#not from a movie. just from trying to get to the box office from the elevator

[trebeksfault]

me @ myself after not being able to fall asleep all night

[finelinevogue]

Hiii, I love ur work and I’m so down bad for Hotch rn :) I was wondering if you could write something like he’s always opening doors for her or pulling out her seat and just cute littler mannerisms he does for his BAU gf :)❤️

omg hi thank you so much my lovely! i’m so in love with this ask tysm!! <3

pairing - aaron hotchner x girlfriend!reader

word count - +1k

Aaron Hotchner’s love language was acts of service.

He wasn’t very confident with his words, having historically always managed to say the wrong things to the people closest to him.

What Aaron hadn’t quite understood, however, was that his actions were often ten times louder than his words. He didn’t have to constantly reassure you he loved you in words, because he was always doing something to show you he did.

1. He holds the doors open for you

It had been moving office day.

You were struggling to balance all your boxes in your arms at the same time as looking over them to watch where you’re going.

After climbing up the stairs from the third floor to the fourth floor, you came across the glass doors to enter the main office area.

“Sorry, excuse me…” You said as a man walked past, but he didn’t stop.

“Hi, sorry to bother you…” A woman walked by but didn’t stop either.

You sighed, trying to peer for where the door handle was without dropping anything.

Luckily your new boss, and boyfriend, came to your rescue.

“Honey, careful. What are you trying to do?” Hotch appeared at your side, taking off a box from the top of your pile and opening the door all in one sweep.

He held the door open for you to walk through first, looking over you to make sure you’re okay.

“Everyone’s clearly having an off day. No one would help me open the door, even when I asked politely.” You pouted.

“Give me names.” Hotch said seriously as you walked through the door.

“Aaron…”

“Names, please.”

2. He peels your oranges

It had been a weekend and you and Aaron hadn’t been on a case, so you were both enjoying some time together at home.

Aaron had just asked you to pause the movie you’d been watching whilst he went and got you both a snack.

He had been gone too long now and so you had to investigate - like the special agent you are.

“Aaron? Love?” You called out.

You walked into the kitchen to find him stood behind the counter, peeling an orange - your favourite fruit.

There was a little bowl of melted chocolate and a little bowl of strawberries which had been cut and sliced the way you like.

He continued to peel the orange and take off all the white stringy bits, the way he knew you liked it to be. It made it easy to eat for you without getting your hands the slightest bit messy.

“Honey.” You pouted with loving eyes.

He was just the best.

“What?” He smirked, showing off a dimple he only reserved for you.

“You know what.” You said, rounding the counter to hug him from behind. You held him tight, squeezing your love into him the best you could.

You loved and appreciated him so much and after everything he does for you, a hug was the least he deserved.

3. He warms your clothes

An odd act of affection that Aaron does that you love is when he warms your clothes.

You remember one time when you had gone to visit a friend after work and had come home late all you could think about was having a cup of tea, getting into your pyjamas and going to bed.

Luckily your boyfriend knew you all too well and had prepared.

You’d come home and everything was ready.

You dropped your keys on the kitchen counter with an exhausted sigh of relief.

Your boyfriend walked into the room moments later, empty cup of coffee in his hand ready to wash. How he drinks coffee this late you’ll never try to understand.

“Hey.” You smiled tiredly.

Aaron rounded the counter and leant down to give you a kiss. It was slow and sweet, feeling like you have all the time in the world when you’re in your home together.

“Hey.” He pulled away to kiss your forehead. “How was Claire?”

“Oh you know? Marital troubles as usual.”

“No. I don’t know.” Aaron washed out his cup as he spoke, giving you a hearty smile.

“And you never will know marital troubles if you keep washing your dishes like that.” You cheekily slapped his ass and he gave you a chuckle in response.

Just before you could leave the room Aaron called your name.

“Your clothes are on the radiator to keep them warm and there’s a tea on your bedside table.”

You just stared at him whilst he dried his now clean mug - it was the one you had bought him as one of the first gifts you gave him, because back then you didn’t want to seem like you were coming on too strong.

It almost made you want to cry with how thoughtful he was. Keeping your clothes warm and making you a tea were kind of the bare minimum in societies books, but in yours it was the mark of true love and going above and beyond.

“Aaron, baby?”

“Yeah?”

“If that was your way of proposing, then yes I’ll marry you.”

4. PDA

If there was one thing that Aaron hated, it was PDA. Which is why it was all the more special when it did happen.

You remember this one time where you were on your way back from a case and on the jet.

“I don’t get why you two don’t share a hotel room when we’re on a case? You’d save the Bureau hundreds.” Morgan said, from where he was sat across from Hotch.

Morgan had noticed that Hotch kept looking at your uncomfortable frame trying to get some sleep on the chair next to him. It really was killing Hotch not to help you.

Hotch looked up at Morgan.

“We discussed it with HR. They said it wasn’t workplace appropriate.” Hotch answered in the most cryptic way possible.

“Mhm.”

“Doesn’t stop them from sneaking into each others rooms like a pair of coming-of-age teenagers.” Emily joked, but she was more a less correct.

“What HR doesn’t know, they don’t know.” Hotch said and that shut down that conversation.

“Well they won’t know if you hold her to sleep then either, will they boss man?” Morgan suggested, before getting up from the chairs and going to sit on the sofa with Reid.

Hotch looked over your trying-to-sleep body.

You had heard the entire conversation, but had been too tired to open your eyes or contribute in any way.

It was only when you felt your boyfriends hands move the arm rest up between you both that you became restless.

“C’mon.” He spoke softly to you.

His hands helped guide you to move in your chair, until your body was angled back against Hotch’s side.

One of his arms came around your body to hold you in place securely against him. The other came to hold your hand in his, making sure you were tightly held for comfort more than anything.

“Love you.” He whispered into your hairline.

“Mm.” You responded, too tired to form a coherent response but Aaron knew what you meant nevertheless. He always did.

[1d1195]

The Lottery I

~3.7k words

From me: I thought I would close out 2024 with a mini-series. I'm hoping for shorter parts but I should be able to post on a regular basis (Mondays). You should see MANY similarities to my favorite show. I have been planning this one for over a year. I really hope you enjoy 💕

Warnings: angst (?) fluff

Summary: Small towns have the biggest romances and the best view of the moon.

“I don’t know how you ended up there,” Bailey shook her head.

“Bails,” she laughed. “I Googled it. It’s cute.”

The little town was adorably cute. The kind of place where the Christmas-hating CEO female lead in the movie would fall head over heels for the place in a month because of the small-town charm. It was about thirty minutes outside the city but with traffic it could take up to an hour. It was quaint. The exact kind of place she could envision her little dream.

“Your house is good?” Bailey asked. She nodded, flipping the camera to show her the little place she found to live in. Two stories. But the second floor was small. A bedroom, a bathroom, and a small room for storage. Maybe in the right light it could be a small office, but it would be better holding all her books. The bottom floor was open. Living room, dining area, and a kitchen. Down the hall was another bathroom and her bedroom. Right now, it was filled with boxes and no clear markers for any of the rooms. Her furniture was misplaced—the table in the living room, the TV on top of it, the couch was near the kitchen, and the lamps were atop the counters in the kitchen.

It wasn’t perfect, but it was home.

Moving in was second to her priorities. So the boxes would stay, her clothes haphazardly falling out of boxes, the iron on top of the island in the kitchen to get the wrinkles out of her blouses. “Neighbors are good?”

“I’ve only met Edith and David. They’re about sixty-five years old and hilarious. Edith is insistent on having tea by the end of the week and David wants to set me up with his grandson.”

“I can’t imagine you outside the city,” Bailey sounded wistful.

“It’ll be good for me to be away from all the big lights. I missed the stars... and the moon,” her voice was filled with fondness. Like the moon was her old friend she hadn’t seen in a while.

“We could see the moon in the city,” Bailey reminded her.

It wasn’t just the moon, it was the stars, and silence that the city never allowed. “It’s not the same and you know it.”

“You know babe...” Bailey trailed off. “You look... happy.”

She was. Really happy. The kind of happiness that couldn’t be faked because she was supposed to be happy. The kind of happiness that would make anyone jealous. And why shouldn’t she be happy? She was young, basically fresh out of college, ready to start her own business, and do everything she wanted on her own.

“I am happy,” she nodded and looked at her best friend through FaceTime. “I know everyone thinks I’m crazy. Try not to let them be too mean to me. I’m... I’m good,” she promised. “This is good.”

“You know,” Bailey grinned and shook her head. “I think you’re right.”

*

She wore her lucky dress—the one that she is certain got her a scholarship—and chose a pair of flats over heels because in her quick self-tour of the town she noted the brick sidewalks were likely to take out her ankle. She made sure every single strand of her hair wasn’t out of place. She wanted this to be a good impression. All her books and shows told her that small towns were lovely, but she was an outsider. It was possible that they wouldn’t love a newcomer and so she didn’t want to make it seem like she was changing everything.

But since it was her first night in her new home, there was nothing to eat. Nor to cook with even if she wanted to. Maybe if she had a loaf of bread, she could find her toaster in one of the boxes. Moving on her own was tough but she was proud of herself. Another check she could mark on her to-do list.

