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eddiesxangel · 1 year ago

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I Don’t Think We Are In 1986 Anymore? Part 2

Big thanks to @allthingsjoeq @bettyfrommars @somnambulic-thing for the prompts. The Stranger Prompts - directly from the Twilight Zone.

Sort of proof read, if you see mistakes no you didn’t… Sharing is caring. Reblog and comment 💙

You have to read part 1 for this to make any sense.

Cw: time travel, modern/Henderson reader, the aftermath of the upside down/ finding out who your father is and the reunion they never thought possible. Angst, fluff, smut 18+ content, fingering (f), oral (m) p in v sex, cream pie, MDNI

wc: 10k. oops

“Oh my god, oh my god, oh my god…”

"What the fuck! What the fuck! What the fuck!"

You watch and listen as your father has a mental breakdown in your open-concept kitchen. You just got off the phone with your uncle Steve, telling him to get to your place ASAP.

Your dad was stunned… and Eddie was stunned… What were the odds that Eddie would stumble into the house belonging to Dustin Henderson’s daughter?

Eddie could barely discern any similarities. You resembled the woman who came in after Dustin, and Eddie could only presume it was your mother. If he squinted, your eye shape was somewhat reminiscent of Dustin's, but even that was a stretch.

“How?! When?! Holy shit, man, you’re-you’re dead! You died in the upside down!” Your father was dumbstruck, as was your mother, because Eddie died in 1986. Everyone mourned and moved on with life.

“The upside down?” You looked to your mom to see if she knew what the two men were discussing. It seemed that she was also withholding something from you.

“I don’t know, man! That was only a few hours ago for me!” Eddie yelled.

“Holy shit,” your dad whispered.

“Wait. You think I’m dead? Like you guys just left me there? In that place?! With those demo-bats?” Eddie’s eyes were wide and, if you were being honest, he looked a little crazy.

“Well… I mean… so much shit was still happening!”

Your dad was interrupted by a frivolous knocking on the door.

You rush over to the door. Standing on the other side are your Uncle Steve and Aunt Robin, aka the woman from whom you got your nickname.

You grab both of them before they can even say hello and drag them by their shirt sleeves.

“Woah, Birdie, what’s going on!”

You didn’t need to speak because you were in the kitchen before they could continue.

You hear your aunt audibly gasp, and your uncle’s mouth hangs agape, stunned.

There he was, a dead man walking in your kitchen, clear as day.

“What the fuck��-“That’s not?”

“Uh, hey,” Eddie waves.

“Holly shit,” they both say in unison.

Before Eddie knew what was happening, Robin charged at him and wrapped him in a bear hug.

This was weird for Eddie. He hardly knew the woman—not really. He had only spoken to her for the first time a week ago… well, a week and thirty-eight years ago.

“Ouch!” -“Sorry!”

“What the actual fuck is going on” she pulled back, still gripping his shoulders.

“Hey, uh, Robin.”

Her long fingers trailed up his shoulders to grab him by the face, squishing his cheeks together, not believing the sight before her.

Despite the passing years, her youthful features still shone through. Her face was adorned with a sprinkle of freckles, her hair, still a beautiful shade of dirty blonde with some strands of silver, was now cut a little shorter, but it looked just as radiant as ever. She was unmistakably Robin, just a more mature and refined version of herself.

“Ohhhh-okay,” Eddie forced her hands off his cheeks.

“Okay, what is going on here?” Steve spoke.

Eddie's eyes lingered on his acquaintance, taking in the lines etched into his face like a map of time. Despite the signs of age, he still looked strikingly handsome, with broad shoulders and a sturdy frame that spoke of years of hard work. His hair, once a wild mop, was now tamed into a close-cropped salt-and-pepper buzz cut. Eddie couldn't help but admire how his friend had aged with dignity and grace, and he felt a twinge of envy at his own mortality.

“One minute, we're in the upside-down fighting off those… those creatures,” Eddie looks to your dad, “and the next…” Eddie waved his hands above his head before flinching from the pain of the bat bites. “I was here!”

“I don’t understand,” Robin said.

“You think I do?!” He looked at her.

“Woah, guys, let’s just calm down,” Steve tried to defuse the room.

“Calm down? I just learned everyone left me for dead.” Eddie’s voice hitched.

God, you had a lot of questions.

“Come on, man, we couldn’t go back without another one of us dying. You stopped breathing in my arms! I swore you had died. I-I-I,” Dustin stammered.

You had never seen your father so distraught.

“Fuck, come here, man” Eddie reached out to hug his friend.

It had been mere hours to Eddie, but for his friends, it had been years of mourning and grieving, the acceptance that Eddie Munson was gone from the world.

“What are you guys talking about?” You ask, breaking the moment.

“Not now, honey,” your dad spoke, wiping a stray tear.

“Yes, now!” You screamed. “What are you all talking about? Leaving him for dead? Fighting off creatures? Bats? I saw his wounds! A bat did not make that so. What. happened. in. 1986? And do not tell me an earthquake…”

After a long explanation, you still could not understand what the most important people in your life had been keeping from you for twenty-eight years.

“So that brings us to now…” Dustin looked at Eddie. “Tell us exactly what you remember.”

“I was with you,” he said, pointing to your dad. “And the bats got me; I passed out, I guess because I didn’t remember anything, and when I woke up, I was in the trailer park, but it wasn’t the trailer park anymore… I was here.”

“There must be an explanation… do you think a gate is open now?” Steve spoke.

“Not possible; that was closed years ago.”

“Wait, so what happened to Vecna?” Eddie asked.

“El dealt with him; he’s long gone.”

“Wait… Aunt Jane?” You clarified.

“Yes,” the group confirmed.

