too much, old man.

Ellie knows there’s something going on between you two. Hell, the entire town has cottoned onto whatever this is; you’re often seen leaving his house early in the morning, and he’s been seen on occasion strolling up to your house with flowers. It’s not new, it’s not a secret, but it is . . . it just is and that’s about as far as he’s gotten.

He hasn’t had you over for dinner with Ellie in that very specific way that very much needs to happen, as it often does when there is a new presence added to an established dynamic – as Maria often reminds him. But that almost feels like presenting your head on a silver plate to Ellie to either sniff with disinterest or tear into – both terrifying scenarios, even though they seem unlikely. Ellie does in fact seem to like you very much, as her riding teacher and occasional greenhouse buddy. But would she continue to like you in the context of you being one half of “You and Him” as a pair? Together. As a couple . . . of people who are seeing each other, whatever that means in a world filled with the most aggressive form of fungus imaginable.

This life in Jackson, this fragile second chance to remember and rekindle his own natural instincts, is too precious to bet on a question like that.

So he doesn’t ask it. At least not out loud.

That’s one of the things he likes so much about you: his silences aren’t entirely indecipherable and often are encouraged by your own. Except this silence about this particular thing doesn’t feel like one of your shared, comfortable moments and instead it’s encroaching rapidly into avoidance.

Standing in that greenhouse and seeing the string lights over the town square reminded him of a long ago Christmas, dancing with his favorite person under a Christmas tree, and how good it made him feel. How special it made him feel. All these years later, safe in a way his body has almost forgotten, there’s an urge he has to share that feeling, to recreate it under entirely different circumstances, with someone new. Someone else. To not try and fight the smile that constantly threatens to buoy up every time he’s around you.

It’s foreign, that feeling in his chest, but it’s not entirely alien, at least not of late.

He knows he’s white-knuckling it because he knows firsthand how painfully quick it can all be gone. Taken away. Left and buried by a black river while the world burns.

But he’s worried he’ll crush it with how tightly he holds on. How hard he begs a silent universe for it to last just a little bit longer.

His knees ache, his left shoulder goes tight when it rains, his body is not what it once was, but his mind is still there, still clear, and he remembers how romance used to feel, where it used to reside in his younger body, and as he stares out at the cleared room, listening to your footsteps overhead as you attempt to follow his vague instructions to “make yourself feel pretty” (because you already were to him, even covered in dirt and sawdust), he thinks this feels like the old world. An old world romance. It’s foreign, that feeling, but for the first time in a long time he doesn’t want to hold it at arm’s length.

“Joel?” You call from the top of the stairs, your voice tentative and cautious. But not cautious like you peeking around a corner to look for clickers. But cautious as in unsure, doubtful. You are a woman made up of a lot of things, with foundations unlike he’d ever seen before, but doubt is not a part of you. You never doubt him.

“Yeah, baby?” Your nerves make him nervous and he futzes with a lampshade while waiting for you.

“Are you done down there?”

He has to breathe slowly through the fluttering beneath his breastbone before he can answer. “Yeah, baby, all finished. You can come down now.”

“Okay . . . but you can’t laugh.” Him, laugh at you? There’s the instinct to smother the faint grin that spreads out across his mouth, but he told himself he wasn’t going to fight whatever came across his face tonight. If you see it, then you see it and he’s come to accept that.

(Maybe even want that.)

He shakes his head, his only pair of nice boots (a thank you from a former rancher when Joel fixed his family’s heater) clicking on the hardwood floor as he stands at the bottom of the stairs. You must be hiding behind the wall because he can’t see you.

“I’m not gonna laugh, sweetheart. Why d’ya think I’d laugh?”

Silence faces him at the top of the stairs, and then:

“Because quite frankly I forgot my tits could look like this and I don’t know how to feel about it.”

The snort that comes out of him is a poor attempt to muffle the chuckle. He thumbs the wood finial at the top of the bannister.

“Can’t remember ever having any complaints before and I don’t think I’ll have ‘em now, no matter how they look.”

“Whatever, Miller, you’re just a horn dog.”

He rolls his eyes, fingers rubbing anxiously together at his side, as if he could tug the fluttering out of his chest. He leans on the other foot, the one with the bad knee, to adjust the slightly uncomfortable tightness in his jeans. A dark swirl in the second step of the stairs has become wildly interesting.

“Baby, just come down here. I’m not gonna laugh. Promise.”

“I’m gonna hold you to that,” you grumble, still out of sight. “I know where you keep your feral child and I will not hesitate to let her loose on you.”

Joel nods, grinning faintly, still focused resolutely on the whorl in the floor. “That’s a real big threat from someone who –,”

The words die in his throat.

In fact, he’s quite sure he won’t be capable of speech for a very long time.

That foreign feeling – that feeling he’s worked for twenty years to suppress – is ignited in his chest.

You walk, no, maybe you float down the stairs in the most stunning red dress he’s ever seen. It’s definitely not yours – he knows every inch of your closet because he had inspected it studiously when you offered to keep some of his clothes at your place and he was trying very hard to delay putting a handful of his belongings beside a woman’s things in a move that felt heart-stoppingly domestic.

No, he has never, ever seen you in this dress.

Come to think of it, he’s never seen you in any dress and you were entirely correct that your tits look wildly different. Fantastically different, but –

“Maria didn’t have any heels that fit me to go with the dress,” you announce airily, your chin up. But your eyes dart over his face as if looking for something you need to find. “But it’s fourteen degrees outside, Joel, and I’m not doing whatever this is in just socks because that’s ridiculous so you’re just going to have to deal with the boots.”

The Boots. The ones you wear while crushing clicker skulls and tending the stables. They still bear damp spots from where you tried to clean the blood and dirt from the leather.

It’s rather incapacitating how arousing he finds this particular combination.

So much so, he doesn’t realize he hasn’t said anything in a full minute until you bark at him, a cold tinge of panic in your voice.

“Joel!” His eyes snap to yours. Of course, you’re fucking beautiful – your eyes seem bigger, cheeks pinker, mouth wet – fucking Christ, where did you get make up?

“Say something!” Those rosy lips drop down and to his horror, you’re upset. “Please!”

“B-baby, you look . . .” He doesn’t mean to grab your entire ass in one hand; he just wants to feel as much of that velvet on your skin as possible. You stumble into his arms, another something that is so unlike you, as he tugs you forward. Bends his lips to your ear to discover how fast you’re breathing. How fast your pulse races in your neck. The shudder that breaks the rigidity of your body when he brushes his mouth, the short bristles of his beard, against your skin is no surprise; you told him exactly what that sensation does to you in no uncertain terms the first night he ate you out on the table of your kitchen. “You look incredible.”

Your fingers bite into his biceps. Push back out of his arms, despite the obvious warmth in your cheeks. You level his arousal in a single glare. “Joel, I asked you not to tease.”

Tommy once told him he was a pain in the ass to be around sometimes because he displays every negative emotion as anger and so it’s damn near impossible to figure out whatever it was he was so bent out of shape about.

Sadness as anger.

Shame as anger.

Guilt as anger.

Fear as anger.

With your fingers balled up, it's the tremor in your fists that gives you away.

He had genuinely intended this to be a quiet night away from the cafeteria, away from the Tipsy Bison, away from anyone else. He wanted you all to himself and in his greed, he didn’t see it until he saw it in your eyes.

How vulnerable being pretty made you. How vulnerable privacy made you.

How being vulnerable made you so deeply, deeply afraid.

Almost as afraid as he was.

Without a word, he turns to the record player, strategically hidden behind the couch and puts on the carefully selected record. The silent scratches for a moment before –

Your eyes widen as Nelson begins to sing his most beautiful love song (in Joel’s humble opinion). Your shoulders slacken, hands lose their grip, you blink up at him in total bewilderment. You aren’t an indecisive person, you’re quick as a whip, rarely confused – so this befuddled look on your face is kinda cute.

Tucking that rare look on your face away for another time, Joel wanders to the center of the room, in the heat of the light from the fireplace, his good boots clicking over the wood. He opens his arms, hand out to you.

“Let’s try something new tonight.”

I'll always be with you for as long as you please

For I am the forest but you are the trees

The decision you make is a visible one.

Your palm is warm, weighted as it slides over his. This time his hand respectably settles on your waist, then on your low back when (to his surprise) you come closer. He’s delighted to watch you smile at him, distantly aware of the stretch of his own on his face.

Willie strums on his guitar, crooning softly, the sound warm and deep. With the weight of you against his chest, that feeling crackles like the flames over the wood logs in the fireplace. You drop your head, turn your cheek, and just before you come to rest on his shoulder, he sees your smile slide into a smirk.

“New, huh? What’s new look like for a sixty-five-year-old man at the end of the world?” Even with teasing, your voice is soft and sweet, the soft powder of cinnamon. Slowly, as if not to startle either one of you, he leans his chin against your forehead.

“You n’ I’ve been burning both ends, keepin’ the lights on. New to us is having a goddamn break.” His voice is low, meant only for you, and in the tremble of his deep bass, the words elongate in his mouth. He brings your intertwined hands just under his chin and when that goes well, he tightens his grip around your back, drawing you flush against him. It reduces the dancing to more of a sway but Joel can’t find a single thing to complain about. You gently tap the pad of your middle finger in the hollow of his collarbone to the beat of the song.

I'm empty without you so come grow within me

For I am the forest and you are the trees

And the heavens need romance so love never dies

“‘N ‘m only fifty-six, jackass.”

You grin, twisting in his grasp, rub your nose on his chest to wrap your arms around his neck. He clutches to your back like a key finding its lock.

You'll be the stars dear and I'll be the sky

And should any of this find us let them all be forewarned

That you are the thunder and I am the storm

“This is nice, Joel,” you murmur in his ear. The backs of his arms are growing warm by the fire. He presses his lips to your exposed shoulder, unsure of what to say, or what not to say, only nodding. He closes his eyes, trying to hold this moment forever in his memory. The soft flare of your waist, the winged-spread of your ribs, beneath his hands brings him back into your arms.

"Yeah?" Quiet, into your skin as if to muffle the question entirely, to muffle the unsure wobble in his voice. "It's good?"

He feels you nod beneath his chin, the smell of fresh soap escaping from the back of your neck, and the clamp around his throat loosens. He breathes, unimpeded for the first time all night, a low exhale taking the tension from his body as the air leaves his lungs.

Relief. A sinking down into the moment, into your arms.

You chuckle with your cheek against his chest and he feels the vibrations down to his stomach.

"Yeah, Joel, you did good. Really good." With the hand he holds in the air, you rub your thumb over the knuckle of his thumb, soothing. It used to bother him you could read the lines of his emotions as well as you read a book, as well as you write your own name, effortlessly, as if you had been given a guide no one ever thought to show him. But now, now that you understand how much this means to him, that you know he needs to be told he made you happy, it's more than relief. It's an unburying – a resuscitation of pieces of himself (seed-like bone fragments) that he thought had long since died in the soil of his ribs. "Thank you. I needed this."

He wants you to see the whole of him. Lift up an antiquated silver plate and show you the dents and scratches in his reflection. When you kiss his cheek gently, the hope floating in his chest flares, a solar explosion with tendrils that reach into the blackness of space and it asks him, what would you do to keep her?

Everything. Anything.

He shuffles closer, feels the warmth of your body lined up against his, the clean scent beneath the edge of your jaw blooming in his nose and throat. The hope hums, pitches dark like the forest floor in the rain, and grows teeth. His want for you digs into his skin and evolves into a needy, unsatisfied thing.

“Where’d you get this dress, hm?” He asks, lips half an inch from your shoulder. It falls and rises, never catching on your skin as he plays with the fabric. He runs his palm up your spine, the velvet coming with him, and watches as the swell of your thighs and the tease of your ass is revealed. Dirty old man. “‘N who do I have to kill to get you to keep it?”

You laugh into his neck. He wonders if you’re intentionally twisting his curls at the base of his neck to send sparks of arousal down his spine or if you are completely unaware of the cause of his insanity. Your hands are littered with scars and calluses and every time you touch him, he could melt through the floorboards.

“They found it in some strip mall and were actually going to strip it down for material. But Aaron at the sewing center owed me a favor and you said wear something nice, so . . .” You thumb the lip of his collar, your fingertips brushing the knot of his spine every time you drag your fingers back and forth.

And I'll always be with you for as long as you please

For I am the forest and you are the trees

He knows you well enough to know that something lingers in your mind, but even after all this time, even after what he’s seen with you, been through with you, the things he’s done to you – he isn’t quite sure if he has the right to ask.

Instead, he squeezes you. He means to do it just with his hands, but ends up swallowing you in his arms.

Your mouth is pressed up against his chest when you finally go on.

“It just seems silly to keep, Joel.”

The high he’s been riding on all night falters, since you first walked down those stairs to him. Your eyes are wet when he pulls back and cups you by your cheek. He stops swaying with you.

“Why’s that?”

There it is, that all too familiar flicker of fear. You can’t look at him, despite his every touch, his every glance pulling you into him, to be near him.

“Because other people should have it. They should have a chance to . . .”

You withdraw your head from his hands, his thumb brushing your jaw as you retreat. He might actually lose a piece of himself if you let go now, but instead you clasp his wrists in your fingers. You stare at your hands and his between you, as if this whole thing between you could solidify at your feet, finally real.

Willie has stopped singing, only that musky drone on an empty track.

“Someone else should have a chance to feel pretty, to feel this way, because it shouldn’t be wasted and I’m afraid – I wonder if –,”

He knows he’s being a bit too rough when he takes your jaw and straightens your gaze to him, but his heart might fly out of his chest before he has a chance to say anything. His stomach turns, not knowing he’s not at the peak of a roller coaster drop, that he’s standing on solid ground, even if it swims under his feet.

“What you feel is not wasted.” A murmur, stern, as steadily and as serious as he possibly can be.

That feeling aches in his chest and you haven’t even gone anywhere. You haven’t left . . . yet. “What this is, is not wasted time. I spent twenty years wasting time, looking for something that wasn’t there, and with you . . . I can’t say I’ve found it –,”

“Why? Why can’t you say you’ve found it?” Your grip around his wrists tightens, eyes hard. “Why can’t you name it, Joel?”

“Can you?” He pulls his hands out of your grip and you let him go. “How can you ask for what you want when you can’t even ask to keep this dress?”

“Because I don’t deserve it!” It’s not silence that follows; it’s emptiness. You face away from him, pressing the heel of your hand into your brow bone, teeth slightly bared. Your arm bars across your stomach like you are literally holding in your guts. Finally, you lift your head, the few scant tears on your face sparkling in the firelight. “I don’t deserve you, Joel. I don’t deserve any of this. Ellie, the way she . . . I’m here, warm and happy, acting like the fucking world hasn’t ended. Playing house, playing pretend. Pretending like I’m your –,”

You swallow the words caught in your throat, gaze leaping away from him. At your side, your hand trembles again.