Her first order of business was securing her business. However, that couldn’t be done on an empty stomach. She locked the door to the little home she now owned. The trim needed a coat of paint, and she desperately needed to buy a lawn mower. Some of the windows needed to be replaced. She tried opening one of them and nearly threw her back out. The bushes in front of the little porch needed to be trimmed or taken out altogether.

But it was home, and it was lovely. She was excited to do it on her own. It made her feel proud.

Her family was far away. Honestly, it was for the best. They thought it was a terrible idea for her to move, maybe because they couldn’t depend on her any longer. If she thought too long about it, she got upset. But this was good. She was doing what her grandma believed she could do. What her grandpa wanted her to do.

With a family far away, her place was filled with boxes. Hardly anything was unpacked. It was a miracle she found her lucky dress but perhaps that was why it was so lucky. With the distance between them, it was easier to ignore the group chat. Easier to not feel obligated to help her family.

They’re adults, honey. They’ll figure it out.

She hoped her grandma was right.

Her friends were still in the city. Completely shocked she left the hustle and bustle for a small-town place. Their lack of support or what they passed off as worry made her nervous all the same. How would it survive? But she researched the perfect place and took plenty of time setting up everything she needed so she was ready to go when she graduated.

The only thing she wished could be different, was that her grandparents got to see her.

*

The main part of town felt like a city. But way friendlier. People shouted in the middle of the road. Kids ran across the road to the school. There were very few cars but even the ones present parked illegally and the officer strolling the sidewalks didn’t pay any mind to it. It was adorable. It felt like she was in a Disney movie, and she wanted to sing.

The center green was being set up with seats and banners. People were on walkie-talkies directing more items about the area. The space was warm and cozy. Like where she could spend the day reading in the grass and have a picnic with herself or a friend.

God, she hoped she made some friends. It seemed possible. Everyone was so nice. They all knew each other. That was evident. It was so comforting, exactly the change she wanted and needed, and she prayed they wouldn’t hate her for trying to bring something new to their little place.

As her stomach reminded her once more of its presence and emptiness, she approached the diner on one side of the main street. Squished between the post office and a shoe store. Someone was exiting as she opened the door, so she gestured for them to exit before she proceeded. “Thank you, darling,” the man tipped his hat to her.

With one deep breath, she entered.

It was like she was the new girl at school. The second she crossed the threshold of the diner, everyone stared at her. There wasn’t a voice to be heard, the only sound coming from behind the counter in the kitchen. “Uh... hi,” she swallowed. Quietly, she made her way to the counter and situated herself at the end of it away from everyone else.

Sure, she wanted to be part of the community and wanted to be liked, but she didn’t want to force it. The place continued to be quiet, although the murmuring began. No doubt everyone whispered about her. “No newcomers lately, I guess,” she mumbled under her breath and pulled out her folder of paperwork to go over it again.

You’re going to crush it! Bailey’s message read. She smiled gratefully, feeling her heart slow. She was wearing her lucky dress. It was going to happen. She was going to be happy no matter what.

“Shit!” It was paired with the distinct sound of something shattering. She turned directly to the sound as did everyone else in the place and she was on her feet immediately. It wasn’t anything major, a coffee mug on the floor.

“Jesus, honey, watch it!” It was an older woman who scolded her husband with a light thwack on the arm.

“I didn’t mean to, Alice!”

“Harry!” Someone called.

“Jus’ a second,” the voice was from the back, low, almost like it didn’t want to be heard. He must have been cooking or something because there was a commotion in the back behind the kitchen door. She didn’t think much of it because she was worried that poor Alice and her husband were going to get hurt picking up the broken shards or slip in the mess of spilled coffee on the floor.

“I can help,” she offered and crouched near the older woman—Alice—as she struggled to grab the pieces. “Here,” she grabbed a rag off the counter even though she had never been there and it wasn’t her place to do so. Gently she pushed the broken pieces and coffee into a neat little pile sopping up the mess as best she could.

“Well, aren’t you sweet,” Alice chimed. “Thank you.”

“Happy to help,” she smiled politely.

“Did you just move here?” She asked. Perhaps that would satiate the whispering.

“Yes, ma’am.”

“Where are you living?”

“Oh... um... Oak Street,” she stammered. It probably didn’t help her newness that she stammered. But her new address was new; she was still getting used to it.

“Oh, Holliston’s place! It’s a lovely home,” someone called from across the room.

“Y’don’t have t’do that,” it was the same voice that called from the back but now right next to her.

“Oh...” Her heart skipped a beat as she looked up at him. Did time seem to stop? That couldn’t be right. She wasn’t going to have a crush on the first guy she met on her first official day as a resident of the small town. “I don’t mind,” she said quickly looking up at him from her crouched position. “Happy to help and...” She stopped speaking again as he stared at her. His eyes were pretty, even if he looked grumpy. His mouth was set in a frown, and she noticed that once more everyone stopped speaking. “Sorry,” she said and stood, scooping the mess as best she could in her hands. Coffee dripped from the rag into the puddle at her feet. She could feel the splatter on her ankles, and she was nervous to look if she had ruined her shoes. It didn’t bother her, but she wasn’t sure she’d have time to head home and change before she went to the town hall.

Harry held out the tray for dirty dishes and she placed the rag, broken pieces of mug, and all into it. He dropped it on the counter about two spaces down from where her folder and purse remained. “Are you okay, ma’am?” She asked softly placing a gentle hand on her arm in a comforting kind of way.

“Alice, Ed, y’okay?” Harry—she presumed—was quiet. It almost rubbed her the wrong way that he repeated her, but he knew them, and she didn’t. So, she returned to her seat quietly after offering one more smile to Alice.

“All good, Harry,” Ed said in return.

Harry went back around the counter and fiddled with the coffee pot. He refilled a new mug and brought it over to Ed.  When he returned behind the counter he stood in front of her silently. Waiting. Not offering a word nor question.

Harry looked to be roughly her age. Handsome. If this was David’s grandson, she would have reconsidered his offer. But his scowl was to be desired. Made her uneasy. She wondered if this was how he always was or if it was something about her.

But she wanted to be liked. People generally didn’t dislike her. It would devastate her if he did. As grumpy as he seemed, she wasn’t going to shy away from her own personality. “Do y’want something?”

“What’s your favorite?” She asked glancing from the menu to him.

He rolled his eyes. “I don’t have a favorite.”

She blinked. He worked here. Did he own it? That would be crazy, he was so young. But she was young and about to own her business too. So who was she to judge his age? “How can you not have a favorite?”

“I like it all,” he shrugged.

“You seriously don’t have a favorite?”

“Since I own the diner,” he was explaining it like she was a toddler, “everything is good.”

“Well...” she took a deep breath. It wasn’t that she was one of those people who assumed everyone would like her, but it was... different to work for friendliness. Bailey told her she had the kind of face that would work wonders in sales. Everyone just opened up to her.

But not Harry. Harry was stoic as could be. It barely looked like he was breathing. Other than the irritation in his eyes, he had a really nice face. Smooth skin, angular jaw, and just pretty features that were probably wasted on someone so grumpy. But she could see something flicker in his eyes. Something that she wasn’t sure he wanted anyone to see which is why it was merely a flicker.

Was this grumpy man amused? By her?

“...Do you have a recommendation then?”

“Anything. It’s all good,” he was clearly over this exchange.

She thought she could get him to budge but it didn’t seem that way. This was the fast track to nowhere. Not the impression she wanted to make on her first official day in town. Sighing, she glanced at the specials board. “You have peach pancakes?”

“Yes.”

“Do you have white chocolate chips?”

Harry sighed, exasperated with the conversation, and she hadn’t even ordered her coffee yet. “Yup...” he was staring at her like this was going to kill him. Or he was going to kill her.

“Can I have one of each? Peaches and white chocolate chip?”

“What?” He seemed surprised. Which was interesting because surely it couldn’t have been crazy. Peaches and white chocolate chips had to be popular if he had them. He shook his head. “No.”

“Why not?” She frowned.

“Because s’extra work t’make a whole batch of peachpancakes and chocolate chip. One or the other.”

Maybe it was his tone or her frustration. The nerves of heading to town hall after breakfast. The piss-poor impression she was making at the extremely local diner where everyone seemed to know Harry. Even though he was grumpy they still ate there. It was obvious this wasn’t their first day being there. They still called out for him when the mug shattered even though she was more than capable of helping.

But she didn’t want to take no for an answer. Maybe if he had placated her or smiled. Or if he just didn’t look at her like she was the bane of his existence she wouldn’t have pressed. “But... I don’t want one or the other. I want one of each.”

“Get ‘em mixed together or don’t have ‘em,” he shrugged.

“But if I get them mixed together, the peaches will sink to one side or slide off all together. The chocolate chips always sink to the bottom. So the ratio in each bite will be off. I’ve tried it before; it just doesn’t blend well.”

“If I make y’one peach and one white chocolate chip, then all m’ratios will be off. I’ll have t’purchase different quantities of peaches and chocolate chips.”

“That seems a little dramatic for one plate of—"

“S’my diner! Jus’ order what’s on the menu or order four pancakes.”

“That’s absurd! I doubt I’ll even eat one whole pancake!”