You still cannot believe what the fuck was going on? How everyone seemed so casual about the topic of supernatural occurrences happening in the eighties.

“I think I need to lie down…” you excuse yourself from the conversation.

This was too much, too overwhelming. How were you to believe all of this? The evidence was right in front of you… Eddie had time-travelled, and your family confirmed that.

“Birdie honey, I’m sorry; I never wanted you to learn about all the shit we went through.” Your father pulled you in for a hug before you got too far.

You needed a second to collect your thoughts, so you went to your living room to lay on your couch.

You replay the details of what just sprung on you. A man with supernatural powers wanted to take over the town of Hawkins, Indiana, and your aunt, who also has supernatural powers, defeated him. Your dad and his friends, your aunts and uncles, helped. Your super nerdy, uncool father helped save the world. And Eddie, their dead friend, was now alive; somehow time travelled unknowingly and is sitting in your kitchen…

You’re unsure how much time has passed, but you feel the couch dip by your feet.

“Hey,” a deep voice you’ve now recognized as Eddie filled the empty room.

“Hey,” you open your eyes and face him.

“I uh… I just wanted to thank you for everything. You’re being super cool about all of this, about not calling the police on me, calling Dustin- uh, your Dad-that’s so fucking weird to say- I’m glad it was your home I broke into.” He fiddled with the hem of the borrowed shirt you lent him.

“I wouldn’t say I’m being cool. Honestly, I’m freaking out, but you’re welcome.” You half-heartedly smile.

“If it makes you feel any better, I’m just as freaked out about this whole mess as you are… in the same boat and all, I guess.”

You hum with acceptance.

When you finally came around and decided to get off the couch, Eddie had already returned to the group's elders, and you walked in on their conversation.

“Oh, god! Wayne?! Is he? Where?” Eddie couldn’t believe this was the first time he thought of his uncle’s whereabouts.

“I’m so sorry, Ed.” Dustin couldn’t look him in the eye as he spoke.

“He’s… what happened?” His voice shook.

“We would visit from time to time over the years; he found a wife, he never stopped talking about you, he loved you.” Robin smiled as tears welled.

“The uh… the smoking caught up to him. Lung cancer. He was diagnosed about ten years ago. He fought it for a long time but passed in 2019.” you hear your dad sigh. “…but even if he were still alive, Eddie, you’d sure give him a heart attack if he saw you,” Dustin chides

“No… yea... No, I guess he would be almost ninety-four now…” Eddie sniffles, trying to hide his glossy eyes.

Not even five hours into living in the future, and it sucked immensely; who knows if he would get to go back home to his time. you felt for him your heart yearned to hug him and tell him it was all going to be okay, but you just met the guy.

“I’m sorry, Eddie.” Your dad touched his shoulder, and your mom looked at him sorrowfully. Like you, she had never met the man your dad idolized.

As a kid, you were told stories of the great Eddie the Banished, and you worshiped what your father told you about him. But now, seeing the real man in the flesh, wounded, scared, and confused, humanized him. You felt so sorry for him; you wanted to do all you could to help him.

“Ed, I think we should take you to a hospital,” Steve spoke, breaking the tension.

“How? I don’t exist. I can’t pay for anything.”

“We have insurance and money; we can pay for it,” Steve rebutted.

“What if someone recognized me?”

“What if we gave you a makeover?” You suggested.

“Absolutely not.”

“My daughter is right, Eddie; you stick out like a soar thumb.”

“What do I need to change?” He asks hesitantly.

“The hair,” you nod.

“No."

"Not like all of it, but, you know... shorter" You cocked your head, amazing his features.

He was very handsome, and you were attracted to him more than you would care to admit. You should not feel like this toward your dad's friend. Technically, he was thirty years your senior, but you were older than him in the real world.

Eventually, you will accept your supernatural time-travelling weird-ass family secret, but for now, you need to focus on Eddie healing and looking like he was from this century.

You take to your phone for inspiration. Tapping away on the touch screen, Eddie is memorized by the new technology before him.

“Can you uh- show me that stuff?” He points to your phone in your hands.

“Yeah, of course,” you blush; Eddie's intense gaze on you didn’t go unnoticed by your overbearing father.

“Woah woah woah, no—nope,” Dustin spoke as he wedged between you and the time-travelling man.

“Dad!” You scold.

“What are you even talking about, man?”

“I know you, Eddie,” your father gave him a stern look.

“I had no idea what you’re talking about?” he shook his head. But he was lying. He thought you were hot; there was no denying that. It was weird that you were Dustin’s offspring, but did that matter to Eddie? No. He has experienced much weirder these past few days.

“Let’s focus people.” Steve snapped. “Makeover—than a hospital.”

After some internet sleuthing, you and Eddie decided on a haircut you both agreed on.

“You trust me?” You raise your brows.

“No, but I don’t really have a choice.” He looked at your overprotective father, hovering, not leaving the two of you unsupervised.

“Dad, there is not enough room in the bathroom for all of us. Can you leave?” You sass.

“No funny business,” he points.

"No funny business? The girl has scissors to my head."

“Mooooooom,” you call for her to help.

This was ridiculous. You’re a grown woman who can make her own choices, and Eddie is injured; that’s probably the last thing on his mind… and he’s probably not even thinking about you like that. So what could possibly happen?

You turn to Eddie with a smile as your mom drags away your father.

As you work away chopping at his hair, rewinding, and re-watching the tutorial off TikTok, you are not paying attention to Eddie's reaction to cutting his hair. If you looked down, you would see a man in pure heaven, blissed out by your touch. To see Eddie's eyes close when your fingers run through his hair. Eddie hadn’t had someone touch his hair in years, not since he first started growing it out. Fully immersion making sure his hair is even, you also don’t notice that you’re standing between his legs and your tits are sat directly at Eddie’s eye level, bouncing around in your tank top, as your arms work above his head.