Oh, honey, the shit I’ve done . . .

With wide, wet eyes, you watch him approach. He doesn’t look at you, instead seeing exactly where he’d like to put his lips on your stomach beneath the fabric.

“Then what do you want, hm?” There’s a fold in the front of the dress and he runs his fingers along the edge of it. “We can’t fix it. Can’t go back ‘cause there’s nothin' to go back to. I don’t care what you had to do to get here, right here, with me because I’m so fuckin’ glad you are. I’m not pretending, not wasting my time, never was. ‘Cause you’re right.”

Your hand over his stills his endless roving and then it stays, scarred hand over scarred hand. Your gesture says something to him, something so meaningful he has no idea how to put it into words. He swallows his attempt and instead, slowly, drags both hands over your hips, where they stay. Heavy against the velvet.

You rest your own against his forearms, neither pulling him in or pushing him back.

“I was right about what?”

His eyes flick to yours and maybe it’s presumptuous, maybe he really is an old man afraid of his feelings, or maybe living this long – despite everything that ever tried to make it otherwise – living this long has granted him the privilege of knowing with perfect clarity what you’re thinking when you look at him like that. How he wants to whisper it back to you and he decides he will the next time your skin is warm and tacky, body helpless beneath his.

Your eyes shamelessly track the brush of his tongue against his bottom lip.

“That you’re mine. Just like I’m yours.”

The hands at his forearms glide up to his chest. The rims of your irises have gone a bit blurred, a bit unstable, and you can’t decide whether to look at his mouth or his eyes.

“Joel?” Suddenly breathy, all begging, pleading.

“Hm?”

“Get me out of this fucking dress.”

When your lips crash into his, his entire world narrows down to where on his body, yours touches:

your rough hand cradling his cheek, the other fisting the collar of his shirt. His fingers digging into your skirt, the heat from your thigh nearly driving him to tear straight through the fabric to get to you. Your sweet, perfect mouth smeared against his, lips puffed pink, nose to your cheek.

That warm, wet cunt he thinks he can feel through his boxers, jeans, the dress and your underwear.

It’s not enough.

The cry you let out is some mangled mix of a moan and his name when he licks the soft supple skin behind your ear and nips your earlobe.

“Baby, please – please – bedroom, we have to–,”

He grunts his disapproval at your words, overwhelmed by the scent that makes his mouth water as he stains the column of your throat with wet, humid kisses.

“Joel, c’mon, honey, just upstairs –,”

The last flickering tiny speckle of logic in his brain fights with itself; take your right here or haul you over his shoulder – which isn’t great for his back and, quite frankly, he intends to spend most of the night on his knees.

First option it is.

You mumble in confusion, eyes shut, chin brushing the thread of gray curls on the top of his head as he purposefully sucks a bright hickey into your collarbone, one hand cupping your breast, the other pushing you backwards. You go willingly, of course.

Until the backs of your legs hit the couch and there’s nowhere else to go. In the stumble, your dress rides up even higher and those thighs he’s actually lost sleep over appear to him. He drops to his knees, hands like meat hooks as they squeeze your waist, pulling that warm cunt even closer to him over the edge of the couch. You groan when he pushes the skirt up even higher, practically to your tits, as he explores your outer, then inner thighs with soft strokes of the back of his hands. He presses his nose to the crevice between your thigh and hip and inhales.

“B-baby, the windows,” you swallow thickly, slurring like you’re drunk, grabbing at his shoulders like you’re trying to steady yourself, or turn him towards the windows. “I mean – the curtains, baby, the curtains are –,”

“It’s a fucking blizzard outside,” he explains tersely with his eyes still closed, as if irritated to have a conversation instead of focusing every ounce of concentration he has to the heat and smell beneath your black panties. He drags his teeth over the elastic band around your hips and makes you whine his name for an entirely different reason.

You don’t make him stop or wait when he tugs those panties down your hips. In fact, you help, lifting your hips, the irises of your eyes so wide and black, you look halfway out of your mind.

Good.

He gathers the skirt he was once so fond of and stuffs it into the cushions behind you. You watch him as he moves, eyes half-lidded, finger scraping your bottom lip. Around his ribs, your knees dip back and forth, moving targets, like he’s forgotten why he’s here and needs reminding.

His big paw, the size of which makes you feel indescribably small, catches your knee and stills it, gaze dark and heavy. Do not test me right now. You try not to moan.

“Can’t believe I’m going to let you fuck me with my boots on,” you whisper airly, watching with delirious fascination as he puts one of your slender legs over his shoulder. His mouth is actually watering at the sight of your damp curls.

“Not gonna fuck you. Just gonna eat your pussy. You’ll know the difference.”

“Semantically, it’s the sa-a-me thi-ng, Jo-e – ah, Joel!”

His tongue up inside you turns you into a whiny, high-pitched, feminine mess. He eats like he does everything else: diligently, quickly, and silently.

Until you bury your fingers in his ash-flecked curls and tug.

That first deep, loud moan ripples through his body, rolling him up just off his heels, his crotch seeking some kind – any kind – of friction.

The feel of his mouth humming against your cunt has your eyes rolling back in your head. “Please, oh fuck, please –”

You are a grown woman. You should not be making these noises.

You also shouldn’t be using a man’s face to get off . . . but you do it anyway.

“Tha’s it, baby,” he mutters when your hips grind against his face. His nose catches your clit and around him, your thighs wobble. “Use me, fuckin’ use me.”

His grip around your calf over his shoulder turns rough and he knows he’ll bruise you, but fuck, the thought of you walking around town with a mark in the shape of his hand where everyone can see —

He briefly lifts his grip from your thigh to adjust his iron-hot cock in his jeans. From his view over your cunt, it doesn't seem like you noticed, or even saw him leave your skin. He watches you writhe, try to capture your breath, eyes crammed shut as your hips rock almost without your control. He takes a chance to lick the musky dampness from his upper lip when your cunt rolls back from his face a fraction of an inch — and then he sinks in again.

Call it age or the fact that you both are here at the end of the world, but the first night he ate you out, you told him exactly how and where you like it, unabashed and in control and honestly it’s the hottest thing he can think of in recent memory.

He would have written it down on the backs of his eyelids if he could.

He follows it to the letter.

“Joel – Joel, baby, please don’t stop –,” You buck and moan beneath him as he spells out your instructions with his tongue along your cunt. He dots the i’s with a tap of his tongue or a lick on your clit. Just inches above his head, your chest heaves, your fingers locked into his curls, gently pushing him closer to your puffy pussy as if he’d ever waste a drop of what leaks out of you.

With a flat-tongued brush against your suffering clit, you arch off the couch, your sighs now verging on desperate, high and whinging, because it’s just not fair how good he makes you feel. He can feel your foot curl against the planes of his back, the rubber heel heavy, your mouth open and wet, with your eyes locked on the ceiling as you try to ride out your humming orgasm with a semblance of control.

“Look at me.”

No other man has ever been able to make you come with just his mouth, you told him once.

And no other man ever will.

It’s sweet, the way your eyes soften briefly when you lock eyes with him, crouched between your thighs — before your head tips back, lips wrenched apart in a silent scream, and you come, as hard as he has worked for the flush of slick down his chin.

There’s goosebumps on your thighs, he notes. He rubs his thumb against your raised skin and you shudder, head rolling against the back of the couch.

He’s already feeling a slight twinge of shame at the noise his knees will inevitably make when he stands, but for now he’s content watching you glide down from your high, his head against your knee, shoulders still stretching your legs open wide.

To his delight, you manage to laugh, your hand draping over your eyes. You can see the shine of the dull light all across his lips, his chin, his nose and you have to close your eyes. He should make you lick it off him, but not tonight.

“Top marks, Miller, as usual,” you mumble, “but the threat of voyeurism really deserves the extra credit.”

He grins. Still waiting for your breath to slow, he wipes his mouth with his palm and slides the leg over his shoulder down in between his own thighs. Propped up on one knee, he begins to unlace your boot. He holds your calf like it’s delicate as he gently drags the boot over your heel.

He’s just as reverent with the other side.

And then your boots, the pair, sit at the end of his couch, like they were always meant to be there.

His heart, easing down from its own thunderous beat, squeezes and that feeling, that strange-not-so-strange feeling, the one that dictates practically every action with you, dribbles into his veins.

You open one eye. A flutter of lashes, coy and playful, the curve of your mouth guarding a hoard of secrets.

“Now, Joel Miller . . . will you take me to bed?”

It’s a question. A request. Your eyes, as dark as ever, on his warm his chest, all the way down his spine. You’re asking, politely, for a thing you both know he would never, ever deny you.

He cannot lose you, he just can’t.

He stands and, yes, his knees crack and pop, but he regains stability when he toes off his only good pair of cowboy boots. He nods, grinning, and offers you his hand.

The walk, half-run up to his bedroom is something his brain designates as not important enough to store away.

Instead, it languishes in the way you stretch out on his mattress before him, ass in the air, knees spread over his blankets and arms sliding through crumpled sheets towards the headboard.

The room is dark, the only light fighting its way through the downpour of snow comes from the lamp posts that dot the street outside. But the veil of snow warps the light and everything in the half-darkness is doused in blue.

The shadowy, blurred curve of your shoulder, blue.

The spread of your fingers on his mattress, blue.

The swollen bottom of lip of your mouth —

“Joel.”

The snow falls so fast and hard, it patters against the windows and the sides of the house. It’s the only thing he can hear over the pounding of his heart and the short breath in his lungs. He stares at you, soaking his blankets in your scent and slick, and you stare right back in utter and total silence.

You sit in the center of his bed, bare for him beneath the velvet dress that is red like blood, your patchy white socks at complete odds with your smeared make up and the fucked-out look in your eyes. But there’s something else there too.

Something softer. Gentler.

You reach out a hand to him and he goes to you, like always. The instant your skin touches his the instinct to fuck you hard until you’re bruised and crying evaporates. He doesn’t think you want that anymore either.

No, you need —

“Joel, please come here. I need you.”

You need him.

The mattress squeaks when he settles one knee and then the other on top of it, his fingers stroking your ear, brushing the tips of your hair, while he kisses you with an ache that is not physically manifested. Instead, it resides —

“I love you,” you whisper.

You pull back infinitesimally, just enough that your eyes are all he sees.

A patient silence hangs from the ceiling. The sound of snow falling. Of baited breath. The scratch of your fingers against at his beard —

“I love you too.” You smile and his body is no longer big enough to contain his heart. “I feel like I’ve always loved you. Is that strange?”

Your gaze traces the same path your fingers take when you think he’s sleeping; it runs over his nose, his forehead, his eyebrows, the plush curve of his lips. Like you can’t believe he’s there with you. Like you can’t believe he’s real.

That feeling — that feeling he had been fighting because it always was the only thing that would ever really do him in — is love. He loves you.

He loves you.

And you love him.

Didn’t think they told stories like this anymore, not in a world like this. So maybe, for once, Joel Miller just got lucky.

“No. It’s not. Just be sure you mean it.”

He can't tell if the glow in your eyes comes from within you or it beams out of him. “Every word.”

Eventually, he sheds you of his favorite dress of yours, your only dress, and he lays you back, fully bare in the nest of his blankets. In the corner of his bedroom, the heater hisses like the wind from a purple storm, the static crackle of warmth hovering in the air. You watch, with eyes that shine like stars, as he pops apart the pearl-snaps holding his shirt together.

And then his white undershirt goes next. He used to worry what he looked like, until he found someone else who had done exactly what was necessary to survive.

When he goes to unzip his pants, you sit up, hair mussed and the hickey he gave you earlier throbbing like a dream.

“I wanna do it.”

He lets you unbutton his jeans, slide the zipper down, at the edge of the bed, but your hands are shaking, your breath stunted.

“I’m fumbling like a teenager,” you huff, a small, flustered smile on your face. “It’s like I’m nervous, but what is there to be nervous about —,”

His mouth pressed up against yours creates the most beautiful silence of all.

How do you want me, you ask him and he thinks, all the time. But he takes you both under the covers and settles in next to you. He positions one leg over his hip and immediately you know exactly what he’s asking for. Quick as a whip, you are.

There’s a rustle of covers, the bed slats squeaking, and then he’s nearly nose-to-nose with you. You kiss him again, maybe nervous still.

He disconnects, when you slip between his legs and take his thick, leaking cock in your hand.

“Baby, wait, do you need — I know it’s a lot — I’m a lot –,”

He can’t fathom why he’s so nervous either. But you chuckle, shake your head, smile at him.

“Don’t need anything but you.”

Your leg wraps tighter over his hip, knee up to his ribs, as he sinks inside you. The palm wrapped around the back of your knee grips roughly only once.

This is true silence. The instant where the world goes muted, everything distant and muffled, when he’s first buried deep in your heat.

Your fingers thread through his curls and suddenly all sound is cranked up to an eleven. Your rapid, stilted breathing, the groan of the bed, your soft smothered moans, or are those his? —

“Fuck me, Joel.”

Eyes never leaving yours, he does.

Your fingers dig into his skull, nails biting, hand wrapped around his neck to hold yourself steady as he thrusts up into you. He thumbs your stiff nipple, half of his hand still grasping your ribs.

You meet him thrust for thrust, a slow steady pace that draws sweat to his hairline and endless gasps from his mouth. But your gaze stays strong, never falters. Your hand slips to his shoulder, to stabilize just a bit more, but then it's on his chest, twisting his chest hair and he thinks he feels that sparkle of sanity, of rationality, any restraint to hold back crack and shatter between the clench of his teeth.

“Goddamn–,”

He rolls, taking you under him and demanding a faster pace. You push your hand against the headboard, the bed knocking against the wall in rhythmic, hypnotic thuds.

He thinks you hiss his name before you bite down his shoulder.

The sharp shock of pain lights up his brain, channeling the sudden awareness that he liked that so fucking much all the way down his spinal cord where it presses hot against his groin.

He lifts up onto one elbow, skin sweat hot and sticky as it splits from yours.

“Tell me what you need to come,” he pants.

You whine again, your throat dripping sweat, but that’s not an answer. Knowing he has about a half-a-dozen to a dozen good grinds before it puts too much strain on his back, he uses every single one of them to drag you to the knife’s edge.

“What–,” grind, “do you need –,” grind, “to come?”

The wail you let out nearly makes him come on the spot. Your eyes have that same, out-of-this-world, off-this-planet unfocused gaze, any sort of language impossible. You plead with him in the silence. A silence loaded with damp moans, grit teeth, and skin against skin against skin against skin against skin. Best sound in the world, as far as he was concerned.

You arch until he lifts above you and, taking the hand that was by your head, tuck it down between your legs. You let him grasp around with spread fingers where you are wet, where his cock rocks into your body, watch as that pulls him apart faster with dark eyes, before pressing his thumb against your clit.

There, you say without words. There is where I need you.