Harry swallowed hard, his jaw flexing tight. Briefly he looked at the ceiling and then back at her. His voice was quieter when he spoke. “Order what’s on the menu or don’t order at—"

“Fine! Two peach pancakes!”

Honestly, she has no idea why she was arguing in the first place. It was idiotic and childish but there was something about the grumpiness that was off-putting and made her uncomfortable. Perhaps it was solely because he didn’t seem to like her, and she was trying really hard to fit in and he was the only person she had met so far that was close to her own age. If she could get him to like her, then maybe she wouldn’t be friendless and lonely.

With another large sigh (like it was painful for him to be standing near her) he rolled his eyes and headed to the back to make her breakfast. She wouldn’t be surprised if he poisoned them.

The diner was still quiet, and she could feel eyes flicking over to her repeatedly, their gazes heating her up with knowledge she was being watched. To keep her cool, she continued flipping through her paperwork folder and scrolled on her phone.

About ten minutes later, Harry returned holding her plate. It was practically silent again. The show that ensued was not forgotten by the other customers. Harry failed to hide his interest in her paperwork and failed to hide the fact he was reading whatever was in front of her. It didn’t bother her, honestly. She wanted to be an open book. Especially in a small town and especially with the guy that looked beyond irritated with her.

Trying again was insanity. But she was nothing if not one for perseverance. “Do you know what time the town hall opens? I tried to find a time online but—"

Harry snorted. “Town Hall doesn’t do online. S’whenever Sutton gets there t’unlock.”

She blinked. Small towns. “When’s that?”

“Usually before nine-thirty.”

“Usually?”

Harry shrugged, placing the plate in front of her. She could smell cinnamon and maple. Of course, the peaches were starting to caramelize as well and so it really looked utterly delicious. “Sometimes he forgets his alarm. Then s’before ten-thirty.”

She raised her eyebrows. “Alright,” she nodded. “Hey,” she called quietly as Harry turned to leave. “Do you do tabs? I’m probably going to be here every morning before work. It’s fine if you don’t. Just... figured it would easier.”

Did it get even quieter? Harry had a way with sighing. Heavily. Like talking to her and thinking were the two greatest and hardest tasks he’d ever been given in his life. Her eyes quickly darted around the place. There were enough tables to seat about twenty people plus five seats at the counter. It was busy—not crowded or full, but busy. It was just after the morning commute group had left; she had to imagine. The hustle of the nine-to-five crowd was long gone. “Sure,” he shook his head. “Every Friday.”

She was certain she didn’t imagine it that time. The entire place was silent for another ten seconds before the low murmur picked up again.

“Okay, thank you. I just... moved into town and I had no food at my house.”

“Whose house?”

“I’m sorry?”

“Whose house did y’buy?”

“Oh... uh... the Holliston’s?” Was that the name someone said a few moments ago? It had to be because no one corrected her, and it was apparent everyone was listening to her to talk to Harry.

“Nice couple,” she supposed she got it right then. “Do you want coffee?” He asked.

Was this him warming up to her? It was interesting. It wasn’t exactly warm, but it wasn’t arguing. Which she liked. Although arguing with him was kind of... fun in its own way. But she needed a friend before she argued with him for hours on end.

“Oh, yes,” she nodded quickly. “Please. Thank you.” Was it hot in there? Harry was attractive—even if he was grumpy. A sour face usually turned her off immediately. But with Harry... it didn’t seem so grumpy anymore. Especially now that he stopped arguing with her. The crease between his eyebrows disappeared. His frown turned to a more neutral expression. She swore that flicker of amusement was back again. “This is a really cute town,” she remarked.

Harry ignored the comment as he poured her a mug of steaming coffee and placed a little plate of cream and sugar packets beside it. “What brings y’here?” He asked. She did hear his skepticism like maybe he was going to kick her out before she unpacked if she wasn’t good enough for the clique-y village.

“Oh,” she swallowed. “I’m hoping to open a book shop.”

Harry tilted his head at her, surprise all over his face and she couldn’t figure out for the life of her why that would be. “Oh?”

“Yeah.”

He nodded. Approval? Was she in the club? “Alright, well... welcome, I guess. Let me know if y’need help with the water at y’house. It always gave the Holliston’s trouble in the winter, and I’d have t’go over and fix it. Don’t want y’pipes t’freeze.”

That was it. He walked away. She watched the grumpy, attractive man tend to the tables, cleaning, and serving all by himself. The others were patient. There was no rushing to get to work like it was Starbucks and everyone quietly waited their turn. There wasn’t a lot of small talk with Harry, but people smiled at him. Like they knew him from the time he was a baby. Maybe they did.

She hoped he would warm up to her. It would be nice to have a friend like him.

Turning to her breakfast, she cut into both pancakes stacked on top of one another, brought a bite of the two little pieces to her mouth after drowning it in enough maple syrup to make the man look at her suspiciously from across the room.

There was no way someone was that concerned about ratios of one patron. He could be grumpy all he wanted, but Harry was dramatic too. (Even if it was way more syrup than she needed, and he probably had a point in worrying about syrup—especially if she was going to be there every day.)

But as the bite hit her tastebuds, she had to look down and see it for herself.

One pancake was peach and the other was white chocolate chip.

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[heartz4matt]

summary: matt is clingy, but you’re busy… once you finish your work, he won’t stop clinging to you.

fashiondesigner!reader x clingy!matt

FLUFF, whining, impatience, nudity, light touching and kissing, mentions of sex

(simply wrote this because i was bored, and felt the need to post ❤️‍🩹)

“baby please” matt whines as he wrapped his arms around your waist to rest his head on your shoulder. he had been trying to convince you to cuddle with him for an hour now, but you always denied. work is consuming you and your free time, and matt hates it. “mph.” he huffs in your ear as a friend forms on his face. he pressed your body closer to yours as you tried to put some fabric on your mannequin.

“matt, please. i need to focus on this dress, it has to be finished by tomorrow and i have a lot to do.” you sigh as you feel matts grip tighten around you as his warm breaths hits your neck. “wanna cuddle with my baby…” he mumbled, his voice muffled by the fact that his face was practically buried in your neck. “maybe later.” you sigh again, this time heavier.

─── ⋆⋅☆⋅⋆ ───

after a couple hours on working on the dress and finally getting matt off of you, it was finally done. you nod in approval as you look at the finished result, proud of yourself. you take the dress off the mannequin and carefully pack it on a box and put the address to the receiver.

as you walk downstairs, you see matt sprawled out on the couch, watching a random movie. his head snaps to you as you walk down the stairs, carrying the box.

“where ya going? it’s getting late.” “gotta deliver the dress at the post office and then i’ll be back, okay baby?” you ramble on as you put on some random slippers, still in your leggings and hoodie with your hair tied in a lazy bun. matt nods “okay baby, sure you don’t want me to come?” he gets off the couch as he starts to walk toward to you. “it’ll be boring, but come if you want.” you chuckle as you walk out with your car keys.

matt practically jumps into the car as he sits down in the passenger seat and plugging his car to the AUX. you put the dress in the backseat and get in the drivers seat, driving to the post office.

─── ⋆⋅☆⋅⋆ ───

“can we please cuddle now?” matt whines as you make your way to the front door, coming home from the post office. he takes your hand and drags you to your shared room.

“maaatt…” you whine. “i need to take a shower.” you pout. matt groan and turns around to face you. “you look good babe, don’t worry.” he smiles softly. “i don’t smell good tho.” “i don’t care.” he replied immediately. “you’re one gross man, matthew.” you chuckle as you let go of his hand to go to the bathroom. matt follows you to the bathroom.

your turn your head with a confused look. “need a shower too.” he mumbled. you let out an amused laugh. “yeah?” “mhm.” “fine.” you laugh softly. matts face lights up and he grins at you. he grabs your hand and drags you to the bathroom.

once you’re in the bathroom, you start the shower. as you try to get the water warm, matt immediately strips his clothes and pouts at you. “yeah yeah wait” you chuckle and strip your own clothes before taking your hair down and holding a hand out for matt. he gladly takes your hand and you drag him into the shower with you.

─── ⋆⋅☆⋅⋆ ───

as you wrap a towel around your body, you feel arms snaking around your waist. matt is standing behind you, without any clothes or anything covering his body. “baby put on a towel.” you chuckle as you turn your head. “why? can’t we just walk around naked? we live here all alone, no one will see us.” matt pouts and you can’t help but smile at his cute pout. “hm, so you wanna walk around all nude?” you ask. “yes. please?” matt tilts his head with big puppy eyes. you sigh playfully as you speak up. “fine.” matts pout turns into a smile. “finally, i don’t like it when you hide your body.

you let go of the towel around you, exposing your whole body to matt as you start to walk out of the bathroom. “you coming?” you look back at matt, his cheeks red as he admires your body. “mhm…” he walks with you to your shared bedroom.

you lay down in bed and drag the covers up. matt follows after you and snuggles close to you. “can you cuddle me?” he asks, with red cheeks and a shy smile. you giggle at his question. “of course you can.” you open your arms for him and he immediately rests his head on your chest. “let’s go to sleep, yeah?”

this is a loooooong draft, and not proofread. i just felt the need to post something 😭

[ashlinxsloves]

-AARON HOTCHNER HEADCANONS-

The promised hcs for our favourite hot dilf Aaron Hotchner 🤭 I hope you guys like them, it's gonna be a little lengthy and I've divided them between Basic, SFW Dating and NSFW.. Minors please don't interact with the nsfw content.