Eddie tried hard not to stare; that’s another reason why his eyes were closed, but here he was, basking in your touch while fighting with himself to keep his eyes from zeroing in on your chest. He felt overwhelmed by you in the best way possible, your delicate voice and gentle touch mixed with your sweet-smelling perfumes and hair products. It didn’t take much for Eddie to get wrapped up in you. You had been so kind to him; he was so scared this morning. He was scared of the pain of his injuries; he was alone and the fact that he was no longer in his proper time.

You made him feel comfortable and safe, but you also made him nervous because he is attracted to you. Once the fright wore off and the calm washed over him when you offered your shower and food, it was instant; how couldn’t he fall for your beauty?

“What about my face?” Eddie speaks, his eyes still baring into your chest.

“What about it?” As you step back, your eyes are drawn to the man beneath you. You can't help but admire the striking features that define his face. You trimmed his unruly, chocolate-brown hair, but it still falls in gentle waves that frame his face beautifully. The freckles that dot his cheeks and nose add a touch of playfulness to his otherwise serious expression. But it's his eyes. Those are what captivate you the most. Thick, dark lashes frame deep, earthy-toned irises that seem to hold a whole other world. You can't help but feel a sense of awe at the sight of him.

“Should I shave?” She cocks his head, a few wet tendrils fall on his forehead, and you can’t help but admire his beauty. His scratched face bore a five-o-clock shadow; the circles under his eyes only darkened as the hours passed. However, it only made his deep brown orbs that much more compelling.

“No,” you smile. “I like the scruff.”

You step back again to admire your work, and Eddie’s eyes awkwardly try to look everywhere but you.

“Okay, I think we are good,” you smile as you run your fingers through his curls again with a bit more holding mousse.

Eddie holds back a whimper when your fingers are no longer in contact with his scalp, but he swallows it and stands up off the chair to look in the mirror.

He smirks at the soft mullet look you’ve given him. It’s still a nod to the eighties but more modern. It’s long still, but he reluctantly doesn’t hate it.

“I don’t have anything to tip you with,” he awkwardly giggles.

“That’s okay. You can thank me later.”

“SHIT”

“What? What's wrong?” Eddie whipped his head around. He hated hospitals.

“It’s Andy.”

“As in Jason’s friend Andy? As in, Andy that tried killing me, Andy?”

“Yea, he’s a doctor now.”

“Fuck” Eddie whispered under his breath.

“Ok, new plan. You’re my nephew, and your name is Jeremy.” Dustin removed his glasses and put them on Eddie as an extra disguise.

“Jeremy?”

“Jeremy.”

“Dude no, that��“

“How can I help you, gentleman, this afternoon?” Andy. Dr. Andy pushed aside the curtain.

“He was out hiking and was attacked by a… a….” Dustin stumbled.

“Bobcat,” Eddie finished.

“A bobcat in Hawkins?” Dr. Andy raised a brow in question.

“I was up north. I patched it up, but I thought it should be looked at.” Eddie cleared his throat.

“OK, let’s take a look. Where is the injury.” He puts down his tablet and watches how Eddie lifts up his shirt, revealing the amateur job you’ve done.

“It’s also on my leg, but it’s uh, this is the worst of it.” he clears his throat, wincing as Andy peels back the medical tape.

He lets out a whistle as he examines Eddie’s torso.

“A bobcat you say?”

Eddie nods his head silently.

“Okay, it looks like it’s been cleaned pretty well. You did a good job, but I’ll have to suture some of the gashes that are still bleeding. Andy looks at Eddie and really looks at him this time.

“Do I? What did you say your name is?”

“Jeremy Potter, my nephew! On my wife’s side.” Dustin interrupted.

Eddie gave him a look to cool it. He was so jumpy it would be suspicious.

“Huh. Ok. Let’s get you all fixed.”

A half-hour later, Eddie and your dad stroll out of the examination room with some antiseptic creams and low-grade painkillers.

“So, uh, it’s getting late; should we grab dinner and go back to Birdie’s?” your dad says.

“Yeah, sure, sounds good.” Eddie can hear his stomach growl again.

After picking up the food, Eddie and your dad finally arrived at your place, almost five hours later. You had spent the entire time waiting at home, feeling anxious and restless. As you waited, you couldn't help but imagine Eddie being tended to by a cute nurse. You pictured her doting on him, taking care of him in ways you never could. The thought of him falling for her made your heart ache with jealousy. Despite your best efforts to push away these feelings, you couldn't help but imagine him walking away from you, leaving you behind.

You didn't understand why these feelings were happening. You’d known him for less than twenty-four hours, and the urge to protect and care for him was so strong. You were already starting to miss him and worry about him.

Your mom kept you company, as she felt it wasn’t good for either of you to be alone. The others had to leave, but your mom stayed, and you discussed more of what happened before you were conceived. She knew exactly how you felt, overwhelmed and crazy. It took a while for her to come to terms with what your father described to her all those years ago, but she loved him too much not to believe him, especially when she saw what Jane could do.

A sense of relief washed over you as your dad and Eddie returned from the hospital. They were okay; his injuries weren’t bad, and he could return to you.

“Could I stay with, uh, with you guys? Eddie asks your folks, and you set the table, and your stomach drops.

“Shit, man, we are renovating right now; we don’t have space.”

“You can stay here,” you quickly offered. Your whole guest room hadn’t been used in months.

“Are you sure? I don’t—you have already done so much for me.” He blushes.

“Please? I insist.”

You couldn’t sleep, and he wasn’t going out on the street.

“You raised a good one, Dusty Bun,” Eddie teased.