Once, twice, he circles – he can feel the tightness in his back already settling in, his jaw fixed and locked, his body battling the two overwhelming sensations of dull pain and fierce, wild pleasure – and you hit your release and you soak him in it.

He falls then too, falls just as hard and as fast as you, the chronic pain he holds in his shoulders, his neck, his back, his knee fleetingly gone in the rush of heat that branches out of his body from his groin and it feels divine.

When he lies on top of you, face buried in the curve of your neck, the heat from your humid skin warming up the breath in his lungs, the throb of your body matching his, his mind wiped clean, the thought occurs to him:

It’s not silence he’s found with you, it’s quiet.

It’s peace.

Eventually, some awareness seeps back into his trembling body and he rolls off of you, but takes the curve of your jaw in his hand as he goes. He can’t settle into the pillows because he can’t stop kissing you, love bites occasionally against your lip, as if where his body fails, he proves his love for you won’t end so easily.

Eventually, you press your fingers into the base of his skull and, like a reset button, he groans and drops onto his back.

Eventually, the quiet returns. Only soft noises, murmurs of existence outside of this perfect little room, fill the space.

Eventually, he falls asleep with you curled up next to him.

He knows you love waking up in bed together, but he also knows you love fresh coffee even more.

Which is where Ellie finds him the next morning.

He nearly adds too much ground coffee to the pot because he’s distracted, lost in thought about the way your curves looked in the bright morning light, when the back door slams open and a little creature made of entirely scarves, mittens, and an oversized purple jacket stomps into his kitchen and clomps its snowy shoes on the rug.

“Joel, we gotta go!” She’s a little breathless, red-cheeked too as she unwinds the scarf around her head and her face is revealed. “We don’t wanna miss it!”

“Miss what?” Joel asks, this time carefully measuring how much water the pot needs.

His question is not met with her usually buzzy chatter. Instead, she’s stopped undoing her scarf and just stares at him like he’s been beamed down from another planet.

He realizes all too late that he’s still in PJs at 9AM (basically a sign of another apocalypse), he’s making more coffee than just for himself, and he’s smiling.

Shit.

“Ellie, um, I –,”

She rolls her eyes. Her scarf is flung off her neck and she starts yanking off her gloves, her plucky attitude back, if not a bit smug.

“Get your girlfriend up too. They’re lighting the big tree in town square in an hour. I know she’d be pissed if she missed it.”

So definitely caught. Time to be “The Adult” here and put it out on the table.

“Don’t call her that.” Joel eyes her. Coffee percolating, he grabs a slice of bread and Ellie’s favorite jam. “Makes it sound like we’re fourteen.”

She frowns at him, classic “pouty-mouth”.

“I’m fourteen — rude. But seriously, and I say this because I care, get over yourself. Call a spade a spade. You’re dating her, fucking her–,”

“Ellie!”

"– and you make gross ga-ga eyes at each other when you think I’m not looking."

She slides into the seat at the island in front of him as he pushes the toasted bread with jam across the marble to her. She takes a bite, chews with her mouth open, and shrugs. “That’s a girlfriend, dude.”

Joel turns back to the eggs that might be burning, his shoulders hunched and fist tight around the spatula. Hate it when the kid is right.

He salvages what he can of the eggs, plates them along with two strips of bacon on two plates, and balances a mug of coffee on each. He tries to salvage some of his dignity with a glare.

“When you’re older, you’ll see some things just don’t need labels.”

At that, she rolls her eyes again and snatches up the last strip of bacon from the folded, greasy napkins. “Whatever, you dork.”

Argument soundly lost, he gathers up the plates and heads back up stairs. She’s still mumbling to herself as he goes.

“'Girlfriend', pfft . . . much better than fuck bunny!” She yells to no one in particular.

You hear the entire conversation from bed, the door cracked open enough for the sound to travel. Muffling a giggle, you snag his white shirt from the floor and draw it over your head. You should probably be more embarrassed that Joel got caught in his Walk of Shame, even if it was to his own kitchen to make breakfast. But . . . you’re just not.

The smile is still on your face when his footfalls approach the door and he sticks his head into the room.

“Sounds like we’re busted,” you smirk.

Joel almost chuckles. “'Bout as busted as you can be.” He hands you one plate and sits on the end of the bed with his own. He takes a low, slow sip of coffee and you follow him. The eggs are nibbled at and the bacon is perfectly crunchy.

“So . . . girlfriend?”

He rolls his eyes. “Not you too.”

“I mean," you slip the plate and coffee onto the bedside table, then hug the sheets around your knees, "I agree with you on the bit about labels. It seems silly. And not wasteful silly. Just . . .”

“Silly.” Joel’s eyes are as dark as his coffee, warmer than it too. “Doesn’t really capture the whole thing, does it?”

An apocalypse and a half later, and a boy’s sweet eyes on you can still make your stomach swoop.

“No, it doesn’t.”

“Then what do you wanna say, if people start askin’?”

You bite your lip, eyes up in faux-thought. “Truth be told, I'm kinda partial to fuck bunny. Cute like with a little tail and ears —,"

The groan from Joel and subsequent head shake makes you laugh enough for you to take pity on the old guy. You crawl closer and his eyes slip from your face to where the sheet tucks under your knees. But a hand on his cheek returns his gaze.

"I like what you said last night." Your smile is soft, pleased. "That I’m yours. Like you’re mine.”

Joel’s warmth bleeds from his whole frame as he leans in close to put his mug on the bedside table, then leans in closer still to you. He drags his nose over your bare, exposed shoulder, in a way that is sweet and sensual all at once. He stops with a kiss on the hinge of your jaw.

“I like that too. I like saying that you’re mine.”

Ignoring the shiver that rockets up your spine at the low hum of his voice, the flutter of his lips barely against your cheek, you tuck an errant curl around his ear and it immediately springs back up again. You smile and he smiles back, a youthful shine in his eyes.

“Wherever you are, I am too.”

Listen to: I am the forest by Willie Nelson

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sunflowerdigs · 7 months ago

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Nothing has proven that media literacy is a choice more than s7 of 911. People saw the issues in Buck and Taylor's relationship right away and understood that picking up on them was important, but with Tommy it's like because he's a man, he can do no wrong. The show is deliberately comparing and contrasting him with Eddie like crazy, and, again, when the show did THE SAME THING with Eddie and Taylor, everyone picked up on it, but with Tommy? Crickets.

And it's also so frustrating the way that any conversation about Tommy needing to be held more accountable for past actions if he's suddenly going to be playing a bigger part in the story gets automatically shut down. Tommy's relatively small role previously meant that the show not really diving deeper into the racist harassment he took part in and how he made amends was fine because he just wasn't that relevant. But if he is going to be more relevant, his past needs to be fully confronted and Buck needs to be made fully aware of what happened and why (as does the audience). And he cannot just be painted over as a victim (as many are trying to do) because he very much was not just that.

at this point you cannot convince me that bucktommy fans aren't experiencing mass hallucinations

like what do you mean ’tommy is buck's last love' 'tommy is buck's one, great love’ ???

where are you people even getting these things from? i know we make stuff up about buddie too, but at least we pull from source material

the only thing that makes tommy different from buck's past love interests is the fact that he's a man. and while, obviously, buck realizing he's bi and getting to be more fully himself is a good thing, it doesn’t change the fact that being with tommy means that he’s still stuck on that hamster wheel. you know, the one where he throws himself fully into a relationship and gives it his all, and the other person just doesn’t match that

i can’t comprehend the lack of media literacy you have to have not to see what the writers are doing when they have tommy leave buck on the side of the road after their first date or not bother to follow the theme for the batchelor party

and you like to justify his actions by saying he's older and more mature, but at what point do you becaome too old to put a little effort in to make your partner happy?

he certainly had no problem putting in the effort when it came to eddie..

#911 discourse #911 abc #antib*cktommy #it's just such a monument to white male privilege and that's what makes me so angry #and why i'm so salty #people are falling all over themselves to create narratives based on Lou's cameos and that's fine i support fanfic #but insisting that headcanons with ZERO basis in canon must be universally accepted as canon #while rejecting clear narrative choices around Buddie that we've all agreed on FOR YEARS #has made me lose respect for a shit ton of this fandom #especially because Tommy is a watered down version of Eddie but people prefer that because...well let's take a few guesses #and also just...Buddie is so clearly something that Tim is passionate about and has wanted to do for years #we're on the ten yard line and you're actively working to erase any queerness in Buck and Eddie's relationship for a white dude #who cannot even be bothered to empathize with Buck when he's going through THE SAME THING HE WENT THROUGH #this is the guy you're throwing away Buddie for? make it make sense i do not understand it #buddie is such a validation of every queer fan who has ever watched a show and seen chemistry between two straight characters #but been told that they're wrong by the straight homophobic majority #and you're throwing that away for two kisses and some indifference?#i'm not talking about people who are enjoying the relationship but can still see the bigger picture #i'm talking about people who're calling buddie fans delusional and are working overtime to strip Buddie's narrative of anything queer #people who are now actively against Buddie and are working to invalidate a queer narrative that people have loved for YEARS #if that's you yes you suck

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thehollowprince · 28 days ago

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One of the things I actually really like about the Fall of Anakin Skywalker was how it showed the true horror of a popular romance trope.

Over the years, in numerous books and countless fanfics, we've all seen some variation or another of the infamous "I'd burn the world down for you." And fans always swoon over this line because it's framed as this noble or romantic gesture where the character puts their love over everything else.

What I particularly loved about the prequels was that it showed what happened when the character, in this case, Anakin, actually did burn the world down "for Padmé" and we saw how terrifying and horrendous such a thing actually is.

#just some thoughts #anakin skywalker critical #star wars

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sceletaflores · 7 months ago

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Being a professional masseur for players and taking care of our boy art.

Hes just so sad and so pretty that you just giving head to make him feel better 😔

Plot twist: he falls in love with you because duh? Hot+sex=you being promoted pookie, you are now the donaldsons elite employes!!!!!!

Baby, show me where it hurts...

pairing: art donaldson x fem!reader

summary: you never intended on becoming a "celebrity" massage therapist. you just wanted to be a massage therapist, the whole celebrity thing just sort of happened, you blame cali for that. but the novelty of your job wore off long ago, you hardly blink at the clients on your table nowadays. that is until tashi duncan calls you and absolutely fucks everything up

— or: art donaldson needs a massage therapist…

contains: 18+ SMUT MDNI, oral (m!receiving), oral (fem!receiving), p in v, fingering (fem!receiving), angst? maybe? could this be considered angst?, slight age gap, no tashi duncan erasure because i don't stand for that, cheating but not really cause tashi knows, she always knows, she is an all seeing eye, and she kind of orchestrates it, SOOOOO much plot, like way too much i'm sorry, art being sad and tired, art also being kinda pathetic a little bit, unprofessional massages, no use of y/n.

word count: 10k+ (someone stop me....pls still read this lmao)

author's note: this ask was blessedly placed in my inbox and it was all i’ve thought about since. this is my first big fic since my mike schmidt days so hopefully i'm not rusty! i've seen this damn cursed hell movie ten times, so hopefully i do it justice. i'm also still struggling sooo much with art and tashi as characters so please bear with me if they aren't movie accurate i'm trying my best. okay. thank you. hope you love it! mwah xoxo.

You don't get starstruck often, not anymore at least. The clients that find their way onto your table are just that in your eyes, clients. You don't see them as big time "celebrities”. Just men and women who need your professional help.

That being said, you almost dropped your phone the first time the Tashi Duncan called you.

It was a normal work day for you, spent buried in paperwork and training a new secretary. You're folding the steam room towels on your lunch break when your phone rings. No caller ID, you answer it anyways.

"Hello, you've reached Lush Retreat Med Spa," you rattle off into your phone, placing it between your ear and shoulder to continue folding. "How can we help you?"

"This is Tashi Duncan calling for Art Donaldson, we've heard great things about you and were hoping to schedule an appointment."

The towel drops from your hands, your mouth falling open in shock. You reach up to tightly grip your phone, not wanting to embarrass yourself by dropping your phone with Tashi fucking Duncan on the end of the line.

Of course you know who she is, but doesn't everyone? The tennis prodigy from Stanford who was on top of the world when a tragic knee injury stole everything from her in a single second. You absolutely idolized her when you were in high school and playing tennis competitively. You watched all the recorded matches you could get your hands on, wore your DUNCANATOR shirts to practice constantly, only bought the tennis rackets she used. You had her fucking posters plastered on the walls of your old bedroom for Christ's sake.

That was until you, ironically, shattered your wrist in a car accident and had to hang up the racket and pleated skirts forever. Just like her.

Now, Tashi Duncan and Art Donaldson are California royalty. An unfairly beautiful couple living what seems to be the dream. You'd never kept up much with Art's career like you did Tashi's, but you follow them both on Instagram and you see his face on billboards all over the city almost daily so you can assume it was fruitful. It may help him that he's extremely easy on the eyes, or "super fucking hot!" in your coworkers words.

"Hello?" Her voice ringing out from the tiny speaker ripped you out of your thoughts and back into reality.

"Y-yes, sorry," you cringe internally at yourself, stuttering over your words like a loser. You force yourself to sound professional when you speak again, "We'd love to help you any way we can. Do you have a certain time and date in mind already?"

"We're not home right now, we were thinking next Thursday. Around four." There's no question mark on the end of her sentence, you know that she isn't asking you, she's telling you. You don't even bother to check the schedule before you're answering.

"We will be free that day. I'll go ahead and put you in our system." you rush over to the front desk computer and open the calendar, thankfully you are actually free for Thursday. "I'm assuming you know our location?" you ask as you type in the appointment details, ignoring how your fingers shake ever so slightly as you type Tashi into the slot.

"Actually," Tashi's voice has a different tone to it when she speaks again, it’s something you can’t quite place, your fingers slow down slightly as you listen, "we wanted to make this a home visit."

You stop typing completely, brows furrowed in confusion as you stare at your computer screen. "I'm so sorry, Mrs. Donaldson but we don't do at home appointments…per our policy." you reply meekly, almost surprised that you're denying her.

"Duncan, actually,” she corrects you nonchalantly, you don’t have time to unpack that before she’s speaking again. “We did read that on your website, but we'd hope you might make an exception. You wouldn't need to bring much. We have our own table." Her tone isn't harsh or impolite, just firm and certain, like she knows you'll give in to her.

You do.

"Well," you bite your lip as you wrestle internally with yourself, torn between what you want to do and what you should do. "Okay, we can do that for you."

"Great. I'll send you the address. See you then." She hangs up without saying goodbye.

You plant your phone next to you and stare at the filled out appointment slot taking up your computer screen, processing what just happened. You're going to Tashi Duncan's house. To give her hot pro-tennis player husband a massage. In their house.

"What the fuck."

SIX DAYS LATER...