–Basic–

Hotch would be the type of guy who listens to classical music around the team, but once he's alone in his personal car, he has a whole collection of CDs in his glove box of his favourite bands and albums (The Beatles, etc.)

He'd also listen to audiobooks during long drives home. The genre can vary between the classics or just a light novel.

A huge overpacker. He packs the essentials during cases, but if the trip is personal, he packs almost everything – sunscreen, mosquito repellent, a map, extra batteries, a flashlight, etc. You'll never know if it might come in handy

Dad instincts are strong af, will know something is wrong before it happens

Wakes up at the crack of dawn. Became a habit after working so long in the BAU

Hotch is overall a light sleeper. Mostly because of emergencies or sudden calls from the BAU

The king of overworking. Before Haley died, he used to work so much that he got nosebleeds. He does it less now and spends more time with Jack than with paperwork.

Likes his coffee black with two teaspoons of sugar. He doesn't like it too sweet but isn't bitter either.

He most probably had a secret rockstar phase in his teens. Crazy shoulder-length hair, studded belts, band tees and EYELINER. Stopped after he became a junior in high school though.

Used to blame himself for failing to save the victims during his early years in the field. He tries to remember every person he failed to save in the past and compensate by saving more while being calm and tactful.

Spends a lot of time with Jack during the weekends. He's trying to make up for lost time after being so busy with his job than being a father. They would go on road trips, and theme parks and would do a whole lot just to see his son smile.

Hotch would unironically start drinking apple or pineapple juice after Jack just asked him to. Just for no reason at all.

He gets horrible migraines because of staying up late and not getting enough rest.

-SFW Dating-

When the two of you just started dating, he wasn't 100% sure of it because 1. your age gap (reader would be in her mid-20s) and 2. The fraternization rule in the Bureau.

The both of you kept the whole thing a secret for about four months until the team figured it out on a random Tuesday.

"I- I mean it was pretty obvious from how Hotch was hovering over you all the time and the ways his stoic face softens when he addresses you. Not to forget the way his pupils dilate-" "That's enough Reid."

When you were gonna meet Jack for the first time, you were quite nervous about it, but Aaron reassured you that he'd love you (and the little dude did).

Hotch would try to take you on dates, but it was kind of hard with your hectic schedules.

So it would usually be movie nights at his place along with some takeout dinner after putting Jack to bed.

It took Hotch a while to open up to you, but you were there to support him and he was worth the wait.

Picks you up for work and drives you home even if you told him that it was okay and you had your own car, he insisted on driving you home and seeing you get there safely.

Brings you coffee and something sweet from the cafe. It's his way of telling you he cares about you without the team teasing you after he goes into his office.

He would start to think irrationally after finding out you got hurt during a case. He wouldn't be able to think straight on the way to the hospital and blurted a mumbled 'I love you' while putting pressure onto your wound.

When you sleep over at his place, he loves seeing you wear his old college T-shirts.

Hotch thinks about Haley a lot and feels guilty for it, but you understand that she was his first love and he peppers you with soft kisses to apologize.

"I'm sorry, Sweetheart... I know I shouldn't be thinking about what could have been and focus on what is.. I'll do better, I promise.."

Calls you to his office sternly as if you were in trouble but in reality, he just wants you for himself in the office for a little while.

His heart clenched yet light when Jack asked him if you were going to be his new mommy.

Pet names would be rare when it comes to him. What really matters is when he calls you by your name. But the occasional 'Sweetheart' and 'Darling' might slip out.

He shows you his unserious side. It was a whole 180 for you and it made you fall for him even more. He's an adorable dork.

Even if the two of you are dating, there's a fine line between being together behind closed doors and pure professionalism. Hotch is still your superior and there wouldn't be any special treatment even if you were his significant other.

But when he realizes he gets too rough with you he will apologize in private after the case.

His love language is quality time, so he tries to be around you and Jack as much as he can.

Cheesy pickup lines to try and make you laugh during a hard day. Only in private though.

Knows what to do when you're on your period. He'll bring a heating pad, warm fuzzy blankets, your favourite snacks and painkillers.

NSFW UNDER THE CUT MINORS DNI!!!

-NSFW Dating-

• The sex is incredible. Hotch knows all the right places to hit and how to give you a godly amount of orgasms.

• He starts out slow, letting you get used to the stretch and how much he's filling you up. You can practically feel his cock in your throat from how full you feel.

• Gentle feather-like kisses on your forehead, telling you how good you feel around him while starting to move his hips at a quicker pace.

• From slow, gentle thrusts, it changes into something more primal and rough. As if he were lashing out all his frustrations from work into your tight, little pussy, trying to fuck you into next week.

• And he does it well. He fucks you senseless until you're coming on his cock multiple times before he finishes and spills his cum into the condom he's wearing.

• He just loves fucking you in the missionary position, because he sees how your face contorts in pleasure.

• The first time the two of you slept together was at your place after a really stressful case and the two of you had a drink too many.

• Obviously, Hotch was still a bit sober but you were out of it. He wouldn't do anything without your consent, but you had dragged him into your bedroom and things got heated.

• Bruised your cervix one too many times. The two of you rarely have any sex but if you do, you go all out. He apologises with an amazing bath and breakfast in bed.

• Amazing aftercare. He'll take care of you after the both of you are done, even if he's tired. He'd always clean you up, get you a glass of water and press soft kisses on your shoulders. Cuddling and whispered confessions under messy sheets.

• Not a big fan of having sex in public spaces. He needs privacy when he's trying to fuck and pleasure you.

• But he does know about the dirty fantasies you have about getting fucked on his desk. He's seen the books read and articles you look up. Not like you could've hidden it from him anyway.

• He fulfills those fantasies to the best of his capabilities when no one's left in the office and it's just the two of you. He looks through the last of his files, calls you to his office and closes the door.

• His tie was loose, sleeves rolled up, revealing his forearms. His hair was slightly dishevelled as if he ran his fingers through them multiple times.

• Hotch makes you suck his cock until you're gagging, being a little rougher on you. Then he got you splayed on his desk, pushing your pencil skirt up and ripping your stockings by the crotch area.

• When he noticed how wet you got, he smirked, moving the gussets of your panties to the side. He then flicked your sensitive clit, making you whimper as slick gushed out your weeping hole.

• “You like this, don't you, sweetheart? Lying on my desk, messing up my paperwork with your slutty pussy?”

• He's not the type to degrade you, but if you really wanted to he would. But he wouldn't go too far with the insults.

• He's a switch. Since he's usually dominant in most of his everyday life, Hotch lets you take over once in a while.

• Loves going down on you. He likes loosening your tight hole with his mouth and savours the taste of your essence on his tongue.

• Hotch goes weak when you go down on him even if he doesn't ask you to. Praises and soft grunts.

• Isn't the type to be loud. Mostly pants and let's out soft groans when your pussy convulses around his shaft.

• Loves hearing you whine his name and complain how deep he is.

• Once he saw you looking at a site involving different positions, but the one that piqued his interest the most was the mating press.

• Was curious and wanted to try it with you. Hotch was too riled up to put on a condom that night and filled you up to the brim, having you pressed into the mattress, your calves over his shoulders as he buried himself deeper, hitting so many new places that it made you see white.

That's all for now, I hope you liked it 🤭🤭🤭

[neil-gaiman]

Hello Neil, my name is Zalean. If you have a few minutes, I wanted to tell you a little story. Not really a question and I’m not sure how to use tumblr but I wanted to say thanks so much for coming to Florida a few months back and talking with Art Spiegelman. It was my first time ever figuring out how to buy tickets for something. I lived in, middle of nowhere, Vermont for most my life and had no idea what I was doing, I had never been to anything before, nothing had made me excited enough to do the 5 hour drive. And then you just appeared 20 minutes away from where I am living now.

See, I was just starting to get to know your books and work because I fell in love with Good Omens so deeply when I discovered it during season twos release. Funny thing is, I knew of you all along without even realizing it, Stardust has been my favorite book and movie since I was a kid because it was my dad’s favorite story. Finding out my two favorite things were actually connected, I started trying to get hands on as many of your books as I could. I hadn’t read in years before finding your books. It was eye opening.

The talk event at the Dr.Phillips Center was sold out by the time I knew about it, someone had asked me if I knew of the event when they saw my Good Omens keychains my mom had made me. I called the box office because there is no harm in asking. I explained how I’m an art student at UCF and desperately wanted to be inspired and learn from you both. The customer service people were amazing and ended up calling me back to get me a seat in the orchestra pit before they were released to the public. I drove alone, I walked there alone, I sat alone, and it was worth it. I was so thankful to get a seat and grateful to my professor who was a bit jealous he didn’t know about it but let me leave class early to go because of course the art professor would be understanding for any learning opportunities in the arts. And it was truly wonderful, it seemed real and that’s what I wanted. I didn’t want a show. I just wanted to hear, in some sense, that you were like everybody else. I brought a notebook and pen for any information or story’s that I thought made a difference to my little life. The other people around were wonderful, you inspire kind people.