“Dusty Bun?” You giggle.

“Oh yes your dad had this imaginary girlfriend, Suzy, and—“

“She was real!” Your dad boomed back.

And the three of you laughed.

The house fell silent when your parents left. After saying your goodbyes, you and Eddie stood awkwardly by the door until you offered to show him the room in which he would be staying.

“Sorry if it’s a little feminine for your taste, but the mattress is really comfortable; it’s memory foam,” you smiled.

“Memory foam?” He questioned.

“You sink into it and feel like you’re on a cloud, trust me. Give it a go,” you gesture to the bed for him to sit on.

You watch as Eddie takes a few steps, and she’s his body to sit on the edge; when his bum hits the comforter, his eyes widen, and he falls back and lets out a moan.

“Holy shit, I’m never leaving” he splays himself over the mattress, and you can’t help but giggle.

“I mean-“

“It’s okay, Eddie, I understand. You can stay as long as you need to.”

Who knows how much time he will be here? How would you even begin to figure out how he gets back home? And can he even get back home? Would he have to go through the upside-down again? Or could he just appear back in the real Hawkins? So many unsolved answers were running through everyone’s minds.

Did Eddie even want to go back? Probably. That would be a bummer, you like him, and not only because he is your father’s good friend….

The longer you pondered, the more awkward the silence became.

“Hey, you want a drink?” you offer, not really thinking; you just need something to ease the tension.“Wait, are you old enough to have a drink?” you eye him.

“Trust me, sweetheart, I can take a drink.”

“How old did you say you were again?”

“I’ll be twenty-two this….year? Well, uh, you know.”

You both walk back to your kitchen and grab the bottle of white wine from the fridge.

“This is all I have, I hope it’s okay?”

“I’ll take anything,” he smirks, and your stomach does a summersault.

You ignore the deep inner attraction and walk over to the cabinet where you keep your glassware.

“So, uh— you gonna call me Uncle Eddie?”

You turn to see that smirk still plastered on his face.

“Absolutely not,” you deadpan.

“Why not?”

Because that would mean I want to fuck my uncle…

“I’m older than you.” You uncork the bottle and pour two big glasses each.

“Not technically."

"Technically, you'd be old and wrinkly," you giggle.

"I would still be a badass, though."

"A badass?"

"Oh yeah, everyone is scared of me." He looked a bit sad.

Your dad did tell you how the town was scared of devil worship and shit but you never took it seriously.

“Not scary to me,” you smile.

“Oh yeah, you could handle all of this?”

“I’m a grown woman; you couldn’t handle me.” You pass him the wine glass.

“I’m technically older than you,” he reminds you again.

“You’re lucky you’re the legal drinking age.”

“Still legal.” His tone implies something more.

“I could run laps around you.”

“You think so?”

“I know sweetheart”

The name made your stomach flip, and you took a big sip of wine before you moved to sit on your sofa in the living room.

Eddie followed and sat on the other side facing you.

“So tell me more about the future.”

“What do you want to know?”

“Shit, everything.” He took a long sip and hummed at the flavour.

“What’s Ozzy doing?”

“Like Ozzy Osborn?”

“Yea.”

“He’s fine; he used to have a reality show," you giggled.

“About what?”

“Him and his family.”

“Really? And people like that?”

“Oh, yeah, it was huge. I never watched it, but it was pretty mainstream…. You like metal?”

“Like is an understatement. Had my own band and everything.”

“Oh yea dad mentioned that Uncle Jeff was in a band… coffin something?”

Eddie bloomed with pride that you knew of his band. His face turned flush but he could blame that on the alcohol.

“Corroded Coffin.”

“Yes that’s it!” You snapped your fingers. “You cover anything I would know?”

“Uh maybe? Metallica, Dio, Ozzy… obviously.”

“Yeah, I’ve heard some stuff from those bands. Uh, here, let me put on something. “ you smile and grab your phone.

Eddie watches in awe as your fingers click against the glowing rectangle in your hands.

“That thing can play music?”

You nod your head and smile.

“Anything it can’t do?”

“Not really” you shake your head.

You find an 80’a playlist, thinking it will make him feel at home and he was in awe.

“Can you show me more about that?” He points to your smartphone.

“Um- yea sure.” You scoot closer to him so he can see and he looks down at the glowing screen.

As you show him the different features, he’s enamoured with Spotify. He loves how you can have any music at your fingertips.

Google was also another thing he had way too much fun with, asking anything and everything he could think of. He googled Metallica and was shocked when they were nominated for a Grammy only a few years later.

Online shopping was also a whirlwind to explain. Amazon was a trip for him; he couldn't believe in one-day shipping for anything you could desire.

“You mentioned you liked fantasy stuff, what do you like?” You snuggled into him closer so you could see the phone in Eddie’s grip.

“Lord of the rings, D&D, Excalibur— "

"Oh my god!" you jump, and so does Eddie.

"What?!"

You don't answer but scurry to find your TV remote.

"Woah," Eddie mumbles as he sees the crisp picture on the flat screen, which lights up the dark room.

You hold down the mic button on the remote and speak into it. Sure, you could have typed it out, but showing Eddie futuristic things was fun.

"Lord of the Rings"

You turn and watch Eddie to see his eyes light up when the trilogy of movies appears on screen.

"No way!"

"There are also three movies of The Hobbit," you giggle.

It was like watching a kid on Christmas morning. The pure joy on Eddie's face said this was the best news he’d ever heard. And to his defence, this was the best thing that’d happened to him in about three weeks.

“Well, I know what I’m doing tomorrow. I need to be all in and clear-minded when I get to experience these.”

“We can make a day of it.” You smile, not even thinking about your job or any responsibilities. Sure, you worked from home, but you were not getting any work with Eddie in the house.