The walk up to The Donaldson's huge mansion on a mountain has your stomach turning in on itself. All week you were a ball of nervous energy just floating around your office, trying to find anything to distract you from your upcoming appointment. Now that it's here, you feel you may have bitten off more than you could chew.

You hardly got any sleep last night, tossing and turning in your bed for hours before you gave up, barging into your building's gym to try and sweat your nerves out. When that didn't work you just retreated back to your apartment and got ready.

You try not to think about why it took you so long to get ready, longer than most work mornings. Taking more time in the shower, more time doing your hair, more time doing your makeup.

You even choose an outfit you'd hardly ever wear in front of regular clientele. A matching white polo set, a skirt in place of shorts. You tell yourself that you just want to look good, who wants to look like a mess in front of Tashi Duncan?

Your hands white-knuckle the steering wheel of your car on the drive over. You couldn’t even play any music, the noise in your head already too loud as it was, only cranking up the AC and silently following the crisp voice of your GPS reading off the directions Tashi sent you.

The closer you get to the door the more you want to turn and run down the insanely long driveway, get back in your car and haul ass home without ever looking back.

You don't because you're a professional, or at least that's what you keep telling yourself.

Your hand shakes as you ring their doorbell, hearing it echo back at you from the inside. You only wait a few seconds before the large door swings open and there she is.

Tashi Duncan is every bit as beautiful in person as she is splashed across the pages of magazines and blown up twenty feet on billboards. She looks so effortlessly classy in her Ralph Lauren sweater and flowy black dress pants.

Your name falls from her lips, and all the blood rushes to your ears. Her silky voice wraps around each syllable with an enticing heat that makes you weak in the knees. You feel sixteen years old all over again, standing at the woman who basically molded you into who you are today. It's a dizzying sensation, the rush of nostalgia and emotions flooding in like an avalanche. The memories you have locked away in your brain of the countless late night practices, the hundreds of hours spent on the court, the trophies and ribbons littering your moms basement collecting dust, the refusal to give up and pushing your body past its own limits because you wanted to be just like her. You wanted to be Tashi Duncan, and when you catch yourself nervously rubbing your thumb over the scar spanning your right wrist, you guess in some sick twisted way that you kind of are.

"So glad you could make it," she greets breezily, stepping to the side to let you in. “We were worried you’d get lost.”

The house is, of course, beautiful on the inside. Tall ceilings, big fireplace, a beautiful staircase leading to the second floor. There’s toys strewn messily along the living room floor, the TV mounted on the wall is paused on ESPN.

You hope you don’t look as crazy as you feel taking in the space, taking in the fact that Tashi is standing right in front of you.

“No, the directions were very helpful,” your voice only slightly wavers as you respond, you count that as a win, “it’s a pleasure to meet you, Mrs. Donalds–uh–Duncan.” You cringe at your fumble, but try to power through by extending Tashi your hand.

She watches you for a second, sharp eyes flicking over your body quickly like she’s inspecting you. It makes your cheeks feel warm as you struggle to not squirm underneath her gaze. Finally, she takes your hand in hers and gives it a firm shake. You ignore the way her touch makes your palm burn.

“Art should already be in the massage room, it’s in the pool house,” Tashi says, gesturing to the huge windows in the living room showing off a lavish underground pool with a smaller building situated next to it, “I have to take a phone call here in a few minutes so I trust you’ll find your way there.”

You nod slowly, adjusting the strap of your supply bag on your shoulder. Tashi doesn't even pause walking further into the house as she speaks to you, heels clicking with each step as she makes her way to the large staircase in the middle of the room. There’s still no question marks tacked on to the end of her sentences, just like over the phone.

“It’s just through that door, first room on the left. I told him to leave the door open for you.” She continues, reaching the stairs and making her way up slowly. She tosses her head over her shoulder to make eye contact with you again. “He’s been complaining about his shoulder acting up. The right one, it’s what needs the most attention. He serves with that arm, we need it at a hundred.” she fires off casually, like she’s recited this information before.

You go to speak but her phone ringing cuts you off, echoing off the house's crisp white walls. “Thank you for coming to see us, it was nice meeting you.” Tashi says politely, giving you one final once over before she’s answering her phone and disappearing up the stairs.

“It was nice meeting you too…” you trail off quietly, fully caught off guard by whatever the hell that was. Out of every single time you’d fantasized about what meeting Tashi Duncan would be like, none of them were quite like this. At least it’s over you figure, and you even managed to not make a complete fool of yourself.

You hold onto that tiny win as you walk through the living room doors and outside, making your way to the pool house like Tashi instructed. The entrance is unlocked as you step inside, thankfully you spot the cracked door a little ways in front of you.

The sound of your footsteps are loud as you make your way down the short hallway, tennis shoes making small thump sounds against the concrete floor. You pause for just a second outside the cracked door, taking a deep breath before pushing it open and stepping inside. The room is empty, the only things inside are some shelves lined with various essential oils and lotions, and an expensive looking massage table in the center. You muse over the fact that their table looks a little better than the ones in your own spa, no wonder they wanted a home visit.

The room is well lit as you walk around, dim in a way that promotes relaxation. The soft, ambient lighting bathes the room in a gentle, golden glow, complemented by the flicker of aromatic candles placed strategically around the space. You wonder who lit them, Tashi? Or maybe Art? You let out a small laugh at the idea of Tashi Duncan and Art Donaldson fawning over the room before you showed up, setting up candles and mood lighting to make it feel nicer, less clinical.

You’re probably just reading too much into it. You always urge clients to ask for anything that will make them feel more comfortable, apparently Art just likes eucalyptus sage candles and mood lighting. It has nothing to do with you.

Your name being said from somewhere behind you rips you out of your own mind. You whirl around, and find yourself face to face with six time Grand Slam Champion, Tashi Duncan’s super hot husband, Art Donaldson. And he’s only wearing a fucking towel.

“Hello,” he greets with a kind smile, though it doesn’t quite reach his eyes, “it’s nice to finally meet you, thank you so much for taking the time to come out here.”

Art is already worlds different from Tashi, or that’s what you’re inferring after spending less than five minutes with each of them. It’s still extremely apparent, Tashi has an almost overpowering presence to her, everything about her commands respect and she knows that. She uses that to her advantage, she likes it like that.

The man standing in front of you is nothing like that. The Art Donaldson in front of you doesn’t seem like some big shot tennis player with more impressive stats than you could wrap your head around. You’ve come to know that a few pro-sports guys like to swing their dicks around, bragging about their booming careers non-stop during a session. Yet everything about Art is unassuming as he stands in the doorway like he’s trying to make himself look smaller.

“Hi, Mr. Donaldson,” you’re not sure if it's appropriate to offer a man wearing a towel dangerously low on his hips your hand, you decide against it. “It’s no trouble really, I’m happy to help.”

“Please, call me Art.” The tone of his voice makes you want to shiver, smooth and warm like honey.

You try your best not to stare, but it’s so hard to ignore the toned expanse of Art’s body when it’s right there. He’s all broad shoulders, firm pecs, sculpted legs, with a cut Adonis belt. He’s like a marble statue, made in Michelangelo's perfect image.

Your eyes trail back up his body, lingering on his chest before rising up to his face. You’re mortified to see he’s staring right back at you, effectively catching you in the act. Your cheeks burn as you tear your gaze away, looking at anything and everything other than him. In your panic, you don’t notice the way his eyes rake over you in the same way.

“Okay, Art,” you say a little breathlessly, tightening your grip on the strap of your bag. “It’s nice to meet you. Mrs. Duncan let me know about your major problem areas, I’ll be sure to focus on them.” Involuntarily bringing up Tashi has your stomach clenching up in guilt, you just got done ogling her husband's body. You hope he takes the silent cue you're giving him to get on the damn table so you can start the massage and get the hell out of here.

Art nods silently, walking over to the table and moving to lie down on his stomach. You busy yourself with prepping your oils, taking them out of your bag and setting them on a small side table next to the massage bed uncapped for easy access. You can’t help but sneak glances at the rippling muscle of Art’s back as he shifts, his skin looks soft and is littered with freckles. You don’t miss the hiss he lets out when he lays his weight on his shoulder.

You usually don’t speak much during appointments, only engaging in conversation when your client initiates it, but you feel the need to fill the silence between you and Art. The quiet atmosphere makes everything seem far too intimate, and sure on some level it always is, but this feels different.

“How’d you hurt it? Your shoulder. If you don’t mind me asking.” you ask once he’s settled, placing your fingertips to the middle of his right shoulder, feeling around for any tension. Art tenses slightly at your touch, taking a sharp breath. You guess you should have warned him, you open your mouth to apologize but he lets out a small breath and relaxes onto the table again.

Art sighs, his voice tinged with weariness. "It was, uh, during a match. I overextended trying to return a serve. Haven't been able to move it properly since."

You nod, hands starting to move in slow, deliberate circles across the muscle. “That sounds about right. Most people don’t realize how brutal tennis is to the body, injuries are common,” you pointedly try to ignore the flashbacks of your wrist failing to swing a racket properly after you healed from your accident, flashbacks of watching as the bone pierced through your skin. “Sounds like you might need to take it easy for a while.” you continue, trying to keep the conversation light.

Art chuckled, though it was devoid of real humor. "Yeah, I’ve been playing a lot lately. Guess I pushed myself too hard." He winces slightly as you work on a particularly tight knot, shoulder tensing under your hands.

You pause, your hands stilling momentarily as you catch the underlying tension in Art's voice. "The season’s almost over, maybe it's time to give yourself a break, take some time to rest and recuperate." you remark softly, your tone gentle yet concerned.

Art's gaze flickers to yours, a flicker of vulnerability shining through. "I wish I could," he admits, his voice heavy, "But it's hard to step away, especially when it feels like it's all I have that’s still keeping everything together."

Your heart clenches at the raw honesty in his words. He’s completely silent afterwards, you wonder if he’s regretting telling you something like that, like maybe it just fell out of his mouth before he could stop it. Without a word, you continue to knead away the tension in his muscles, offering a silent gesture of support.

As you continue to work, hands skillfully moving over Art’s shoulder, you can’t help but notice the weariness in Art's demeanor. His presence feels heavy, almost broken, as if the physical pain was just a small part of what he was carrying. You feel a pang of sympathy for him. You can feel the weight of struggles pressing down on him, the way his shoulders sag slightly even under your careful touch.

“I can feel the tension here," you say gently, applying a little more pressure, "Just try to relax.”

With each knead and press, you remind yourself of your role. You’re here to help him heal, and that was all that mattered. But as your hands move over his warm skin, you can’t shake the feeling that this wasn’t what you had anticipated, something that made your heart race with both excitement and anxiety. You were so worried about meeting Tashi you completely forgot about Art. It’s a different story now as your hands explore the smooth planes of his back to the steady sound of his breathing.

"You're really good at this," Art says after a while, his voice a bit lighter.

You smile, a genuine one, the first real smile you’ve had since you got here. “Thanks. I’d hope so after all this time.”

Art lets out a small chuckle muffled by the table, it makes your stomach flutter. “How did you get into this? Massage therapy seems interesting.”

You laugh but it’s a bitter sound, moving your hands down to focus lower on Art’s shoulder. You try not to think about your tennis career, even after all this time you struggle with the memories despite all the good it brought you. “That’s a long story.” you mutter under your breath, even to your own ears you sound resentful.

“I’ve got time.” It’s a simple reply, but it’s so honest. Like Art’s genuinely interested in you, in getting to know you. It makes you feel dizzy.

“I, um,” you worry your lip between your teeth, working your hands harder over Art’s back. “I actually used to play tennis. When I was in high school.”

Art makes an interested noise, shifting under your hands as he moves his head to lay on the side of the table so he could look up at you. “No shit?” he looks more shocked than anything.

You nod, humming in confirmation as you finally move onto his other shoulder. “Yup, I was pretty serious about it back then, until I got injured.” You don’t meet Art’s gaze, but you can see how his face falls in your peripheral vision. You kind of want to laugh at how ironic this moment is, you wonder if Art’s thinking about Tashi’s knee. You know he was at the match, you’ve seen the blurry footage of Tashi Duncan’s fall from grace, watched Art vault over the net to get to her.

“That’s awful. I’m sorry.” He sounds like he means it.

“It’s okay, wasn't like it was my fault or anything,” you say, finally meeting his eyes with a rueful smile and raising your right wrist to show him your scar. “I got hit by a drunk driver coming home late from practice one night. Nasty fracture, bone went straight through.” You hope your voice is coming out as nonchalant as you’re trying to make it sound.

Art's eyes widen in disbelief as he takes in your scar, a mixture of shock and sympathy evident on his face. "Wow, that's...terrible," he murmurs, his voice tinged with compassion.

You shrug, the memories still vivid despite the passage of time. "It was tough, it was awful actually. All the physical therapy in the world couldn’t get a racket back in my hand,” you confess softly, fingers tracing the outline of the scar absentmindedly again. “But it also forced me to reevaluate things, in a way. It made me realize that life doesn't always go according to plan.” You see Tashi’s knee buckling in your mind's eye. “When I finally realized that I could take all the hate and all the anger I was feeling and channel it into something good, something like massage therapy, I never looked back."

You immediately regret over-sharing, feeling silly telling Art your sob story, but when you meet his eye again, he has an odd look on his face. His expression is soft as he looks up at you through long lashes, understanding and empathy swimming in the blue of his eyes.

"Well, silver linings, huh?" he says after a few seconds, there’s traces of a smile playing on his lips. You let out a small laugh, nodding your head slightly.

"Yeah," you agree, a small smile on your lips. "Silver linings."

As the conversation fades into a comfortable silence, you and Art find yourselves locked in a silent exchange, your eyes meeting and holding a depth of something you can’t quite pick up on. In that moment, the world around you seems to blur, leaving only the two of you suspended in a shared moment of vulnerability. There's a subtle shift in the air, a silent acknowledgment of the bond that has formed between you, as if you've uncovered a piece of each other.

The shrill ringing of your phone’s alarm pierces through the moment, both you and Art jump at the sudden sound. It’s like a cold bucket of water pouring over your head, washing away whatever just happened between the two of you. The session’s over, you’re done.

“Okay,” you say a little too loudly, taking your hands off Art's back like his skin could burn you any second. “Looks like we’re all done.” You try to smile but it feels fake, forced, so you turn your back to Art and start capping your oils to shove them back in your bag.

Art’s voice breaks the silence as you pack up, sounding a little less confident than it did earlier. “Uh, my neck has been bothering me too, recently,” he says offhandedly as he sits up, swinging his legs over the edge of the table. “I think I may have slept on it wrong.”

You stop what you’re doing, turning to face Art again, silently cursing him for not just letting you leave. “Do you want me to take a look before I go?” You pray he says no. You should know it won’t be that easy, not with your shit luck.

“If you don’t mind?” His tone is so hopeful and his eyes are so big that your feet are walking towards him before your mind can catch up.