Like I said, I had never been to anything like this and I didn’t know what to expect. I didn’t know you would have signed books and I only found out because the people next to me came in late. I asked them why they brought the books after it was over and the lights turned on. They did look at me like I had three heads for a moment until they realized I didn’t know there were books to buy, they looked kinda sorry for me but they were so nice. I had never really thought about the importance of someone’s scribble before this but it’s something that proves you were there. It says “Remember when this person made you happy? Remember when they changed your life? Remember when they gave you hope? Look at this and remember.” I hope to see David Tennant and Michael Sheen to get an autograph now that I understand the meaning behind it a bit more but honestly I just love diving into everyone’s projects, the wonder you all create. Oh what fun it is to live a life full of stories!

The people that were sitting next to me let me look at their signed books and hold them. I flipped through some of the big ones, handed them back and expressed my gratitude just to be in the theater. I showed them all my little quotes I wrote down, I never want to forget why I create things and you say so much about never stopping, always creating. Then the women handed me a different book, a smaller book, but when I tried to hand it back, a bit confused, she softly placed it back in my open hands and said “I want you to have it, we have plenty and I want you to love these stories just as much as we do. It’s just starting for you, I want you to remember who started it”. The book she handed me being“The Ocean at the End of the Lane”. The first book I decided to read by you and had just finished a week before. The women had no idea she given me a signed copy of the book that made me want to read again. Your books make the world better. For such a big theater and such a big stage, I just wanted to tell you my little point of view.

The story you told about wishing you enjoyed the past more than you did, I hope you get to enjoy it now, and I hope you want to. And thank you, to you and to Terry Pratchett for creating something special. I convinced my dad to watch Good Omens with me over December break, he loved it.

I forget sometimes that everything is someone's first time, and then I read something like this and feel like I need to remember that better. I'm glad the people beside you were kind.

[lisenberry]

141 when they find out reader has been crying:

(an earlier brain worm had me expanding this to all of them)

Price: He pulls you into his office and shuts the door. It barely closes before he turns on you, crossing his arms and looking down with his chin tucked against his chest. He rocks back on his heels once, twice, while he waits for you to spill.

You can only blink up at him, willing your tears not to fall while he's watching you so intently.

"What is it, sir?" You finally chance the use of your voice, but instantly regret it. Your miserable croak isn't hiding anything.

"I can't help you if you don't tell me why you've been crying." His tone is gruff, like sandpaper over rock salt, but his eyes soften imploringly.

For a minute, you want to tell him everything, but instead you just give in and cry harder. For a moment, he looks disappointed, but he simply pats you awkwardly on your shoulder and grabs a box of tissues from his desk drawer.

He motions to the sofa in the corner where you sob quietly for a half hour more while he finishes his paperwork. He doesn't know what's going on, but he's not going to let you do it alone.

Ghost: It doesn't matter where you hide, he finds you. The kitchen? He's in and out three times. Tea, a spoon for his tea, another tea. He crowds your space each time, no matter where you stand. Forcing you in circles as you try to keep your face averted.

For a silent man, he manages to make as much noise as possible to distract you to the point of almost asking him, "What the fuck, Simon?"

You finally move to a bathroom stall, but before long you hear the door open and two large boots stop just beyond the door. You know it's him by the size alone.

You hold your breath for a beat, and then two, so long that you wonder who is going to give in first. You know you've got about 3 minutes before you pass out. But just as you're about to stand up and face him, he turns and leaves without a word.

Exactly ten minutes later, he finds you in the rec room, dragging someone by the neck. It's not until Ghost kicks the man's knees out from under him, forcing him to kneel in front of you that you realize who it is. Some asshole from the other team who was giving you a hard time in training this morning.

With Ghost's knee pressed painfully between his shoulder blades, he grits out, "I'm sorry. I'm so sorry! It won't happen again!"

He's not the reason you're crying, but watching his face turn ten shades of purple does make you feel a little better.

Gaz: He keeps his distance and hates to see people cry because it always makes him cry, too. He doesn't know why. Movies, talk shows, commercials, they just get him right in the feels.

But every time you look up, his golden eyes meet yours, glistening with empathy. You simply shake your head at him and go about your day, until eventually, you get a text.

You mad at me?

-No, I'm fine.

You sure?

-Yep.

Fucking xxxx again, innit?

Of course he'd be the one to guess right. He paid the most attention, listened when you talked and remembered every detail. To be honest, he'd been the one you confided in the most for that reason.

He took your silence as a confirmation.

I hid some ice cream in the freezer. Unless Soap got to it first.

Soap: You head back to the kitchen again in search of the contraband ice cream, hoping it's the good mocha chip flavor you love, only to find Soap has beaten you to it. He innocently scoops out the last bite before seeing your face crumble and guiltily tosses it into the sink.

"Och, shit. Was that yours?"

"No, it's okay." Could this get any worse?

After dealing with these four, you just give up and slink back to your room.

"You know what you need?" He charges you before you can get any further.

"No, Johnny, don't!" Not one to listen, he pulls you up over his shoulder in one swoop and fireman carries you out to the gym.

"We're going to sweat it out, yeah? Always makes me feel better. Whether it's fighting or fucking is up to you."

You finally laugh at the absurdity of it, for the first time all day.

[burnforyou]

HOUSEMATE HEADCANONS

having some crazy housemate!luigi who's secretly in love (obsessed) with his housemate thoughts...

!WARNINGS! mentions of sex, crying, hurt/comfort, obsession.

HOUSEMATE!LUIGI unzipping your dress after a failed first date. you come home crying after another failed first date, feeling horrible about yourself. "hey, hey," he'd say gently, attempting to calm you down. he'd pull you into him, not caring that your mascara is staining his favorite t-shirt. "what's the matter?" he'd ask, caressing the back of your head, hand getting lost in your nicely done hairdo. "I just can't seem to do relationships right, it never works for me." you cry into his chest, thinking of all the failed first dates and relationships you've had this year.

"that's not your fault, it's theirs, I'm sure." he rubs your back and reassures you.

"I just feel like there's something I'm doing wrong!"

"the right person will come around, I promise." you look up at him and he's smiling down at you with his bright smile that makes your heart swoon every time.

"and to top it all off, this dress is so fucking uncomfortable, I've been itchy this whole time!"

you reach back, trying to unzip it, but you can't reach the top of the zipper.

"can you help me? please?" you ask Luigi, annoyed. he nods and shifts to be behind you. you look up at him in the hallway mirror and his eyes focus in on the small zipper keeping your dress on.

he takes a deep breath.

he grabs onto the small zipper between his thumb and pointer finger and uses the other hand to hold the zipper straight, just above the curve of your ass. you hold onto the front of the dress, above your chest so it doesn't fall off.

his fingers leave the smallest touches down your whole spine as he unzips your dress slowly.

the sides of the dress fall to reveal your bare back to him and his cock stirs in his pants.

neither of you breathe for the whole minute where he's undressing you slowly.

his fingers reach the end of the zipper and he stares at it, wishing it had been one inch longer so he could get an image of the curve of your ass, the top of the tights you're wearing, or maybe even what color underwear you have on.

his eyes shoot back up and meet yours in the mirror. his face flushes with embarrassment when he sees the knowing look in your eyes.

HOUSEMATE!LUIGI who goes out to get a sweet treat with you when you’re not feeling well. you walk down the grocery store aisle together and all the bright colors of the ice cream swirl together.

“oh, here it is!” you stop suddenly and open the glass door, the cold air floating out in a freezing cloud. you grab onto a cold box of mango mochi and smile up at luigi.

“that’s what you want?” he takes the box from your hands, looking at it closely “mango, hm?”

“mmhmm!” you nod, happy with the mango mochi you know you’re gonna be eating in t-20 minutes.

“alright mango baby, let’s get outta here.”

HOUSEMATE!LUIGI who routinely steals your underwear (especially the dirty pairs) from your laundry. he started a collection in his bedside drawer.

HOUSEMATE!LUIGI who doesn't care that you can't cover your half of the bills this month. he has more than enough money to cover everything anyway. plus, he loves taking care of you. "hey, lu," you walk into his office and he looks up from his laptop.

"hey, y/n, what's up?"

"I'm sorry but I don't think I have enough to cover all of my half this month. I can give you some, maybe enough for the water bill, but its not much. I'm sorry." your skin burns with embarrassment and your eyes well up with tears as you look down at your feet.

"don't worry about it, y/n, you know I'll take care of you."

HOUSEMATE!LUIGI who you share your books with and he shares his with you... even the one about female pleasure.

HOUSEMATE!LUIGI who lays around the house in the tiniest shorts and a wife beater on the hottest days of the year.

HOUSEMATE!LUIGI who carries you to your bed when you fall asleep on the couch mid movie. he tucks you into bed and kisses your forehead. you hold onto his hand when he tries to leave you.

"lu, please stay."

he can't tell you no, so he climbs under the covers with you. he didn't even consider anything sexual because he felt so comforted under your warm blankets, nuzzling into your chest. your scent surrounded him and lulled him to sleep.

you two started sleeping together more after you realized how much better you sleep together than apart.

MASTERLIST - PREV. WORK

!TAGS!