“Really?” He smiles.

“Yea.” You smile back.

The look in his eyes was too intense. You had to break eye contact and excuse yourself to get the bottle.

You don’t even ask Eddie if he wants more, but you empty the contents into his glass and then return to get the second bottle in the back of your fridge.

The conversation held its own as you explained to Eddie about Tesla, social media, legalization of weed in some states, LGBTQ+ rights, 9/11, Obama, Trump, and the pandemic. You didn't want to overwhelm him with too much at first, but you settled on important things.

“Is sex still the same in the future?” He asked casually. And you almost choke.

“Explain to me how it is in the eighties, and I’ll let you know,” you giggle. The alcohol was definitely taking effect.

“W-w-well I….shit” he didn’t think you’d bite.

“Come on, Eddie. We are both adults.” You slide your foot across the couch and nudge his leg playfully.

“Never mind, forget it.” He blushes.

“No, come on, what do you want to know?”

“Is porn still a thing?” He meekly asks, and you can’t help but burst out laughing.

“I’m sorry! I’m sorry! I promise I’m not laughing at you; it’s just like the biggest industry on the internet.”

“Yea?”

“Oh yea. Anything you are into it’s there. Trust me.”

“Trust you? You’ve paid for porn? Sweetheart, I didn’t take you as that kinda girl,” He accuses.

“Hell no, I don’t pay for it.” You laugh.

“Then how do you know what’s out there?” He retorted.

“Because it’s free.” You take your last sip of wine for the night.

Eddie stares at you, mouth agape.

“I’m a single woman, and I have needs.” You defend.

Eddie was stunned. Did he just hear that you touch yourself to free porn on that tiny electric box in your hands? Yes, he did.

“Uh— uh, is there any chance I could brow that phone thing you got there?"

"Absolutely not!" you laughed.

"Why not?! I’m a curious man! I need to learn I have needs too."

"Good night, Eddie," you laugh as you get up off the couch.

“Birdie, come on, please!”

“Goodnight, Eddie.” You shake your head and leave Eddie alone to get ready for bed.

The next morning you were tired, to say the least. You’d gone to bed late and decided to call in sick for the rest of the week.

You woke up around 10:00 a.m. to find the guest room door ajar, and Eddie was still sound asleep. He probably needed a good night's sleep after everything he’d been through, so you made your way downstairs to make breakfast for the both of you.

As the smells wafted through the house, they made their way to the guest room and woke up Eddie instantly. He woke up with a jerk, having forgotten where he was for a split second, but he calmed down once he remembered you.

“He pulled on the same sweatpants and shirt you gave him yesterday and stumbled down to the kitchen.

“Morning, sleepy head,” you smiled over your shoulder.

Eddie wasn’t ready to see you in only a small tank top and tiny sleep shorts.

“M-morning” he stuttered as he took in the view of you.

“I’m making us some food; hope you like bacon and eggs”

“Yeah, definitely.”

“How about coffee?” You walk over to your specialty coffee bar. You loved making gourmet coffees with the syrups and milks.

“Black, please.” he walked over to see the different options.

“That’s so boring! Let me make you something special.”

He gave another funny look, but you insisted.

So you ignore his request, brew your cinnamon coffee pod, add dulce de leche-flavoured syrup and a splash of cream, and slide it over to him.

He looks at you suspiciously, sniffs it and gives a curious look.

“Oh my god, it’s delicious. Just taste it.”

“I’m not sure what freaky futuristic shit you put in this,” he teases.

You squint your eyes but then give a smirk of satisfaction as his eyes bulge as he takes the first sip.

“Shit, that’s good,” he mumbles before taking another sip.

“Told ya” you turn back to the food of the stove to start platting it.

It was fairly quiet as the both of you ate. Eddie was still scarfing down the food like he’d never eaten a home-cooked meal, which made you more curious about the events he’d been through.

“I was thinking we could go shopping today. Can we get you some clothes and maybe a phone?” You tease.

“A phone?” He perked up.

“Maybe, I’m not sure how long you’re staying, and if you wanted to keep in contact with everyone, it’s the easiest way.” You shrugged.

“O-o-okay. But then we can come back here and watch Lord of the Rings?"

"Of course." You smile

Your dad and Uncle Steve met you at the Starcourt Mall around noon. You never thought you would be shopping with these two and their dead friend, but here you were.

After a very long time in Target, and a fashion show, Eddie got a full wardrobe.

“Can we get Eddie a phone?” You ask as you hrough the familiar halls.

“Really? Do you think he needs one? We don’t know how long he’ll be here,

“We don’t even know if we can get him back home”

“I think I’d like one… if it isn’t too much money.” Eddie asked.

“Don’t worry about that Ed’s” your dad turns.

So you and Eddie walk over to the mobile booth and get him a basic smartphone so he can interact with everyone.

Eddie was still enamoured by the touch screen technology, especially in your car. You had to tell him off for messing with the music but he couldn’t help himself.

You let him know you’d help him with his playlist once you got home.

When you and Eddie get home, you teach him how to use it. After the painstaking lesson, he seems to eventually get used to the new technology. He seemed like a natural after an hour or so then the two of you settled down to watch the movie.

You had the whole set up with blankets, pillows, snacks, and drinks.

It turns out Eddie has a knack for new technology because that night, it didn’t take much for him to find porn. He was overwhelmed by the thousands of options. He clicked the first few that were featured and came within seconds of watching, but Eddie was determined and unbelievably horny. After the first time, he wasn’t satisfied, so he continued to look for videos. His curiosity took over with all of the categories, but he found himself going back to the ones where the girl resembled you.