“Not at all,” you reply, your voice steady despite the tightness in your chest. You step closer, practically between his slightly spread legs, feeling the warmth of his skin even before you touch him. Your fingers brush against his neck, and he shivers slightly, the muscles tight and knotted beneath your touch.

"Just relax," you murmur, trying to maintain any shred of professional demeanor. As you work, you can't help but notice the way his breath hitches, the tension in his body melting away under your skilled hands. The room feels smaller, the air heavier with each passing second.

He closes his eyes, a soft sigh escaping his lips. "That feels amazing," he whispers, and you swallow hard, trying to focus solely on the task at hand. As you work, the intimacy of the moment isn't lost on you, and you can't help but wonder if he feels it too.

Minutes tick by like hours as you work the tense muscle of Art’s neck. You're acutely aware of every sigh, every shift in his body, every subtle reaction to your touch. You finally pull away when you think it’s been enough time, eager to get out of this damn house before you do something you’ll regret.

You didn’t notice how close you really were to Art until you pulled back only to be met with his face mere inches away from yours. Startled by the sudden proximity, you freeze, caught off guard by the intensity of Art's gaze. His eyes, dark and searching, seem to hold a silent question, a silent invitation.

Now, Art’s body is one thing, it’s objectively perfect. He’s a professional athlete, of course it’s perfect. It has to be perfect. It’s his damn face that gets you.

He’s beautiful, beyond beautiful. He looks like he should be splayed across canvas hanging in the Louvre. The dim lighting in the room illuminates his face beautifully, his golden hair haloing around his head makes him look ethereal. Each of his features look as if they were handcrafted by a master sculptor, each contour and line a testament to perfection. His chiseled jawline speaks of strength and determination, while his lips, soft and inviting, seem to beckon you closer with every breath. His eyes are deep pools of ocean blue, though this close you can see a small splash of brown in his left eye you didn’t notice before, swirling with emotions that stir something deep within you.

Something more shocking than Art’s beauty, is how fucking tired he looks. Lines of exhaustion are etched along his face, subtle but undeniable. The weariness in his eyes speaks volumes, a silent plea for respite from the relentless demands of tennis. And yet, even amidst the exhaustion, there's a flicker of longing. He’s staring at you like he needs you, eyes wide and yearning. His chest rising and failing a little more harshly than it did before, each exhale coming out ragged and sharp.

“Art…” you whisper, heart threatening to beat out of your chest. He’s so warm, the heat emitting off of him makes you want to lean into it. You want to crawl on top of his powerful thighs and bury your face in his chest and never leave. Your hands flex where they’re draped over Art’s neck.

It happens in slow motion, Art’s hand trails up the skin of your thigh as your name falls from his lips like a prayer, and it’s like you’ve been electrocuted. You’re rearing back with a sharp breath, dropping your hands from his neck and taking a couple steps back.

“It was really nice to- uh to meet you, Art.” you say frantically, swinging your bag firmly over your shoulder and rushing to the door. Art’s still sitting on the table, silently watching you panic. He doesn’t try to stop you. “I hope your shoulder feels better,” is all you say before bursting out the door and speed walking out of the pool house.

Your heart's racing as you walk through the backyard, hands shaking even through the death grip you have on the strap of your bag. What the hell was that? What the hell was that? Did Art Donaldson just make a pass at you? You must be imagining things.

The thought rattles around in your mind, refusing to be dismissed. His words, his tone—they seemed to linger in the air, haunting you with their implications. The way he touched you, like he couldn’t help himself. But no, it couldn't be. He was married to Tashi, and besides, he was just being polite, right? You try to convince yourself of that as you make your way back to the house.

As you walk inside, still slightly shaken up, Tashi’s the first thing you see. She’s sitting in the living room, laptop open on the coffee table in front of her.

“Hey,” she says, sitting up straighter on the coach, “how was it?”

You swallow, urging yourself to calm down. “It was great, he should be seeing some improvement over the next few days.”

Tashi nods her head, seemingly pleased though it doesn’t show on her face. “Could this be a weekly thing, these appointments. He could really use them.”

No question marks. Motherfucker.

You flounder, stomach dropping. “Weekly? As in every Thursday?”

Tashi’s brow raises, eyes looking over you inquisitively. “Yes, preferably all home visits.”She stands from the couch, taking a couple steps towards you. “We read on your website you take permanent clients, is that not the case anymore.”

You shake your head, eyes wide as they follow her while she walks. “N-no, Mrs. Duncan we do. We could pencil you in if you’re willing to pay monthly for the time slot. Would you like to talk to some of my other employees to work out a rotating schedule?”

Tashi stops a few feet away from you, hands in her pockets. “Actually, we were hoping you’d be the one coming down. The only one.” You blink, her words slam over you like a ton of bricks. Just you, in a room with a half-naked Art. Every single Thursday. That can’t happen, not after what just went down between the two of you.

You can practically hear the warning bells blaring in your mind, urging you to refuse, to put an end to this before it spirals out of control. Yet, there's another voice, quieter but no less insistent, whispering seductive promises of what could be if you were to stay.

Your heart pounds in your chest as you grapple with the conflicting desires warring within you. Tashi's expectant gaze weighs heavily on you, waiting for your response, and you know that whatever decision you make will irrevocably alter the course of things between you and Art. With a shaky breath, you steel yourself, the weight of your choice settling like a stone in your stomach.

"I...I'll do it," you finally say, the words leaving your lips before you can stop them. "I'll make sure to pencil you in for weekly sessions, Mrs. Duncan."

Tashi's lips curve up slightly, satisfied, but beneath the surface you can sense the tension thrumming through the air. You've made your choice, for better or for worse, and now you can only hope that it won't lead to the downfall of everything you've worked so hard to build.

“Wonderful,” she says, gesturing for you to follow her to the front door. You trail behind her like a loyal pet, silently allowing her to drag you wherever she pleases. “Thank you again for coming out, and please,” she pauses with her hand on the doorknob, turning to meet your eye, “call me Tashi.”

"Thank you, Tashi," you murmur softly, the weight of her name feeling foreign on your tongue when you’re actually saying it to her for the first time. "I'll make sure to arrange everything at the office."

Tashi's smile widens, though there's a glint of something unreadable in her eyes. "I look forward to seeing you, then," she says, her tone laced with a hint of anticipation. "And please, if there's anything you need, don't hesitate to reach out."

With a final nod, Tashi opens the front door, the outside world beckoning beyond its threshold. You take a hesitant step forward, the weight of your decision pressing down on your shoulders like a heavy burden. As you step out into the cool evening air, you can't shake the feeling that you've just crossed a line from which there may be no turning back. But for now, all you can do is steel your nerves and hope that you haven't made a huge mistake.

A LITTLE MORE THAN SIX DAYS LATER…

Your sessions with Art continue on. The guilt settling deep in your stomach each time you set foot in the Donaldson/Duncan house also continues. It worsens each time the two of you are alone in that damned massage room. Technically you’ve done nothing wrong, but you know deep in the back of your mind that what you’re doing isn’t normal. Each meeting is a strange mixture of tension and familiarity. When you arrive, Tashi always greets you warmly, her trust in you unwavering. It feels like a dagger each time, twisting deeper and deeper into your conscience.

Neither of you talk about it, what happened during your session, and Art doesn’t treat you any differently. He still goes out of his way to make polite conversation, asking you about your life, about your business, he even brings up old anecdotes you told him offhandedly. He doesn’t talk about tennis, and he has to know you can keep up in conversation with it since you told him about your history with it, you just assume he doesn’t want to.

That makes sense, you always think back to the first time he met you. How he brushed off any conversation about his career, how his demeanor changed when he spoke about it. How drained he looked. There was a sadness in his eyes, a weight he carried that seemed to go beyond just a few standard aches and pains. You remember how it struck you then, and it strikes you still, each time you see him.

His shoulder is getting better, you can tell. He can lay on it, or raise it above his head, without wincing. That makes your heart swell, knowing that despite how weird and kind of fucked up everything is, he’s healing.

The familiar sound of your timer ringing pulls you out of your thoughts. You’re shocked at how fast this appointment flew by, but you could tell as soon as you walked into the massage room to find Art already sitting on the table waiting for you, that something about this session feels different. It’s silly to call it “sensing a bad vibe”, but that’s exactly what you felt entering the room's threshold.

Art didn’t speak much as you worked, just laying on the table silently after saying hello and asking you about your week. The silence is definitely odd, Art’s not a chatterbox by any means, but he usually keeps some form of conversation flowing. After a while, you start to think it might be something you did, like maybe he’s mad at you. It sounds so stupid in your head, like you’re some poor high school girl getting hung up over a fucking guy giving you the silent treatment.

The only thing more stupid than that is how much it’s actually affecting you. Art has you over analyzing everything you’ve said or done over the last couple visits, you dread that maybe he just came to his senses after all this time. That he finally snapped out of whatever trance he was in and remembered he has a beautiful wife, and that he doesn’t really want you.

“Alright,” you say softly, stepping away from the table, “All done.” As you turn off the timer and gather your thoughts, you can't shake the feeling that something is off. You force yourself to bury it, Art doesn’t owe you an explanation, he doesn’t owe you anything. You aren’t his.

You glance over at him as he slowly sits up, his expression unreadable. "Thank you," he murmurs, his voice barely audible. You offer a small smile in return, trying to squash all the ugly feelings mixing in your stomach. You turn to busy yourself with packing up, feeling a weird sense of déjà vu.

Art’s voice cuts through the silence, sounding weary. “Are we still pretending it didn’t happen?”

It catches you off guard, making you drop the bottle in your hands back onto the table loudly. Your heart races as you turn back to face him, unsure of how to respond. The weight of his words hangs heavy in the air, demanding a response you’re not sure you’re ready to give.

You take a deep breath, trying to steady your nerves. “I...I don’t know,” you admit, your voice barely above a whisper. “I guess I was hoping we could just…forget about it.”

Art’s eyes search yours, filled with a mixture of longing and uncertainty. “I don’t think I can,” he confesses, his voice tinged with sadness.

The same feelings from that day rush back in your mind, flooding all your senses. It's as if time folds in on itself, bringing you right back to that moment where everything changed. You feel panic clawing its way up your body, fight or flight response waging a war inside of you.

You chose flight, shoving the last bottle in your bag and making a break for the door. Ready to run just like you did back then, run and come back next week with your tail between your legs desperately trying to forget that this ever happened, again. Art’s voice stops you just as you have your hand on the doorknob.

“Please…” he whispers, he sounds so broken, so vulnerable. “Please, don’t run.”

You don’t know what it is, maybe it’s the way he’s looking at you, or the repressed feelings, or your shitty back bone, but whatever it is makes you pause, hand falling off the doorknob to lay limp at your side. You turn back to face him, the raw need in his eyes mirrored by your own emotions. It tugs at your heart, making it impossible to leave. You feel a surge of guilt and hesitation, but the longing in his gaze holds you captive. Slowly, you make your way towards him, taking small slow steps like you could still leave at any minute, but you know you won’t.

You walk until you’re crowding him, standing between his spread legs just like you did all those sessions ago. His eyes are wide, almost disbelieving, like he thought you’d turn around and slam the door on him instead. Which is what you should do, you should walk out that door right now and never step foot in their house again.

Art whispers your name, his voice a soft caress that sends sparks zapping down your spine. You're close enough to feel his breath fanning over your face, warm and intimate. You inhale, like you’re trying to absorb his words, his essence, his everything.

His hand takes yours, bringing it up to his chest. He presses it firmly against his pec, right on top of his heart. You can feel the rapid, uneven thumping beneath your palm. His thumb caresses your wrist gently, making goosebumps pebble over your skin.

It’s easy to get lost in Art’s eyes, so you’re shocked to notice something that very quickly grabs your attention. Art’s towel is tented obscenely, hard cock straining against the thick material. You swallow roughly at the sight, feeling the need to touch, to take, to help.

Your knees hit the floor before you fully realize the entire gravity of what you’re doing. You don’t care about any of that anyway, not right now.

Right now Art Donaldson is swiping his thumb across the scar on your wrist with his big sparkly eyes desperately looking into yours, unashamedly begging for you to touch him.

Who are you to deny him?

Your hands find the knot of his towel and yank it roughly, ripping it off Art's hips and tossing it aside. His hard cock springs out, slapping up against his stomach enticingly. Your mouth waters at the sight of him, pleased to see he’s perfect all over.

Art’s cock is long, and thick. He’s big, but in an exciting way, not in an intimidating way. He’s already steadily drooling pre-cum from his soft pink tip, already so hard and you haven’t even touched him yet. You reach up, tracing your finger along the length of him lightly. Art inhales, his eyes fluttering closed as you touch him for the first time. The anticipation in the room is palpable, a heady mix of desire and need that seems to swirl around you both.

You circle your hand around the base of his cock, stroking up and up until your hand bumps into the head, where you start to rub your thumb back and forth gently, spreading the wetness from his pre-cum before sliding your hand back down. Slowly, you lean in, placing a soft kiss on the tip of his cock before taking him into your mouth, savoring the taste of him as he groans deeply, hands gripping the massage table tightly.

“Shit,” he grits out, casting his gaze to the ceiling, chest already heaving raggedly.

You slide the warmth of your mouth down the shaft of his cock, moaning at the heady taste of him, skin soft and velvety on your tongue.

“Fuck, your mouth…” Art whispers above you, his words trailing off into a string of breathy moans. You hum in response, working his cock faster to draw out more of those noises. Hollowing your cheeks, you sink down towards the circle of your fist still holding the base of his cock with wet, slippery slurping sounds. Art’s hand lets go of the table, coming up to cup your cheek in a move way too intimate for what the two of you are doing.

You chance a look up, and your heart skips several beats at what you see. Art’s already staring down at you, his face twisted up in pleasure. His pale cheeks are flushed, brows drawn together tightly, plush bottom lip caught between his teeth. All that is enough to make you feel ten feet tall, but that’s not what makes you pause.

It’s his eyes, the way Art’s looking at you.

The look in his eyes is…worshipful. Reverent. Like you’re a celestial being, a divine grace walking among mortals. Not some girl on her knees for a married man in his house’s private fucking massage room.

Yet the longer you hold his gaze, while still working your mouth over his hard cock, you feel something strange stirring inside you. Art’s eyes holding such a longing reverence so intense, it was starting to elevate you to a pedestal of adoration. Of devotion.

Right now Art’s like the sun, burning so brightly you feel you need to look away before he consumes you, but you don’t.

“Please,” Art begs desperately, voice so soft you barely even hear it. There’s tears welling in his eyes, his red rimmed and so so tired looking eyes. It breaks your heart, how could such a wonderful man be reduced to this?

You pull off Art’s cock, hand still pumping firmly over him. He whines at the loss of your mouth, hips bucking up to chase after the warm heat. His tip bumps over your lips as he moves, trailing a thin line of pre-cum across them.