@legendaryclancy @strawbrriess @bellobambino @f4nfic-lover @chmpgneprblem @soggysouppp @hereandqueer6540 @poohkie90 @miarosalie11 @v1rtualsalvat10n @hypnotizedbyhood @webanglikethat @croucify @cumdnmp @ga33y3 @zeervzn @marzipanlvr @seesaw-it @raekensluver @ddlydevotion @hujirose @babydollfacedangel @strawbxrryaxolotyl @bricapellan16 @darleneslane

[nanamistiee]

kento nanami: business man by day, mega simp by night.

‧͙⁺˚*･༓☾ kento nanami as your boyfriend head canons ☽༓･*˚⁺‧͙

✧ kento's love languages are definitely gift giving and quality time. with him working long days, there's nothing better to him than just coming home and curling up on the couch with you. kento is a pretty reserved guy, and, while he's not a big fan of huge displays of pda, when you two are home alone, anything is free game. there's something about just holding you, feeling your soft skin & taking in the overwhelming & pretty scent of your perfume that's so comforting to him. he's a big fan of movie nights & cooking dates so you two can spend time with one another by yourselves.

✧ with that being said, kento is also big on giving gifts. he's an extremely thoughtful and observant guy so this comes easy to him. he pays attention to your interests and what your eyes tend to linger on longer if you two are out shopping together. there's nothing more he loves than to see you smile so it's pretty common that he's coming home with new earrings he saw you looking at the other day, flowers just because, or an outfit you'd look gorgeous in for you to wear when you two go out to dinner.

✧ it's no secret that kento is an incredibly protective yet possessive man. his hand is almost exclusively on the small of your back or around your waist. he can't quite help himself. god forbid another guy oogle at you or stare at you for too long because kento's pulling you close and wrapping an arm around your waist so that everyone knows who you belong to. he's not above giving anyone the nastiest glare or stink eye if they think they're even good enough to lay their eyes on you.

✧ nanami is the type of guy to call/text you at the most random times of the day, always making time in between whatever he's doing at the office to tell you you're gorgeous or ask you if you've eaten or drank enough water today. he's constantly checking in on you and letting you know how much he cares about you.

✧ don't even think about trying to do chores around the house if he's around. you two cooked dinner together? don't you even dare try to wash the dishes. he's pushing you away from the kitchen with a kiss on your forehead, telling you to wait on the couch for him because he'll do anything to alleviate any of your daily stress; your wellbeing matters most to him so he's willing to take on any minor stressors just to see you relax and smile.

✧ with that being said, god forbid you ever get sick around him. he's calling himself out of work too to make sure he's there to take care of you, get you blankets when you're cold, make you soup -- etc. you will not even be moving a single finger until you're 100% feeling better. end of discussion.

✧ kento is the kind of guy who loves flaunting around how lucky he is to have you. you give him a kiss on the cheek before he leaves for work and you just so happen to leave lipstick all over him?? he's leaving it there, he does not care. hell, he'll even encourage it and tell you to kiss the other side of his face so everybody knows what's up😤

‧͙⁺˚*･༓☾ eeep if you liked and want to send a request, my ask box is always open !! ☽༓･*˚⁺‧͙

[nerdgirlriot]

i'm sooooo disappointed that The Marvels isn't doing too well at the box office because I loved how fucking GOOFY it was. Properly WACKY.

The planet where people communicate by singing, where Carol is a PRINCESS who married a prince who looks like a K-pop idol and we got to hear Brie Larson sing????? WHHHAATT???

Like, remember when dudebros were going ballistic because they wanted Carol to crack a damn smile in the first Captain Marvel movie and now here she is MARRIED and SINGING and DANCING.

It felt like a big fuck you to the critics. "Oh you want her girly? Here, she's a Disney princess now. Are you not entertained???"

Also I low-key love that it's Kamala who gets Carol and Monica to work through their family issues. Because Kamala GETS IT. She gets familial obligations and still trying to be independent but she still loves her family SO MUCH and she's skilled at navigating awkward emotional experiences. Just because you disagree or disappoint your family doesn't stop them from loving you, or you from loving them.

[thewadapan]

So why did Transformers One bomb?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I. The One True Origin of the Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

II. The Spider-Verse of Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

III. I did not care for The Godfather

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IV. No politics means no politics

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

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

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

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

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

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

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

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

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

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

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

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

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

V. Place / Place, Cybertron

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

VI. Into nothing

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

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

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

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

[blarshwritezz]

Yandere ceo × male actor reader. I imagine that the CEO is the owner of one of the biggest Hollywood agencies of all time and is a reference in entertainment, he is the cold type and gets to know you during an event.

The reader is an actor who appears in successful films and he is nice compared to the ceo.

I imagine Ceo would make indecent proposals to you and force you to marry him

Capital idea!

Yandere CEO x Actor Reader

Male yan x male reader

TW - general yandere behavior, slight NSFW abuse of power, manipulation

"What do you say, won't you be my husband? You know what will happen if you don't..." CEO!Yan whispered, his hot breath tickling your ear as his bruising grip on your waist tightened further. Is this really what your life has come to?

You never expected anything like this to happen when you met nearly two years ago. You were at a party hosted by your company to celebrate what a success your latest movie was.

It was your first time in a lead role, and you absolutely crushed it! It was a massive success at the box office, one of the greatest hits ever produced by your agency!

The CEO even showed up, much to everyone's surprise. You've seen him in the news and on interviews, but he was much more attractive in person. But also so much more intimidating, too. You swore just one gaze from him could freeze you over.

The first time you spoke was when he congratulated you on the role. Specifically, on using that role to fill his pockets with more money. He didn't seem genuine, not at all. He even made a few remarks about how, despite the massive success, you still could have done better.

You thanked him kindly and went off to enjoy your night. You wanted to keep that as your only interaction. Keyword, wanted. With other people, you enjoyed lighthearted conversations. You made sure to remind people that seemed to be giving you a little too much credit that it wouldn't have turned out even half as good without the entire team. You enjoyed a few drinks with your team, maybe a few too many.

Having gotten tipsy and way too brave, you approached the CEO once again. You just couldn't stop staring! He was hot, and you deserved some action after all the hard work you did.

You approached him, flirting a bit. Telling him how good he looked on that custom-tailored suit.

"You know, I look much better without it." He put a hand on your waist, sliding it down and giving your ass a good squeeze. "Why don't you come spend the night at my place? I can assure you, you'll get plenty more roles like this."

And the next thing you knew, you were waking up in his bed, your ass sore from the night before. Well, more specifically, you woke up laying on his chest with one of his arms holding you in place.

That definitely made you wake up. You couldn't believe it! Did you really sleep with your boss?! Sure he was hot and, now that it was coming back to you, really good in bed, but that wasn't what was important here! What if you lose your job over this?! And right as you were really starting to get a name for yourself too.

You carefully crawled out of his arms, trying to find your clothes so you could leave. You could only hope that he wouldn't remember the events of last night.

But oh he did. Like promised, you were soon offered a role in an upcoming movie. The lead role. And with it, a little note saying the spot was guaranteed to be yours...if you just stopped by his office. And if not, he'd ruin your career...

So it became something of a routine. You got incredible roles, and all at the price of your body...in interviews and when speaking to fans, you would always be congratulated and complimented. You really were an incredible actor!

But deep down you knew that you were most likely ruining someone else's chances. There were plenty of other talented actors in this industry that were actually putting in the effort to get parts like this.

But at the same time, he'd absolutely ruin your reputation and career if you didn't do what he said. He had the power and influence to absolutely end your social life, even if you left the industry.

Slowly, your encounters became more...intimate. More loving. He'd start taking you out on genuine dates, and on some rare occasions those dates wouldn't end with him pumping you full of his seed like usual.

He'd even visit you on set! The only issue was how touchy and clingy he got. He'd glare at anyone who got too close to you, even if it was for a scene. People definitely noticed, and rumors soon spread that you two were together.

You told him to tell the truth, to let everyone know that you weren't really together. And what did he say? "Why should I deny it? You're mine, and everyone should know."

Everyone definitely knew, and slowly they all resented working with you. They knew the only reason you got so many roles was because of your relationship with him. And they all avoided you like the plague, fearing what he might do if they got too close.

It kept getting worse and worse, leading you down a spiral of self hatred. He was the reason you were getting things you didn't deserve! But he was the only one who made you feel better, holding you tight and whispering sweet nothings in your ear. Telling you how much you did deserve it. How much you impressed him every day.

All that leading to this moment. Him holding you close as if he hadn't just massacred your throat, all while slipping a ring on your finger.

"Remember, if you say no, you won't have me to protect you from all those awful people. You deserve the world, my dear~"

And we got it! I don't know if you really wanted much nsfw or not, but I added some anyway.

[jezabelle9299]

Missed you S.Rxfem! Reader

Overture: Spencer gets back from a long case to see you at the office, finishing your work, but you have a surprise for him.

C-W’s: mentions of not getting enough calories/ only consuming coffee. Reader is shorter than Spencer (by a good bit, he has to lean down a little), and Spencer keeps plastic forks in his desk, because he hates group utensils, because germs.