As you’re laying in bed trying to fall asleep, you hear him. Did he not release how loud he was? How incredibly hot he sounded as his grunts travelled through your walls. You couldn’t get the image of Eddie touching himself out of your head, no matter how hard you tried to block him out. You couldn’t even get your headphones because they were in your purse downstairs, and you didn’t want to get up and alarm Eddie.

So you lay there on your phone, scrolling mindlessly until you see Eddie’s new contact pop up. You click on it instantly. It’s a voice note.

Do you dare? You know what he’s doing down the hallway. Even if it is muffled, it’s obvious. You can hear the moans of a girl getting fucked on the screen.

The little devil on your shoulder wins as you find yourself pressing play.

‘Uuuuuuuh fuck-yessssss, just like that! Unnnnnngh mmmmmmmm so hot, fuck-“

His voice was deep and gasping with need.

You didn’t even know you could record a voice note while watching a video, but who knows?

“Such a good girl. Mmmmmmmmmmmmmmm”

And it cuts off. You rewind it again to listen to him say goodgirl, and your stomach flip flops, and you can feel something burning in your core.

It’s been so long since you’ve been with anyone. You can’t help but reach for your vibrator hidden in your nightstand.

You replay the voice note and turn it on. You imagined Eddie’s body on yours, how he would touch your skin, kiss your collarbone, eat you out, praise you; God, his voice was so hot, you were quivering with pleasure. Before you knew it, you had been cumming within minutes.

The next morning, you, too, were oblivious to Eddie also hearing your needy breaths.

He had no idea that he was the reason behind them, but when he heard the toy's low humming and your moans, he had a slight hunch that you were also doing the same as him.

“Sleep well?” you ask, walking into the kitchen to see Eddie trying to figure out the coffee maker. He turns to see you in nothing but a large T-shirt, fuzzy socks, and bunny slippers, and he never thought he could feel more butterflies looking at someone. It’s fast, it’s strong, and it’s scaring Eddie. His attraction to you is nothing like he’s experienced before.

“Uh yeah— you?" you think back to how you fell asleep, blissed out.

“Yeah,” he smirks, also thinking back to how he made himself cum three times last night, a new personal best.

You think for a minute that you should tell him about the voice note, but you decide against it. It would only be an uncomfortable situation. So you leave it and pretend like nothing happened.

You drove both you and Eddie to Uncle Steve's house. It was a strange and surreal experience watching Steve and Eddie interact, as if no time had passed since they last saw each other. It was like they had picked up their friendship right where they left off.

As you and Eddie caught up with Steve, you learned about what happened after the incident. There was a funeral, which was attended by few people, but the ones who mattered were there. You discovered that the kids took turns visiting the empty grave, cleaning up the graffiti left by the townspeople. Eventually, the graffiti stopped and people ceased to care. However, Hellfire and the rest of the gang still visited the grave and left flowers from time to time.

Steve got married, but the marriage didn't last long. You remembered how much you disliked her when they visited you as a kid. Steve never got over Nancy; he still loved her, even though she chose someone else. He hoped they would find their way back to each other someday, but she had moved overseas for investigative journalism.

Eddie wasn't surprised to hear that Uncle Mike and Aunt Jane got married. Although he had never met her, he remembered how fondly Mike had spoken about her. Mike loved her with all his heart.

You also learned that Will, the other boy Eddie never met, became a big animator working in LA. Steve shared that Lucas was the basketball coach at Hawkins High, and Erica had become a CEO.

Eddie asked about Max, and Steve replied that she was okay now. It took a while, but after Vecna had gotten to her, she was in a coma for months. Her vision never came back, and it took a long time for her to recover. Steve half-heartedly smiled. Eddie cringed and asked if Vecna had any more victims, and Steve replied that Carver hadn't made it. There was a huge earthquake that came from the Upside Down that killed about ten people they didn't know. Talking about it was clearly bothering Steve, but Eddie needed to know.

"Can you show us some pictures?" You asked, trying to lighten the mood.

"Yeah, sure, kid." He smiles and leads you to where he kept the photo albums. After seeing all the memories Eddie missed out on, he felt a feeling he's never felt before.

"You okay?" You ask, noticing how quiet he was on the drive back.

"Yeah? No? I don’t know. I’m just— I missed out so much! I was supposed to be there with them! I'm starting to regret my choice of staying back… I. Shit that sounds awful, but I'm not supposed to be here. I'm supposed to be back there, in 1986, with my friends and my uncle! And now I'm stuck here and don't even know if I'll be able to go back home?!"

You don't know why you're hurt by Eddie's words, but you are. This wasn't about you, but the thought of Eddie not wanting to be here made you feel like he doesn't want to be with you.

"Don't say that, Eddie! What you did was brave; it was dignified! You chose to help save your friends. Sure, it was a little stupid because you died. Or didn't die? I don't know… but I always saw you as this hero my dad would talk about! You're honourable and kind and so selfless. And somehow, it led you to here…"

To me.

"Thanks, Sweetheart."

The nickname made your heart flutter. It's not the first time he called you that, but each time it doesn't go unnoticed.

"I'm scared," Eddie finally admits as you pull into the driveway.

"I know," you whisper.

You would be terrified if it were you in Eddie's position. You don't know how he's held it together this long. You weren't lying when you told him he was brave. He's the bravest person you've ever met."

Several weeks have passed, and you and Eddie have settled into a comfortable routine. You’re back at work, and Eddie has accepted that he is stuck in the future.

Your family had searched for anything and everything to research and look into anything that could be used as a portal to the upside-down or time travel. But the gate was permanently closed and had been for over thirty years, and there was no way they would risk opening it back up just of the possibility of Eddie getting attacked again, so maybe he could get back. The possibility of a gate on the other side was extremely slim because it had been sealed.