Without breaking eye contact, you speak.

“You’re so good, Art.”

It’s those four words whispered against the tip of Art's leaking cock that has him coming with a hitched breath and a soft cry. A few bursts of his warm come land over your parted lips before you take the head of his cock back in your mouth to greedily swallow down the rest.

"Thank you, fuck, thank you...!" Art grates out as his body trembles above you, hand squeezing yours so hard it borders on painful. You know you’re never coming back from this, but you still squeeze back as hard as you can all the same.

A LITTLE MORE THAN SIX DAYS LATER…

Maybe this is just your life now, fucking the husband of the woman you worshiped like a God for years on end. It’s like you can’t stop, like you’re an addict or something. No matter how disgusting and shameful you feel every time you get home from Art’s appointments, you can’t help but give into him. It’s a twisted dance, a cycle of pleasure and regret that you can’t seem to break. One look into his sad, kicked puppy eyes and you crack. You’ve convinced yourself it's just you reveling in the feeling of being truly wanted for the first time. But deep down, you know it’s more than that. It’s the way he makes you feel alive, the way he looks at you like you’re the only thing that matters in his world.

Art wants you. He needs you. He’s made that more than clear every single visit since you dropped down on your knees for him. The guilt gnaws at you, a constant reminder that you can't escape. Yet, every time you see him, every time he reaches out to you with that desperate need in his eyes, you find yourself powerless to resist.

You’ve never kissed, not on the lips. Art’s certainly tried, lips seeking yours out as your oiled up fist slips up and down his cock, as you sit on his lap and grind against him until he’s dirtying his towel. You just turn your head every time, letting him trail kisses along your jaw and neck instead somehow feels less real. Kissing Art will make it feel real, you know it will. So you don’t.

Funnily enough, you think things are going well. Maybe even as well as getting a married man off every Thursday can go. You can see a change in Art, in his behavior and the way he holds himself. He smiles more, he laughs more, it’s like he’s giving more of himself to you each time you meet with him. It’s exhilarating, the way your presence has this effect on him, almost as if you’re breathing new life into him.

Art’s newfound lightness is infectious. You find yourself looking forward to Thursdays with an anticipation that borders on impatience. The way he looks at you, the tender touches that linger just a bit longer, the conversations that flow more freely–it all feels like a dream you’re afraid to wake up from.

You should have known it was too good to be true, that this little world you created in your head was just the calm before the storm.

Everything about this session was normal to start. It’s a little less intense since Art’s shoulder is doing better, now you have free reign over the rest of his body. Greedy hands free to glide over the planes and planes of muscle you’ve become familiar with.

As you work on his lower back, your hands moving in practiced, soothing motions, you notice a subtle rigidity in his muscles. “Everything alright?” you ask, keeping your tone light.

Art hesitates before answering. “Yeah, just…a lot on my mind.”

You frown, “Do you want to talk about it?”

Art stays quiet, still laying silently on the table face down. You stare at the back of his head, like if you stare hard enough you’ll be able to tell what he’s thinking. Taking his silence as not wanting to talk, you continue on. You don’t want to pressure him to confide with you, not when he already has a wife for that.

As your hands continue to move over Art's tense shoulders, he lets out a deep sigh, breaking the silence. "I need you,” he whispers softly, his voice filled with an unexpected vulnerability. He shifts on the table, leaning up to look you in the eye; his own eyes are watery, lashes clumped together with unshed tears. “It's not just the massages. I need you in my life, no more of this half-assed bullshit. I need all of you.”

You feel your whole world turn upside down in a single second, the distinct feeling of your heart lurching out of your chest and your stomach dropping to your feet. It’s like the walls of the room start moving in on you, caging you in. It makes your chest feel tight, breath coming out in short jagged rasps. Panic grips you, and you violently rip your hands off Art’s body, stumbling back from the massage table.

"I-I'm sorry, I can't," you stammer, voice choked with emotion, as you turn to flee from the room, not even bothering to grab your stuff. But before you could escape, Art was right behind you, reaching out to catch your wrist, his grip gentle yet firm. "Please don't go, please," he begs, his eyes pleading with you to stay and talk. You wrench your hand free and run out of the room.

You think you hear Art calling out your name through all the static rushing through your ears, but you’re not sure, and you don’t look back to check. Your feet pound against the tile as you run out of the pool house feeling like you’re about to throw up, or pass out. Art’s confession is the only thing running through your mind. The only thing that’s still clear through your dizzying panic.

You finally start to breathe again when you burst into the house, leaning back against the cool glass of the door to try and relax before you start to spiral. The silence inside is almost oppressive, the only sound the rapid thudding of your heart in your ears. You close your eyes, willing yourself to calm down, to find some semblance of control.

Your name being said grabs your attention, and you open your eyes to find Tashi at the top of the stairs.

“Is everything okay? I heard the door slam.” Her expression is a mix of concern and confusion as she takes a few steps down. You push yourself off the door, you need to leave as soon as possible, before Tashi can reach you and coerce you into staying.

“Everything's fine!” Your voice sounds shaky despite your best efforts to calm yourself, you’re basically speed walking to the door. “I just, I got a phone call, and I need to leave. Right now. I’m so sorry.”

You don’t even wait for her to reply before you’re yanking the door open and rushing outside. You hope to God that she doesn’t follow you outside. She doesn’t.

You walk, arms wrapped around yourself tightly in a feeble attempt to stop shaking. There are tears burning your eyes and making everything in front of you blurry. The wind whips your hair around your face, stinging your cheeks as you walk further away from the house.

Each step feels heavier, your breath coming in ragged gasps as you try to make sense of the storm inside you. The chaotic weather seems to mock your turmoil, perfectly matching the chaos you feel. You struggle to piece together what just happened, the intensity of Art’s words echoing in your mind.

“I need you.”

His voice had been so raw, so vulnerable, and it scared you. You weren’t ready for that kind of emotion, that kind of responsibility, that kind of guilt. The weight of it had sent you running, and now you’re left grappling with the aftermath.

Fuck.

A LITTLE MORE THAN SIX HOURS LATER…

The drive home was a blur. Rain and wind beating against the windshield nearly the whole time. You’d laugh at how ironic it was, like God’s punishing you with shitty weather, but you’re too busy fighting tears to find the humor in it.

The dread didn’t set in until you got home, stumbling through the front door on shaky legs until you reached your kitchen where you promptly emptied everything in your stomach into your trash. After you force yourself into the shower to wash the rain, and guilt, off of your skin. You scrub yourself raw, skin pink and sensitive to the touch, like that will somehow erase all that you’ve done.

When you finally step out, the bathroom mirror is fogged, a ghostly reflection staring back at you through the mist. You avoid its gaze, wrapping yourself in a towel and padding through your room to collapse onto your bed. The silence of the house presses in on you, letting your thoughts consume you.

Art’s words play on a loop inside your head, the look on his face burned to the forefront of your mind. The weight of his confession hung heavy in the air, rocking you with its intensity. Running away had seemed like the only option at the time, a knee-jerk reaction to the overwhelming flood of emotions threatening to engulf you.

You know you didn’t run from Art because you don’t want him, you ran because there’s nothing you want more. In the aftermath, running felt less like a choice and more like an instinctual response to the storm of emotions threatening to consume you whole since the first day you met him. Every step away from Art was a battle against the gravitational pull of your desires, a struggle against the overwhelming urge to surrender to what you both shared.

The truth is crystal clear: you didn't run from Art because you're devoid of feelings for him. You ran precisely because your heart beats in synchrony with his, because the depth of your longing for him is as boundless as the universe itself.

Your phone pings from the dresser, you ignore it. A second later, it pings again, and again, and again. You furrow your brows, glaring at your nightstand until you reach over and pick up your phone. It’s an unknown number, but you know who it is.

UNKNOWN NUMBER I need to see you. Please, I can send a car. It's Art. Tashi isn’t home tonight.

Maybe you’re the worst person in the world, but all the fight leaves your body the second you read Art’s texts. You need to see him as much as he needs to see you. Your fingers type out a response before you can think twice.

Art okay.

You send him your address, jumping out of bed to throw on the first things you see. A black SUV was waiting for you as soon as you got downstairs, just as promised. You climbed in after getting confirmation from the driver, and sat in the backseat quietly as you went down the familiar streets.

As the house comes into view, you can see the front door’s light is still on, waiting for you. You barely wait for the car to stop before you’re opening the car door and stepping outside. The rain immediately drenches you, seeping through your thin sleep clothes. You take two steps before the front door swings open and Art comes rushing out into the rain. He’s only wearing sleep pants, his bare feet smack wetly on the concrete as he runs to you.

Art stops short of you, hesitating, like he doesn’t know whether to touch you or not. You want him to touch you so bad you’re scared it might kill you. The air between you feels charged, every drop of rain a tiny spark. Finally, Art reaches out, his hand trembling as he brushes a soaked strand of hair from your face. The warmth of his touch sends a shiver down your spine, and you step closer, collapsing into his arms. The rain continues to fall around you, but at this moment, it’s just the two of you.

"Art," you breathe, your voice trembling. "What are we doing?"

He gazes into your eyes, the raw emotion in his expression mirroring your own. "I don't know," he admits, his hands gently sliding down to your shoulders. "But I can't let you go. Not now." His words hang between you, a fragile thread of honesty that binds you together. You can feel the weight of his words, the sincerity in his voice, and it tugs at your heartstrings.

Tears prick at the corners of your eyes as his words sink in. The honesty in his gaze, the desperation in his touch—it all overwhelms you, leaving you breathless. The only thing you can think of, the only thing that feels right, is kissing him. So you do.

You lean closer, your heart pounding in your chest, and gently cup his face in your hands. His eyes widen for a moment, a flicker of surprise mingling with the intensity of his emotions. Then, as if drawn together by an invisible force, your lips meet his.

The kiss is soft at first, tentative and sweet, a question and an answer all at once. His lips are cold and slightly trembling, matching the fluttering in your chest. You can taste the salt of your tears mingling with the sweetness of the moment. Time seems to stand still as you lose yourself in the sensation of his mouth on yours.

Gradually, the kiss deepens, becoming more urgent and fervent, a silent expression of everything words can’t convey. Art’s arms wrap around you, pulling you closer, his fingers threading through your hair. The heat between you intensifies, both your breath coming faster, mingling as the kiss grows hungrier.

Art’s heartbeat echoes against your chest, you can feel his grip on you getting tighter like he's scared of letting you go. Your hands slide down to his shoulders, your fingers digging into his muscles as you press closer, your bodies molding together. His tongue flicks against your lips, seeking entrance, and you part them eagerly, welcoming him in. The taste of him is intoxicating, a mix of desperation and passion that makes your head spin. A soft moan escapes your lips, and he responds with a low growl, his hands roaming down your back, pulling you impossibly closer.

“Art,” you say in between kisses, panting into his slick, open mouth. “I need you to fuck me.”

You can feel Art’s whole body shiver, groaning unabashedly into your mouth like he’s dying for it. “I’ve been waiting weeks for you to finally admit that.”

The two of you tear through the house, all tangled limbs and bumbling steps, you trail water all over the floor. Somewhere in the chaos you drop your phone and keys on the large kitchen island. Art refuses to let go of you to walk properly, blindly leading the way so he can keep kissing you breathless.

Art only stops kissing you when you finally make it to his bedroom, pulling away to wrestle the now soaked sleep pants off his legs. You follow by example and peel your shirt off, skin damp and cold but you could care less, not when Art’s pants are pooling at his ankles and he’s throwing his boxers carelessly over his shoulder.

“God,” he breathes out, shaking his head like he can’t believe you're giving him this, “You’re so beautiful.”

The raw honesty in his tone has your cheeks burning, you cast your gaze to the floor instinctually, feeling too overwhelmed by his charged gaze raking over you. You can hear his feet softly padding against the floor, making his way closer. You watch his feet come to a complete stop in front of you, he takes a hold of your chin gently forcing you to look up at him.

His eyes, intense and unwavering, lock onto yours. “You’re fucking perfect.”

With a gentle push, Art lowers you onto the bed, his weight a comforting presence above you. He tilts your head back and kisses you breathless, one big hand sliding lower and lower on your stomach till he’s got his hand down the front of your shorts, he groans when his hand makes contact with your bare skin. You’d almost forgotten you hadn’t worn any underwear. His hand so close to your aching center has your breath hitching as you kiss, hips bucking up towards his palm.

You reach for his cock, an angry shade red and leaking steadily, but he catches your wrist before you can touch. You meet his eyes confused, but he just shakes his head.

“It’s been about me the whole time, baby. Let me fix that,” he whispers.

You nod your head wordlessly. You wouldn’t dream of denying him, not right now. He smiles, pecking your lips again before he starts to kiss his way downwards. He explores your body with his mouth with such care it has you shaking under every brush his lips. He kisses all down your jaw and neck, taking extra time on your chest to map out the skin of your breasts with his tongue. He circles your right nipple with the tip of his tongue a few times over before he takes it in his mouth, rolling it between his teeth gently. It has your back arching into his mouth, hands scrambling for a purchase on the silk sheets. One long finger slides around your entrance and dips inside, shallow, then deeper, stretching you slowly, carefully, while his other hand rubs your clit with light, gentle touches. “Is this good?” Art asks quietly, voice tinged slightly with insecurity, like you’re not completely unraveling because of him.

“God yes! Yes – fuck! – Art,” you mewl loudly, hips grinding down roughly onto his finger, desperate to take in more of him. You can feel him smile against your skin, pulling off to blow cool air over your hard nipple and repeating it all over again on your left. His finger slides through the wetness collecting in your hole, spreading it to your throbbing clit. He finally sinks a single finger into the warm, tight, heat of your cunt.

Art pulls away from your chest to kiss his way down your stomach, sliding lower and lower on the huge king size mattress, he doesn’t stop the rhythm of his fingers as he peels your shorts down your legs, tossing them aside. A guttural groan leaves his lips at the sight of your slick cunt parting over his fingers, taking them so well. He pitches forward like he can’t help himself, like his lips are magnetically drawn to your cunt, and presses a small kiss to your clit.

“Fuck!” You squeal and writhe as his finger fucks in and out of you, hands tangling in his messy hair, cheeks flushing at the sound of your leaking cunt squelching against his wrist with each thrust. Art's lips tighten over your clit, sucking for a brief second before he moves back to start laving his tongue over your cunt in careful, slightly clumsy, strokes. The sounds he's making, almost filthy slurping, accompanied by little moans now and then send small vibrations through you that shock your system, making you fist his hair even tighter.

Art’s lewd noises fill the air, mixing with your own moans to fill the room. His eyes stay closed for the most part, fluttering open every couple seconds to watch you fall apart. Your thighs shake uncontrollably around his head when you make eye contact, threatening to clamp around his ears and keep him there.