*****************************************

You knew Spencer. He knew you knew him, so he wasn’t all that surprised when you sauntered up to his desk when he got off the plane, a sight for sore eyes. He was surprised however to see you with a book he’d been wanting to read that he hadn’t had time to pick up from the library and a coffee for him from the kitchen.

They’d just gotten back from another case halfway across the country and he couldn’t be happier to get back to the office to see you. He of course also had to do his paperwork— but it wouldn’t take him long. If he could keep himself from getting distracted, you two could get out of the office in time to make a late movie.

You said your hellos, and he pulled you into a hug so tight he could feel your back crack a little. When he did release you, you were able to present his book to him, another sight for sore eyes.

“Thank you, really, it means a lot. I put this book on hold like two weeks ago, they were just about to give it to the next person on the list. How did you know?”

“Well I don’t know if you’ve noticed, but I do kind of like paying attention to you.” You laughed, and Spencer immediately turned a bright red. You’d been dating for over a month now, and you could still make him blush at the drop of a hat. He’s never going to get used to it. Luckily you shifted the subject, before he could produce enough heat to warm the FBI’s headquarters through the winter.

“So babe—“ you started, putting on the most radiant smile he’d ever seen, the one that happens when you’re leading up to something particularly exciting for you.

“You know how you haven’t had anything other than coffees all day, even though you know the precise importance of getting proper calories in a day?”

“No…?” He gave it a try. It wasn’t a good one. You just waved him off and gave a melodramatic eye roll.

“Well, I’m definitely taking you to dinner when you’re done with your paperwork, but in the meantime—” you pulled out a little plastic box, with a small cake inside, and the cake had a little chocolate heart.

“I went to that bakery that just opened up a couple of blocks away, and I got you this! It's tiramisu, so it's caffeine, but also you know—food. Because I’d love it if my boyfriend didn’t whither away because he was only getting calories from the egregious amount of sugar in his coffee. At least now you’ll get some from the egregious amount of sugar in this.”

He was so—touched?—Overwhelmed?—In love? He wasn’t quite sure how to word it but he took the little box, and as soon as it made contact with his desk, he pulled you into a hug tight enough to realign your spine— again.

“Oh!— I’m glad you like it. I missed you this week.”

“I missed you too.” He said, his voice muffled by your shoulder, and his posture still at an awkward angle to hug you effectively.

“As much as I love this and I do—believe me— I really want to get you some real food tonight, so let’s finish our paperwork and get out of here?”

“Ok” you could feel him pouting into your shoulder. When he did pull away, he gave you a quick peck on the cheek before returning to his full height.

“But you’re sharing this with me while we work.” He pulled a chair from a neighboring desk up to his so you could sit, and grabbed two plastic forks from a little package in his desk while you grabbed the files you were working on. You finished your work in less than an hour and even though you told him to pick wherever he wanted for dinner, Spencer chose your favorite restaurant. He thought it was the least he could do for his favorite person.

[candycandy00]

Office Life (Shigaraki x Reader)

Just Shigaraki awkwardly fantasizing about the cute receptionist who works in the same office building as him. You guys let me know if you like this quick “imagine” format for when I don’t have a full fanfic idea.

Smut. 18+. Violence/Blood (not Reader’s). Gender neutral Reader. Dubcon.

Shigaraki, who never had much interest in sex before, when he was so busy with the League and the war. Sure he jacked off to hentai every now and then, but the thought of having real life sex with a real live person didn’t really enter his brain. 

Until now. 

Shigaraki, who is fresh out of prison and working a dumb office job as part of his “rehabilitation”. Who is ignored and avoided by most of his coworkers because of his very publicized past. 

Shigaraki, who just can’t understand why you’re nice to him, why you smile at him so sweetly, like he’s an actual human being and not a monster. Why you, the cute receptionist from down the hall, keeps coming into the office he works in with five other men, desks all lined up neatly. 

Shigaraki, who likes that you look at him and acknowledge him, but sometimes has the irrational urge to show you how terrifying and monstrous he can be, to make you fear him the way everyone else does.

Shigaraki, who sometimes has violent fantasies about you that he will never act upon. Like today when you come into the room to share cookies you baked and brought in to the office. You, having such an obvious crush on him that even a socially inept weirdo like him can tell, blush and smile shyly when he takes a cookie from the box you hold out to him. 

Shigaraki, who has no idea what you could possibly like about him, but feels a little smug that the rest of the guys in the office are clearly jealous. 

And as you move toward the back of the room handing out cookies, constantly glancing back to see if he’s eating his, as if wanting his approval, Shigaraki’s dark fantasy takes over again. 

He imagines standing up from his chair and moving through the room, decaying each man in turn, most of them still holding their dumb fucking cookies, only to reach the back, where you’re cowering in a corner, trembling with fear as blood pools around your feet. 

You turn around to look at him, terror in those big wet eyes of yours, and then the pleading starts. He imagines you begging him not to kill you, babbling promises to not tell anyone, confessing your love in some desperate attempt to win his favor. You’re still clutching your frilly pink box of homemade cookies in your shaking hands. 

In his fantasy, he has perfect control over his quirk at all times, and with no effort at all he can decay the clothes right off your body, leaving you naked and vulnerable in the room full of bloody chunks. And you drop the cookies in your shock, trying to cover yourself with your hands. 

He won’t allow that. He’s wondered what you look like under your clothes for too long. And so he roughly pulls your hands away, getting an eye full, before shoving your back onto the nearest desk, spreading you open and unbuckling his pants. 

In this fantasy, you always struggle at first. But after he starts fucking you hard, you begin moaning his name, wrapping your arms around him, looking up at him with teary eyes and blushing cheeks as he rails you. 

Shigaraki, who snaps back to reality when you walk by him, the scent of your floral perfume drawing his attention. You look at the uneaten cookie in his hand and a flash of sadness crosses your face. He hurries to take a bite, and tries to give you a smile that isn’t creepy. 

You smile back, and he knows for a fact he will never, ever act on his worst impulses with you. Because far more than his desire to show you how much of a villain he can be, he wants you to keep smiling at him. 

And someday, maybe he’ll stop being a fucking coward and ask you to go to a movie with him. 

[togrowoldinv]

The Bodyguard

Bodyguard!Natasha Romanoff x Actress!Reader

Natasha is tasked with being bodyguard to you and you two grow close. Maybe too close, but would she dare cross that line?

Note: I have finally written an installment of this au I’ve been thinking about. Let me know what y’all think! Enjoy!

Natasha Masterlist 1, Natasha Masterlist 2, Natasha Masterlist 3, Main Masterlist

Natasha Romanoff is great at her job. In fact, she is so good that she has been in high demand in the bodyguard industry for years. She is tough, but her clients have nothing but good things to say about her.

Nat recently finished an assignment, and she is available. Your agent jumped on the opportunity to hire her to protect you. As an up-and-coming actress, you need a highly skilled security team. And you’re not exactly the easiest person to protect. You like to ditch your security whenever you can.

When she arrives at work, Natasha waits in her boss’s office to get her assignment. Fury walks in the door with a grin on his face. That’s never good, Nat thinks.

“How bad is it?” Nat asks.

Fury chuckles. “Have you heard of Y/n y/l/n?”

“The actress?”

“That’s the one,” Fury says. “Three movies in one year that reached number one at the box office.”

“And I bet she’s a pain in the ass,” Natasha says dryly. She crosses her arms. “You just told me that I was done covering actors.”

“Plans change, Romanoff. You’ll be meeting Miss y/l/n tomorrow at her New York penthouse.”

“Great,” Nat says sarcastically. “Next time I get to choose the job.”

“In your dreams,” Fury quips back.

Nat leaves his office and passes Carol and Valkyrie in the common area of the office. The two look suspicious as they straighten their clothes, but Nat is focused on finding out more about you.

“New assignment?” Valkyrie asks Nat.

“Yeah, an actress. Just my luck.”

“So, you got the Y/n y/l/n job? Impressive,” Carol says.

“Tell me that when the assignment is over,” Natasha replies. She walks to the door but stops short to turn around and say one last word to the woman. “Hey, we all know about you two by the way. It’s nice.”

Nat smirks and leaves the office. She spends the rest of the day googling you and trying to find out everything she can. Your portfolio is impressive, she must admit.

The next morning, Natasha wakes up early and goes for a run before getting ready to meet you. She wears a black suit and her beautiful red hair in a braid. The drive to your penthouse doesn’t take long.

You’re still in your pajamas when she arrives, but your assistant lets her in anyway. She takes a look around for a quick security check while she waits for you to emerge from your bedroom.

“Miss y/l/n, your new bodyguard is here,” your assistant, Kate, says.

Natasha comes into your view and your words catch in your throat. You’re not sure you’ve ever seen such a beautiful woman.

 “Oh, hi,” you say to her.

“Hello, Miss y/l/n,” she speaks, and your heart flutters. She holds out her hand for you to shake. “I’m Agent Romanoff.”

“Call me y/n,” you say as you shake her hand.

“I’d prefer to keep it professional, Miss y/l/n,” she says, trying to ignore that she finds you attractive.

“Right, okay.”

“I have a few rules,” Agent Romanoff begins. “Don’t try to lose me anywhere. It won’t work. Listen to me when I am trying to get you out of a situation or avoiding it all together.”

She pauses when you get out your phone to check a message. You reply and she waits to speak again.