Eddie would spend hours sitting by the window, gazing at the vast expansion of houses before him. It was hard to believe that the once-desolate trailer park he called home was now this fancy. The years he had spent away from it had brought about so many changes that he struggled to come to terms with. He often found himself pining for a life that should have been, but he knew deep down that he had to accept the way things were now.

Despite feeling emotionally numb, he took solace in the fact that he was still here, breathing and healing. Each day brought with it small signs of progress, and he clung to them with all his might. He knew that he still had a long road ahead of him, but for now, he was content to sit by the window and watch the world go by, slowly but surely regaining his strength and sense of purpose. he was dead to the world but here he was, living, breathing... healing.

His physical wounds were healed; all that was left was a nasty scar. His mental wounds, however, were still ever-present in his mind. He would have night terrors; he couldn’t hide them. You would hear him screaming in the night, sometimes multiple times, if he was able to fall back asleep.

He tried talking about it with Dustin and the others, but nothing seemed to help. He was exhausted and mentally drained by the fact that nothing was the same; nothing was familiar. Sure, his friends were there for him, but they had changed; they weren’t the same people as he remembered them.

Eddie had another awful dream tonight if you could call it that. It was more of a memory; the exact events of that fatal night replayed as a loop inside his brain.

It always starts when he's with Dustin in the boarded-up trailer. Then, he watches as Dustin crawls through the gate. Eddie waits, watching him for a split second before running back out. He no longer wants to be a coward or a runner. He's surrounded by unearthly creatures, fighting for his life, but there are too many. He can't escape. All he feels is the pain, terror, and then nothing. It's all darkness, quiet, and loneliness. The worst part is the solitude, the feeling of being so alone. He longs for the day when he no longer feels that way.

Sometimes, when he's with you, he forgets that he's not supposed to be here. But as soon as he returns to this room, which is not his, it all comes crashing back down.

As the night wore on, Eddie's screams pierced through the stillness of the house. You had been lying awake for hours, listening to his panicked cries, feeling helpless and powerless to ease his distress. You can no longer take it; you can't listen to him suffer. You push the covers off, not caring that you’re only in a big T-shirt, and walk over to Eddie’s room and timidly knock on the door.

You slowly push it open as he never latches it fully shut. You can see him in the dim light of the moon fling the room and the light from the hallway. He’s a bit sweaty, trashing under the covers. He’s still sleeping, if that’s what you can call it. You can’t imagine the image playing in his mind as you slowly make your way over to wake him, to not get knocked out in the process. The room was dimly lit, and Eddie's ragged breathing was the only sound as he tried to calm himself down.

Eddie hadn't noticed you walked over to him, he was still sleeping. You sat beside him, gently stroking his hair, and whispered comforting words in his ear. Slowly but surely, his screams subsided, and his breathing became more regular.

“Eddie,” you gently whisper, brushing your hand across his bare back. His skin is sticky with sweat but he’s cold.

“Eddie,” you repeated, slowly circling your hand around his back in comfort.

He jerks awake with a gasp, and unexpectedly, he grabs you and pulls you into a tight hug.

“I’m so scared, Birdie.” You can feel him trembling in your arms as your body slowly relaxes under his touch.

“Shhhh. I’ve got you; I’m here.” You hold him as silent tears fall down his cheeks, staining your shirt. You rock him slowly to help calm him down. You lay beside him in silence, there for him, holding him.

“I don’t- can you-“ he takes a deep breath. You stay quiet to let him gather his thoughts.

“Can.... you stay with me tonight?”

Your heart melts as you hear the words trickle from his lips. He’s so delicate. He needs to be cared for, and you’re more than willing.

“Come.” You take his hand and lead him to your room. You pull him into your still-warm bed, snuggling under the covers together.

This isn't the closest youve been to Eddie. You've managed to fall asleep on his shoulder while watching the lord of the Rings movies a time or two. But this felt different. It was more intimate, and you weren't sure how to go about it.

You let Eddie take the lead as you lay beside him. You feel his fingers intertwine with yours under the duvet, and you squeeze his hand before opening up your arms so you can hold him. He lays his head on your chest. The tears have subsided for now, and you kiss the top of his head without thinking. You let your lips linger on his head before he looked up at you. His pleading eyes long for any source of comfort, especially from you.

You have been there for him, even when you should have called the cops after he broke into your house. But you were selfless; you let him find shelter, a shower, clean clothes, and food, all before you knew who he was. He was so frightened, but you showed him compassion. He started falling for you then, even if he didn't really see it a month ago; he sees it now.

You're so kind and fun; you get him to the fullest degree, even if you're not from the same time. Maybe Eddie has Dustin to thank, but he is falling for you. At this moment, in another time of need, you're with him in the middle of the night, comforting him even if you have work tomorrow. Eddie sees that didn't matter to you. You're here for him. So can he really blame himself when he tilts his head further to seek more comfort from you in a gentle kiss? No, he can't. He's been longing for this, pining and itching to feel his lips on yours.

It takes you by surprise; his lips are so soft and delicate. It's been so long since you've kissed someone you've developed feelings for.

Eddie is desperate for more. He wants this so badly; he moans as he feels you start to kiss him back, but that snaps you out of it.

“We shouldn’t. This is wrong; you’re not in the right headspace.” You pull back, looking into his pleading eyes.

“Please, I want to forget. I don't know how else to forget," he begs you. He needs this to not be remembered, even if it is temporary. Eddie's lips hover centimetres from yours. His hot breath fans over your skin as you try to think of what to do.

You want this, he wants this, so what is stopping you?

"Birdie, if you don't want to, I'll go back to my room; I can move in with Steve or Robin or someone. I'm sorry; I overstepped. I just-"

You cut him off with another kiss, but you're not overthinking it this time. You need him to feel how you're feeling, how everything is only right when you're with him.