A sob tears from your throat when he adds another finger, then he curls them inside you and pulls back and god, shit, shit, fuck, fuck me, god, Art, please fuck me.

“Fuck me Art please fuck me I need it so bad please-” you ramble nonsensically, pulling at Art’s hair desperately. You can feel the warmth starting to pool in your stomach, but you don’t want to come on his tongue, or on his fingers, you want to come with him inside you.

Art lets you drag him up, the bottom half of his face is slick and shiny, drenched in your wetness. He makes his way up your body quickly, hands gripping tightly to your hips, not hesitating to kiss you even as your juices decorate his lips. You kiss back desperately, tasting yourself on his tongue. The head of his cock bumping against your twitching, empty hole has you whining.

“Fuck me, Art,” you breath hotly, hips canting up needily. “No condom, I’m on the pill. I want you to come inside me. Please, I need it.”

Slowly, he starts to sink in. Feeding you inch by inch torturously slow. He kisses you the whole time, greedily swallowing the moans flowing out of your mouth as he stretches your cunt on his thick cock. You grab at his shoulders like a lifeline, kissing back with everything you have.

“God, you’re so fucking tight,” he says through gritted teeth, hands gripping your hips hard enough that you know you’ll be bruised in the morning. “So fucking perfect for me, such a perfect pussy for my cock.”

“Move.” Is all you can manage to squeak out, nails digging into the meat of his shoulders.

Art starts to move, thrusts slow and gentle, like he’s easing you into it. You’re grateful for it, you’ve never taken anyone as big as him. Slowly, his thrusts speed up, cut hips smacking against the fat of your ass a little rougher than before. You revel in it, pushing your ass back greedily for more more more. From this angle, the thick head of his cock drags against your g-spot perfectly every time he plunges back into your dripping cunt.

“Shit! Right there, don’t stop,” you slur breathlessly, feeling the familiar warmth swirling through your stomach as he fucks you.

“I love you.” Art confesses against your lips, his breath hot and erratic. His sweaty forehead pressed to yours as he pounds in and out of you, the motion both relentless and tender. His eyes are wide open now, so blue and so big and so honest as they bore into yours so intensely it’s suffocating.

It’s soon, it’s way too soon. You’ve barely known each other for a couple months, but you can't deny the warmth spreading through your chest, mingling with the heat of the moment, making everything feel both overwhelming and perfect.

Now that you're here, with Art’s cock fitting so perfectly in the wet heat of your cunt, you can’t believe it took you this long. You love Art. You’ve been in love with Art since the first time he spoke to you. Since the first time he touched you like you were the solution to all his problems.

Art must take your stunned silence as rejection, head falling to rest on your shoulder dejectedly, but his hips don’t slow their rhythm. If anything he speeds up, hips thrusting against you desperately.

“Please, please say it back,” he begs, voice thick with emotion, “Say it back, I need to hear you say it. Please,”

You surge up, wrapping your arms around him as tightly as you can, ankles locking together across his back. Art couldn’t pull out of you if he wanted to, judging from the long whine he lets out, he doesn’t mind.

“I love you, Art” You whisper back, barely audible over the lewd slap of his hips stinging your ass. Art groans so loudly you can feel it reverberating off the sensitive skin of your neck.

Hips speeding up even faster, Art turns his head to catch your lips in a searing kiss. This kiss is different than any of the other ones you’ve shared tonight, full of so much emotion and unspoken words. You swear you feel your heart grow three sizes, almost full and threatening to break out of your chest.

“I’m gonna come, fuck, I’m gonna fucking come,” he breathes between kisses. You can only moan in response, right on the brink of your own orgasm. His hips start to lose their rhythm as he chases it, fucking into you faster and harder.

Art’s cock gives a final twitch inside you before his hips are stilling and he’s coming with a broken moan, unloading everything he has into you. You’re right behind him, vision whiting out as you come, thighs shaking where they’re draped around his hips.

Art collapses onto you, both of you breathing heavily as you come down from the high of your orgasm’s. You lay like that for a while, heaving and sweaty wrapped up in each other's arms. You feel something slot into place, something that you’ve been missing.

Art’s soft voice pierces through the afterglow, “Will you hold me?”

“Yes,” you whisper back, circling your arms around his shoulders.

…

When you wake up hours later you’re beyond thirsty, dehydrated from all the crying, and maybe from the sex. Art’s head is laying across your bare chest, tousled hair tickling your jaw and arms snug around your waist. He looks so peaceful, eyes closed with his long lashes fanning over his cheeks. The sound of his steady breathing is almost enough to lull you right back to sleep. You smile softly, running your hands through his hair slowly. Savoring how at peace he looks, so different from the battered, broken man you met.

You slip out of his arms as carefully as possible, not wanting to wake him. Rolling out of bed to search half-assedly for your clothes in the darkness. You can’t find your shirt, only your underwear and shorts. You notice a red shirt strewn over the dresser next to the bed, illuminated by the moonlight pouring through the blinds. You pick it up without thinking, it's soft in your hands, the fabric thin and worn down. You toss it on before padding out of the bedroom.

You get a little lost in your thoughts as you make your way to the kitchen, Art loves you.

The thought has you biting back a giddy smile. Art loves you and you love him too. It sounds fucking crazy, but you know it’s true. Your life is so completely fucked, you don’t know if you care.

Art loves you.

Your smile doesn’t leave your lips as you turn the corner, arms wrapped around yourself tightly, the warmth of Art's affection lingering like a gentle caress.

“He smiles more.”

The soft voice ringing out from your left makes you stop in your tracks. You turn, and there in the kitchen illuminated by the soft glow of the ceiling light, like an angel, is Tashi Duncan.

Tashi looks at you from her spot across the room with an impassive look on her face, she’s got your keys in one hand, fiddling with them boredly. When you don't reply she speaks again, "He's playing better, won the last three tournaments he was in." She says casually, setting her half full wine glass down on the island.

You don't need to ask her who "he" is.

You're silent for a few more beats as she stares at you expectantly, silently urging you to say something. You rack your brain for a response, caught like a deer in headlights under Tashi's gaze.

"What?" you softly mutter, words cutting through the air weakly.

Tashi sighs in exasperation, like you're a child who doesn't understand the simple question she's asking. She raises her wine glass back to her lips, draining the rest of it before setting it down once more and making her way over to you.

You know you should flee, make a break for the door before she reaches you. Running away from the woman whose husband you’re fucking - whose husband you just got done fucking, and who told you he loved you - while she pays you seems like the easiest thing to do in the moment, but you don't.

You find yourself glued to the spot as Tashi's commanding presence looms over you, until she's all you can see. Until her expensive smelling perfume is all you can breathe, until she's towering over you, miles of soft skin on display in a classy black nightie.

She stares down at you, her face completely unreadable. It feels like hours as her brown eyes burn into yours, your heart must be beating a thousand beats per second.

When Tashi finally moves, it’s her hand you see rising up in your peripheral vision. At first you think she's going to hit you, get you back for sleeping with her husband, for falling in love with her husband. You tense up, bracing for the slap, it would be the least of what you deserve, but it never comes.

Instead, Tashi's hand finds its way up to the side of your face, cupping your cheek gently. You can feel the chilled metal of her wedding band make contact with your warm skin.

You feel like you might pass out staring into the eyes of Tashi Duncan. Everything you ever wanted in high school flashing rapidly right before your eyes.

If Art Donaldson is the sun, Tashi is the moon. Her light draws you in and keeps you looking at her, and never wanting to look away.

Her thumb slides across your bottom lip, the same lip that’s kissed her husband. Ever so slightly, she pushes the tip of her thumb into your parted lips, far enough to touch your bottom teeth. Your breath catches in your throat, eyes widening in shock, your pulse is fluttering wildly. You distantly wonder if she can feel it on the inside of her wrist.

“I’m his coach, I need to be hard on him or he fails. I refuse to let him fail,” she says softly, tone casual like she’s not brushing the tip of your tongue with her fingers. “But I’m not stupid, I know what he needs. Someone sweet, someone gentle, someone who looks at him and doesn’t see tennis.”

You couldn’t answer her if you wanted to, but you wouldn’t trust yourself to speak anyway. You feel far away and floaty the longer her fingers sit in your mouth, your brain feels like molasses.

“I can’t give him what he needs. I’m not that kind of person,” Tashi says, eyes roaming your face languidly, like she’s window shopping your features. Her voice is nearly a whisper the next time she speaks, “but you are. You could be that for him.”

Your heart drops, the haze surrounding your brain rips away so violently, like someone took a leaf blower to it. Her words make everything start to fall into place, the at home visits, the “exclusive deal”, the weird ass run-ins you’ve had with her over the weeks.

This was never about the goddamn massages.

For a few seconds you both stay like that. Standing inches away from each other in the half-lit kitchen of her and Art's house. For a second, you think you can see the tiniest smile playing on her lips before she drops her hand from you completely.

"There’s a car waiting for you outside,” she says, still close enough that you can feel her breath fan over your face, “See you next Thursday."

Tashi turns on her heels and leaves you alone, disappearing down the long hallway leading to her and Art's bedroom. You watch the whole time she goes, until she completely fades into the shadows. Your lip still tingling from her touch.

There’s only one thing on your mind as you incredulously stare down the now empty hall…

These people are so fucking weird.

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beifong-brainrot · 2 months ago

Text

Actually I WILL talk about Mai's seeming 'radicalisation'. With the upcoming comic, I can see why a lot of people are confused/caught offguard by Mai suddenly having a vested interest in reforming the Fire Nation's school curriculum.

However, I don't think it's as much of a heelturn as one would believe at first glance.

Mai is a difficult character to pinpoint on some levels, particularly due to her upbringing which stripped her of a lot of her self expression. I think most of the fandom underestimates the trauma and effect of Mai's upbringing. I elaborate on it here.

However, the long and short of it is that Mai was not encouraged to question, criticise or, god forbid, rebel against her enviornment. To the point where her parents scared her with stories of spirits that would kidnap her if she misbehaved.

Ukano's involvement in politics and relatively high status should also be taken into account. Mai would have grown up being strongly encouraged to conform to her father's beliefs and go along with his politics.

Mai : My mother said I had to keep out of trouble. We had my dad's political career to think about.

We've seen the propaganda and indoctrination of the Fire Nation school system, how it uses misinformation in its curriculum and how it punishes deviance.

Most fire nation children won't have the tools to find the cruelty and danger in the philosophy of the Fire Nation. Zuko had to get banished from the country to even start his deconstruction. And he had Iroh at his side to guide him.

It's not shocking that Mai would not be able to see the flaws of the Fire Nation. Despite this, she still shows no attachment to the Nation's cause, either. In fact, she actively refused to take part in the war effort when she thought she could get away with it.

I don't think Mai had much sympathy to the other nations, nor will I claim she secretly harboured anti imperialistic sentiment. I simply want to state the fact that Mai was, from a young age, forced to do things she didn't want to do and conditioned by multiple parties, to accept this. Mai has been trained to be passive, with only the method of passive aggressiveness and gloominess to defend herself.

I think after the fall of Ozai's rule and the slow restructuring of the Nation, Mai got more freedom in her life. Ukano's political role diminished, so Mai was allowed to think for herself. She gets to discover the world more and develop her own thoughts and ideals, rather than the ones she'd been forced to conform to.

This line in the upcoming comic seems to confirm my thoughts:

Mai's upbringing is the underground and darkness. She was never given an alternative or agency in her life. And thanks to Zuko, she was able to see and experience a different world than the one she was brought up with. She is able to help to try and achieve it.

Initially, Mai is angry at Zuko's joining of team Avatar. She feels betrayed and upset that he did not talk to her in person, even if it was to protect her. And yet, she saves him. While I believe that most of her motivation was genuinely out of love for Zuko. But she also, ekther inadvertently or deliberately made the choice between Azula and Zuko. Between the two potential duture leaders of the Nation.

And she chose Zuko. Who is not only the boy she loves, but also the boy who can heal her nation.

There is an argument to be made about how Mai represents the Fire Nation itself and its relationship to Zuko, but that is a topic for another day.

The theme of Mai caring for the future of the Fire Nation can be seen expanding in the comics. As 99% of the fandom will tell you, the comics have their flaws, but I do enjoy their handling of Mai for the most part.

I think it's interesting that we are shown that Mai not only wants Zuko to be Fire Lord, but for him to be a good Fire Lord.

We see her dissapointed in Zuko secretly meeting with Ozai. At first glance, what she says to Zuko is that she is dissapointed in him keeping secrets from her, which is understandable, since the last time he kept a secret from her led to him joining the opposite side of a war.

However, with her next appearance, we see that Mai may have had another concern relating to Zuko's communing with Ozai. When Ty Lee informs her of Zuko also enlisting Azula's help, Mai exclaims 'so he really is turning into his father', which seems to denote that Mai has a distaste for Ozai and his rule, whether that be from the begining, or recently acquired.

Mai also criticises Zuko's callous and controlling restrictions over the frightened townspeople. This serves to further cement the idea of Mai becoming disillusioned with the similarly inclined authority figures of her past. Authority figures who were a symptom of the Fire Nation's utilitarian and imperialistic system. We see this disdain manifesting in its full force in the teasers for the upcoming comic.

I think people tend to not realise how restricted in her self expression and thoughts Mai was, despite all the puzzle pieces being laid out for us in the show.

Mai has gone through a very quick and yet realistic episode of character growth in my opinion. Not unlike a lot of people raised in heavily Conservative and restrictive households who peel off later in life, she's settling into her own mindset and motivations.

Ans I don't think it's an unrealistic idea for Mai to want to help change the education system. The Fire Academy for girls is where she met Azula, and as an all girl school alumni, I can tell you first hand how toxic and confining these enviornments can be.

While Mai may not be seen as a particularly empathetic or kind person (though I think this interpretation is flawed), she can sympathise with the young girls who will be placed in the shoes of her younger self.

She can want to not see these kids go through what she, Ty Lee AND Azula did.

[The panels of Mai glancing between the stifling interior of the school and the open window and choosing to go outside and lead the Nation's youth outside... ugh]

Not only is this a rather logical progression for Mai's character, in my opinion, but it also feels like a very big 'healing your inner child' moment for Mai. Since she was not really seemingly allowed to be a child, as most children in the Fire Nation appeared to have such restrictions placed on them.

I don't think it's much of a stretch of the imagination that Mai would want to have at least a small part in dismantling the system that harmed her and so many other children of the nation.

She is a young woman now, she has grown from the oversheltered, apathetic teen she was in the show. She has been able to make her own informed opinions about the state of the nation, has been able to hone her trauma into determination. And it seems we're going to see the fruits of this development in "Ashes of the Academy".

I have very high hopes for the upcoming comic, since what we've seen of it appears to make a compelling story, one I relate to deeply, as well as a good study of Mai, a character I find often misinterpreted by the fandom.