“That was two rules,” you say. “Not a few.”

“Well, I assumed you stopped listening, so I stopped talking,” Nat says.

“I was listening.”

“Sure.”

“Tell me the last rule,” you say.

“That will have to wait,” your assistant interrupts you. “The car is here to take you to the photoshoot.”

Natasha turns to her, “I’ll need information about anyone who drives Miss y/l/n, and you’ll need to include me on all itineraries from this point on.”

“Okay,” Kate replies.

“Thank you.”

You grab your jacket and purse before heading down to the car that’s waiting outside. Nat follows you closely. There are a few fans waiting but nothing compared to some days. You get inside the car, and she sits in the seat next to you.

She buckles up and waits for you expectantly to do the same. The car is in motion before you do it, so takes it upon herself to reach over you and grab the belt.

“What are you doing?!” You ask her.

“You’re not invincible,” Nat says while clicking your belt into place.

You groan in annoyance, but you do feel warm at the thought of someone caring enough for you to make sure you are buckled. You really need to surround yourself with better people.

At the photoshoot, Nat stands guard. She stays out of the way but keeps an eye on you. She doesn’t mind watching you wear beautiful clothes and pose in appealing ways. The whole thing kind of turns her on.

The first few weeks of her employment goes like this. You attend events, parties, and photoshoots. You don’t give Nat any trouble. That is until the night of your birthday party.

The first part of the night went fine. So many people showed up that you didn’t even know them all, but that’s the industry for you. You are sitting at a table and flirting with one of your new colleagues when things take a turn for the worst.

“How about we find somewhere more private?” He leans in and asks you.

“Maybe another time,” you say. You like him just fine, but you really don’t want to leave the party yet. 

“Come on, baby. It’ll be fun.”

“Not tonight,” you reply.

You glance towards Nat who is across the room. She catches your eyes and walks closer to you, keeping her distance but ready to help if you need her.

“Y/n, let’s go,” the man says, taking your hand and trying to pull you up.

“No,” you say firmly.

“She said no,” your actress friend that you’re closest to, Wanda, jumps in.

“Come on,” he still won’t relent. His grip is tightening on your arm. It hurts. He leans closer to your lips. “Let’s just-”

“Hands off of her,” he is interrupted by Natasha getting in his face. She pushes his chest to get him off of you. He releases your arm, but doesn’t back down from Nat.

“What are you going to do about it?” He attempts to taunt her.

“Leave,” Nat says. “Or I’ll put you through that wall.”

“So dramatic,” he says. But he backs away and heads towards the door.

Once he is out of sight, Natasha turns back to you. Wanda and a few others are trying to protect you, but you only want comfort from one person. You practically jump into her arms as you try to hide your tears from anyone else. Nat hugs you back, but with hesitance.

She feels safe and warm as you let yourself go in her arms. Her black leather jacket collects your tears. She walks with you in her arms away from the crowd.

“Are you alright?” She asks, real concern in her eyes.

“I’m fine,” you say, but you don’t look it. Nat walks you to your car and inside the vehicle.

You look out the window and try to hold back your tears.

“Let me see your arm,” Nat says after a few minutes.

You hold it out for her to examine. She doesn’t see any injuries. Her touch is featherlight as she rubs her hands over the aching muscles.

“I’ll make sure he doesn’t get near you again,” she says.

“Thanks, Agent Romanoff,” you reply.

“You can call me Natasha,” she says.

“I love that name,” you tell her. She smirks.

“I’ll step in sooner next time, okay?”

“Okay. Maybe we need a code word or something,” you suggest.

“Like spies,” Nat jokes. You crack a smile, and she feels better about your state. “Let’s see. You can switch your drink from one hand to another.”

“We’ll workshop it, Natasha,” you say.

Nat nods. When you arrive at home, Nat helps you inside. She typically leaves you for the night, but you ask her to stay. Natasha sleeps on the couch.

When you wake in the morning, you find her sitting upright and ready to work. You sigh, thinking about the events from last night.

“What is it? Am I just not pretty?” You ask Natasha as you throw yourself onto the couch next to her.

“You know I can’t answer that and be professional,” Natasha replies.

She tries not to smirk at the way you dramatically sat down. She is slowly opening up to the idea of enjoying being around you as more than just her client.

“But you could just tell me because it seems that no one wants to date me,” you say.

“Y/n,” Natasha warns. “Trust me you are not the problem. I know for a fact people tell you that you are pretty all the time. Those assholes that go after you say it. You wouldn’t be a successful actress if you weren’t pretty.”

“Maybe, but I really don’t feel pretty.”

You sit up straighter and wait for Natasha’s response.

“You’re beautiful, y/n,” Natasha says sincerely.

“Really?”

“Really. Inside and out,” she says.

“I don’t know about that,” you reply despondently.

“I know. Look I haven’t known you but a few weeks, but I know that you’re a good person, y/n. And that makes you more beautiful than a million other people in the same position that you’re in,” Natasha explains.

There is no hesitation in her voice. It is nothing but the truth.

You feel yourself leaning in closer to her, but she moves away breaking the closeness. You try not to frown.

“Rule number three: We can’t get too close to each other,” Natasha says. “I have to protect you with a clear mind.”

“Okay,” you say. “But maybe we could break the rules, Natasha?”

To be continued…

[nightplvmes]

*.⊹˚ ZAYNE | before midnight (valentine's day)

── ◜zayne x fem!reader — ◜short special | specials from the rest of the LIs on my profile

A part of her had to admit that she had expected to do something more tonight—maybe go out for dinner or at least eat together. Having lunch in his hospital office didn’t sound like the best plan, according to her best friend. But to her, it had been sweet, even romantic.

Maybe she had let her best friend get into her head too much, because now she was starting to wonder if it had really been enough. But either way, Zayne was working late, and surgery wasn’t exactly a quick task. Even if they had wanted to do something, they couldn’t.

When she got home and slipped under the sheets, it wasn’t hard to distract herself. Her favorite movie and a box of chocolates—stolen from her sister—were enough. Maybe she and Zayne could do something together the next weekend when he was free.

Her eyes started to close not long after. Even though her favorite movie was playing, keeping her eyes open felt almost impossible. Her body relaxed, and seconds later she almost fell asleep.

A pair of arms wrapping around her made her jolt up. She gasped, trying to pull away, but whoever was behind her held her in place.

“It’s me. You’re okay.”

Zayne’s voice made her instantly relax in his arms. Carefully, she turned to face him, still pressed against his chest. She had to be dreaming. She had to be. Zayne was supposed to be in surgery tonight—there was no way he was actually here. Holding her.

"Zaynie…” Her fingers brushed over his cheek, as if making sure he was real and not just another dream. A smile crept onto her lips when she confirmed that, yes, Zayne was actually there. “What are you doing here?”

His arms tightened around her, bringing her closer to him until there is no space between them. His familiar scent enveloped her. She had already made peace with the fact that she wouldn’t be spending Valentine’s Day with him, but somehow, here he was.

"I asked someone to could cover my shift at the hospital and tried to cancel my surgery tonight,” he murmured, burying his face in her hair—a habit he’d picked up recently. She made a mental note not to change her shampoo anytime soon. “My patient wasn’t too happy about it, though. She refused to let another doctor perform the surgery and she was not happy to spend another night without eating.”

When he pulled back slightly to look at her, a small smile played on his lips.

“And she let you go?” she asked, genuinely surprised. She knew how dedicated Zayne was to his work. He had already considered rescheduling her surgery earlier in the week, but his patient had been waiting so long that he just felt bad.

“Well, I told her I had a girlfriend waiting for me at home,” he said, his voice softer as he slowly shifted over her. Her legs instinctively wrapped around his waist, and she felt his fingers tracing gentle patterns along her thigh.

Zayne talking about her to a patient? That was new. Not that their relationship was a secret—everyone at the hospital knew. It was kind of hard not to when she spent most of her lunch breaks hanging around just to eat with him.

“And what did she say?” she asked, curious.

She knew his patient. An older woman—sweet and chatty. They had spoken once by accident, and she had actually liked her. Though the woman had never known she was dating Dr. Zayne.

“Let’s just say she gave me a whole speech about how spending time with my girlfriend was way more important,” he muttered, his lips trailing soft kisses from her cheek down to her neck.

She giggled, unsure if he was telling the truth or just making something up. Maybe it wasn’t a complete lie. She had met the older woman, after all, and she was incredibly kind.

For some people, Valentine’s Day didn’t mean much. But for her, it did. And she had told Zayne that, probably with way too much detail. She had decided she wouldn’t blame him if he didn’t take it seriously, but maybe she had been wrong. He had tried to cancel a surgery just to spend the night with her.

“I brought food from your favorite restaurant.”

Those words snapped her right out of her thoughts.

She pulled back slightly, eyes wide with excitement before letting out a small squeal. Her favorite restaurant. It was nearly impossible to get takeout from there, let alone a dinner reservation. She had so many questions. How had Zayne managed it? Had he waited hours just to get their order?

She was about to get up when she felt his firm grip stop her. A second later, he was lifting her into his arms, carrying her toward the kitchen.

They were going to have their own little Valentine’s dinner at home. And honestly? She couldn’t think of a better way to spend the night.