#'this is out of character' my brother in raava let me tell you about this cool thing called character development #mai #atla mai #mai atla #zuko #azula #ty lee #ashes of the academy #pro mai #pro maiko #avatar #atla #avatar: the last airbender #the last airbender #avatar the last airbender

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blacktabbygames · 7 months ago

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youtube

We're thrilled to announce that we've wrapped principal development work on Slay the Princess — The Pristine Cut. We'll be releasing it this Fall (date TBD) so we can simultaneous ship the update with both the game's console release (surprise!) as well as official subtitling support for 11 new languages, all with the help of our wonderful new partners at Serenity Forge (who you might know from their publishing work on Doki Doki Literature Club Plus!)

There's a lot for us to share about The Pristine Cut, but before we get into the details, please check out our new trailer!

Here's what we've got coming for you: Content

For those of you who are just now hearing about The Pristine Cut, it's an entirely free director's cut of the game that adds about 35% more content on top of the initial release.

This includes massive expansions to The Den, The Apotheosis, and The Fury routes, each of which is over three times bigger than their release versions, with tons of variations to discover across multiple playthroughs.

On top of this, we're adding three brand new chapter three routes that will add even more depth to your stories with The Damsel, The Prisoner, and The Spectre.

And we're adding a new ending.

All in all, these additions come to over 2,500 new voice lines, over 1,200 new hand-drawn illustrations, and over 15 new tracks of music.

We're also adding an extensive CG gallery with over 400 unlocks to help all you completionists track your progress, complete with cryptic hints to help you discover some of the game's more obscure and buried interactions.

Languages

And all of this is coming with a giant wave of localization support, covering the following languages: Simplified and Traditional Chinese, Korean, Japanese, French, German, Russian, Spanish (Latin American), Brazilian Portuguese, Italian, and Polish. These localizations are just going to cover subtitles, so we can be as thorough as possible about maintaining the quality of Jonny and Nichole's performances.

Consoles, Physical Release and New Merch

With the help of Serenity Forge, we’re bringing Slay the Princess — The Pristine Cut to every major current console — Nintendo Switch, PS4 + 5, and Xbox.

And these won’t just be available as digital downloads. You’ll also be able to pick up a physical edition for the Switch and PS5, with an exclusive sticker sheet and a download code for the game’s soundtrack.

And if that’s not enough we’re also doing a Collector’s Edition, complete with a 7 inch statue of the Princess, a mirror with a lenticular lens, an acrylic standee, and more.

And finally (for now), we’re launching the first wave of new line of sticker sheets, featuring chibi art of the Princesses as seen in The Pristine Cut’s new gallery. Pre-order them now at Topatoco!

Alongside these developments, we've also launched a new website for the game: check out slaytheprincess.com where you can order the physical editions, check out merch, and more!

Thank you so much for your patience while we've worked to make The Pristine Cut the definitive version of Slay the Princess. We can't wait to share all of the game's new stories with you this Fall.

Until then, we're back to working full-time on the next Episode of Scarlet Hollow (and have been for about a few weeks now!)

Best, Abby and Tony

#slay the princess #the pristine cut #stp #jonathan sims #jon sims #nichole goodnight #finally we can make this announcement #i am so tired #“let's just flesh out these couple of short routes abby”#“it'll be so quick abby”#“short little gamedev adventure in and out two weeks no problem”#my hubris. my absolute hubris #the pristine cut is a BANGER though; genuinely the best slay the princess related work we've done IMO #also holy moly that collector's edition serenity forge has really been knocking it out of the park #Youtube

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spideysbruh · 1 month ago

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bed chem

a/n- based off bed chem by sabrina carpenter. also I want a bf bro 😔💔💔💔💔

~~~

liked by florencepugh, rachelzegler and 321,277 others

y/n what a wonderful night ! 💕

view all 21,277 comments

rachelzegler MY BEAUTIFUL BEST FRIEND

ynsmusic DID YOU FINALLY MEET TIMOTHEEEE

popyn i saw on the livestream that they were near each other while in line for the carpet, so I hope so !! she's been a fan for so long 🥺

ynsbeatbox you never ever miss

@ynupdates just tweeted- y/n seemingly liked and then unliked a post from a timothée chalamet fan account on tiktok!

@ynsblanket replied- DONT AIR OUT HER BUSINESS LIKE THAT 💀💀💀💀💀💀

@shawnxyn replied- it's okay girl we've all been there 😭

@saturdayyn replied- she's real asl tbh

liked by florencepugh, tchalamet and 345,678 others

y/n i bet we'd have really good....

view all 34,277 comments

rocketyn ARE THESE NEW SONG LYRICSSSS !?!?!

uptownyn she's too gorgeous bro omg

ynjoel new album!?!?!

windyn GOOD WHAT?!?!! WHATTTT DONT LEAVE US HANGINGGG

liked by y/n, kidcudi and 5,177,827 others

tchalamet late post, being a co-chair was amazing. thank you thank you thank you.

view all 87,277 comments

laurieslaurence YOU AND BILLIE DID AMAZING

timmysmanager PLSSS you're so cute

y/n awesome

liked by tchalamet

@y/n just tweeted- been watching little women a lot lately and im pissing my sister off cause I keep randomly yelling "JO WE'VE GOTTA HAVE IT OUT"

@tinydanceryn replied- the way i have that whole scene memorized

@y/n replied to @tinydanceryn- no girl same I HAVE LOVED YOU EVER SINCE I HAVE KNOWN YOU JO-

@laurieslaurence replied- REALLL

@cineyn replied- you give amy march soooo much

@chiyn replied to @yn- nah fr her songs have such amy vibes

@y/n just tweeted- patiently waiting for my laurie laurence

@sweetyn replied- mhmmmm we know girl. you're waiting for THEE laurie laurence

@staryn replied- IT'S NO USE JO

@littleyn replied- she thinks she's slick LMAOOO

liked by billieeilish, tchalamet and 435,277 others

y/n you make me wanna make you fall in love

view all 35,388 comments

ynscat she's rly active recently 😭😭WHO is she trying to impress lmaooo

bobyn are these lyrics or just a silly caption

y/n can't it be both?

bitchisback YOU'RE SO HOTTTT

ynsemo billie liked omg my pop princesses !!!!!

@timmyupdates just tweeted- Timothée seen with fans recently! He expressed how happy he was with the Met Gala, and said how he was able to meet some "really wonderful and beautiful people" thanks to it.

@boneslee replied- he looks soooo good 🫦🫦

@lauriesvest replied- ughhhh I wish the livestream stayed on longer! I got fomo 💔😔

@timmysgreeneyes replied- WHO DID HE MEETTTTT

@ynupdates just tweeted- Y/n has once again liked a post regarding Timothée. This time it was a video of him walking around LA, while paparazzi asked about his love life.

@shortnyn replied- "once again" is crazyyyy 💀💀

@lookingatyn replied- yall j loveeeeeee calling her out, huh 😭😭💀

@timoatreides replied- he looks really good there so I can't even blame her

~~~ 8 months later ~~~

tchalamet just posted a story!

caption- Y/N !!!!!!!!!!

liked by tchalamet, haileybieber and 782,288 others

y/n dream-came-trued it for ya

view all 54,266 comments

amoreenayn oh. my. god.

laurieamy BRO WHAT IS GOING ONNNNN

tchalamet so sweet

satyn I BEG YOUR PARDON?!

popyn so random... but at the same time, it makes SO much sense.

@ynupdates just tweeted- y/n and Timothée Chalamet seen today at a mall in Indiana, sources say they were holding hands and seemed pretty close !

@eltonyn replied- very happy for them tbh, I think they suit eachother really well!

@rainyn replied to @eltonyn- I agree, I think they balance eachother out 🫶 they're a good match!

@kenzyn replied- guys let's remember that they only met a few months ago at the Met Gala !!!!! it's still extremelyyyyy early in their relationship/friendship/whatever this is.

@darlingyn replied to @kenzyn- I don't think they would share this much publicly if they weren't secure in their relationship

@tsgf replied to @darlingyn- or they're in the honeymoon phase

@dyltims replied to @tsgf- first of all, you're a weirdo. second of all, i think they're both mature enough to know what to share and what not to.

liked by y/n, zendaya and 3,277,288 others

tchalamet 📽 🛏 ⚗️ 🧪 📽

view all 76,265 comments

viciousyn bed... science ?? bed... beaker ??? sleep science ? BRO WHAT 😭😭😭

ynslipgloss OMG THEY FILMED SMTH TOGETHEE IS IT A MV !!??!! FOR HER?!?!?!

pinkponyclub okay im invested now

timospaul if it is a mv HOW TF did they afford him 😭😭😭

lauriesvest he def did it as a favor for his gf 🤣🤣🤣🤣

confidentyn realll, it's not like he needs the extra cash anyway LMAO

y/n just posted a story!

caption- 😳😳😳 atticus actually likes somebody omg it's a miracle.

liked by florencepugh, y/n and 2,626,388 others

tchalamet 🛏🛏🛏👅👅👅‼️‼️‼️‼️

view all 87,277 comments

y/n where art thou?

liked by tchalamet

shortyn the emojis boy what the hell

tsgf ughhhhhhh

ynsbeatbox stfu hoe

tchalamet liked

liked by y/n and 3,177,388 others

tchalamet woahhh

comments have been limited

y/n yeah I know what that means

tchalamet liked

tchalamet just posted a story!

caption- 💋💋💋💋💋

liked by tchalamet, rachelzegler and 918,288 others

y/n out of breath, got me scrolling like ooooo....

view all 50,277 comments

timmysgf basic

y/n funny how he's laying next to ME rn huh?

oppositeyn ATEEEEEE

tchalamet mmmmm

tchalamet im obsessed !!!

tchalamet camaraderie

ynxtimmy i sure hope his comments will make sense soon 😭😭😭💀💀💀

liked by y/n, kidcudi and 3,277,488 others

tchalamet tonight. 11pm 🛏

view all 87,377 comments

ynsmagic FINALLYYYYYYYY

timmysgreeneyes the way this will change the trajectory of my life forever

florencepugh AHHHHHHHH

liked by tchalamet, sabrinacarpenter and 1,277,727 others

y/n bed chem 😍🧪

view all 98,277 comments

tchalamet i am such a gentleman to you.

y/n liked

y/n ily baby forever 😍

pleasepleaseyn that's not what the song says...

ynsheadphones IM OBSESSED ITS SOXGOODDDD

timmylaurie there's no way he acts that way w you in private im sorry like what LMAOO

ynscat idk i believe it... lil timmy tim was a thing wasn't it

yndefensesquad DONT EMBARASS HER MOTHERFUCKERR

shortyn the way she's been teasing these lyrics for monthsssss she's wanted him from the get go 😭😭💀 real af

lauriesvest this is the sexiest timmys acted 🫦🫦🫦🫦 amazing thank you y/n

eternalyn her hard work does not go unnoticed fr

tchalamet just posted a story!

caption- best artist i know... and the prettiest... and the funniest.

#timothee chalamet #timothee chalamet fanfiction #timothee chalamet imagine #timothée chalamet #timothee chalamet x reader #timothee imagine #timothee x reader #timothee chalamet au #timothee chalamet x you #timothee fanfic #timothée chalamet imagine #timothee chalamet fluff #timothee chalamet smau #timothee chalamet social media au #timothée chalamet x reader #timothée x reader #timothée chalamet smau #timothée chalamet social media au

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blitzwhore · 2 months ago

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What Ghostfuckers shows us about Blitzø, his face scar and eye trauma, and his deepest fears.

As we already know, Blitzø's scars come from the same accident that maimed Fizz, killed Blitzø's mom, and burned Blitzø's life as he knew it to ashes. We also know Blitzø blames himself for the accident, because he inadvertently caused it by pushing aside the imp carrying Fizz's cake.

In Oops, we also saw Blitzø's eye got badly hurt during the accident.

And, even though it seems to have fully recovered given his precision with a gun, it is still permanently and completely surrounded by scar tissue.

It's his most visible scar—the only one he cannot cover up with his daily attire. It represents his vulnerability and broadcasts it to the world. So much so that, when he's feeling at his most helpless, he shields it from view as a means to protect himself.

Eyes are typically represented in fiction as windows to the soul, so one's eye being hurt or scarred can be a representation of how broken, hurt, or tainted they are/feel inside; an unclosable window that displays their deepest trauma for everyone to see.

We also know Blitzø privately crosses out his face in pictures with his loved ones, and we've seen across multiple episodes that the side of his face that is highlighted in each scene can relate to his emotional state. His scarred side is in full view in moments when he's losing control of his emotional state and unable to hide his vulnerability, whereas his unscarred side will be in view when he's trying to avoid/hide his insecurities and pretend everything is fine. On key moments when he's being honest with himself and others about his emotions, his front side will show, a representation of him acknowledging both sides and approaching a balance between them.

In Ghost Fuckers, eye trauma is also used to represent Blitzø's emotional turmoil, except the eye trauma is no longer his own—it is very blatantly extended to others.

In his Millie hallucination, every single Millie except for the one with the broken arm has got something wrong with one or both of her eyes. Each of them is the realization of Millie being hurt because Blitzø put her in harm's way: the bottle shards from Murder Family, the fire in Loo Loo Land, the giant fish from Spring Broken, the angelic arrow in CHERUBS, and the final Millie, which seems to match the hotel bellboy, implying Rolando has hurt or affected her in some way.

(Notice how Blitzø's scarred side is showing again in this moment).

All these Millies have been ruined in the same way Blitzø is ruined, and they've been ruined because of Blitzø. Because he needed her. Because he put her in harm's way. Because he cared about her enough to selfishly keep her in his life.

All of these Millies have ended up "like him": permanently marked as broken.

This is what his love does, in his eyes (pun not intended). It damages people beyond repair. It is a contagious and unstoppable force that will inevitably destroy anything and anyone it—he—touches.

Just like it did his mother.

She, too, loses an eye in his hallucination. An eye that falls right in his hand as she burns away, marking him as responsible for her corruption; an eye that looks at him even as she vanishes from his grasp. Almost as if she knows. Knows what he did, knows he's to blame for her death. Knows that if it weren't for him, and his feelings, and his love, she'd still be whole. She'd still be alive.

This masterful visual representation of Blitzø's guilt and fear is perfectly summarised in Millie's line, “when was the last time you loved someone without hurting them?” Blitzø truly believes anyone who stays close to him will end up just like him: damaged, and traumatised, and broken, or worse—dead.

And all because he was selfish enough to let himself be loved and cared for by them.

#Helluva boss #helluva boss meta #hb spoilers #helluva boss spoilers #Helluva boss ghostfuckers #Helluva boss ghost fuckers #helluva boss the full moon #helluva boss apology tour #helluva boss oops #Helluva boss unhappy campers #helluva boss blitz #blitz helluva boss #eye trauma tw #Eye trauma

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thewadapan · 1 month ago

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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.

#transformers #transformers one #movie review #essay

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