Before Eddie came into your life, you felt like everything was average and unremarkable. But since he's entered your world, he's brought a sense of excitement and adventure that you never knew existed. Even though his presence can be chaotic sometimes, you find yourself drawn to him and the thrill he brings. You feel like he's exactly what you've been missing and never want to return to your old, mundane life.

"I need this too, Eddie," you mumble into his lips, and Eddie sighs; his heart skips a beat.

You feel his weight shift as Eddie leans into the kiss. He leans you back into your pillows, taking the lead. You feel how his hands trace up your arms so he can cup your face.

He wants to feel you, breathe you, and be with you. No one has ever shown Eddie so much selflessness as you have. You deserve the world in Eddie’s eyes, and he wants to let you know how grateful he is to have you.

But he also wanted to forget it all—all the terrible things he’d witnessed and gone through. He just wanted it to go away for a while. So, for now, while he’s with you, his anxieties and fears are slowly being plucked away with each moan, gasp, and timid graze.

Eddie can feel your heat through the thin pyjama pants adorning his waist. You’re only in a shirt and your panties, but Eddie needs to see more of you.

“Can I take this off?” He mumbles in between desperate kisses as his fingers grip the hem of your sleep shirt.

You don’t let him ask again before you tug it over your head. You didn’t think his doe eyes could get any bigger, but here he was, proving you wrong, and it only made him look more endearing.

You reach out to Eddie as he sits there like a statue, staring at you. You take his hand, bring it up to your chest, and place his large hand on your breast.

“Hollyshit,” he whispered, realizing he was touching his best friend’s daughter. But that thought quickly passed as you leaned up in to kiss him; it's sloppy, it’s desperate, it’s wet, it’s so hot Eddie thinks he might just bust in his pants here and now when you ground your hips into his already painfully hardened cock.

You can’t help but moan when your pussy brushes up against him. You can feel how turned on he is, and it only makes you want him more.

“More,” you moan as Eddie’s hip grinds into yours.

Eddie didn’t need to be told twice. His fingers find the twists of your underwear, and he lets his fingers slip down to your slit. You widen your legs so you can feel it all. His long fingers trace up and down your slit, collecting your slick before he impressively finds your clit on the first go.

His lips travel down lower so they can latch on your neck.

“Oh, Eddie,” you breathe as the combination of his fingers and lips sends a shockwave of pleasure through your body. His mouth leaves a mark on your delicate skin.

“Good girl, say my name.”

Another wave of pleasure travels through you these words.

“Eddie,” you moan. You don’t even recognize your own voice. It’s so desperate and needy. If you weren’t so desperate, you’d be embarrassed.

“Fuck, that’s so hot” he slips a single digit up into you to test the waters. “Baby, you’re soaked. All for me?” He groans with need.

“Yes, Eddie, I want you so bad; I need you so bad,” You squirm under his touch. He pumps his thick, long finger in and out before adding another one.

His head travels lower, and his mouth latches onto your perked nipple. His warm, wet mouth feels so nice, but that quickly is gone as he nips at your bud, and you let out an unexpected yelp.

“Fucking love your noises” Eddie moved onto your other nipple doing the same thing, only this time you’re prepared, and you arched up into his touch. His fingers are still working on you, and you’re so close.

“Don’t stop” You’re so close, and he knows it; he can feel your pussy clamping down on him with each pump of his hand.

“Wouldn’t dream of it.” Pleasing you has been the only thing that has made him feel this good in a while.

All his worries and anxieties were by the wayside. His only purpose was to please you, to touch you, to please you.

You could feel it coming; you were so close only a few more seconds, and you would be flooded with ecstasy.

A roar of Eddie’s name rips from your lungs as you soak his fingers. Eddie never thought he would be so lucky to experience this with you, but here he was, watching as your body shook with pleasure all before of him.

“Fuuuuuck, you did so well for me, baby.” You don’t even notice when he sticks his fingers in his mouth to taste you. You’re too blissed out.

You didn’t think your pussy would need anything more, but hearing his praises only makes you quiver with need. You need his cock; you need to make him feel good. This was about him forgetting; this was about the both of you making one another feel good. You needed to take care of him.

Once you caught your breath, you shuffled so he was under you.

Eddie watched as you discarded your soaked panties and were fully naked for him. Kneeling at his waist, drooling over what was under his tented pants.

“Can I?“ you bat your lashes innocently as you reach for the waistband of his pants.

“Fuck, you have to ask, sweetheart; any time you want to, just do it.”

You giggle at his eagerness, but it’s cut off when you see just how pretty his cock is.

The head is so pink; it’s just screaming at you to put it in your mouth.

Your mouth waters as he grips his cock in his hand, guiding it to your mouth.

You stick out your wet tongue and the moonlight reflects off of it, it’s that wet.

Eddie can’t help but tap it a few times before you take his tip fully.

Eddie’s messy curls fall back as he lets his head hang, you looked up through your lashes to see his exposed neck and it only made you want to mark him as yours.

Your attention shifts when you feel his large hand run along your scalp, gently tugging at your roots. Your eyes roll back as his grip tightens, and you sink deeper.

His hard cock feels heavy in your mouth. His small whimpers make your pussy drip as you bob your head up and down his shaft. His taste and smell are overwhelming. All you want is to please him. To help him forget. Selfishly, you only want him to focus on you, and it’s working.

Eddie can’t believe he’s in your room, in your bed, watching you naked as you give him the best head of his life. He’s forgotten everything; he only knows you and how you’re making him feel. He’s feeling good. It's the first time in weeks he feels good, amazing even.

“Such a good girl, Birdie.” He tried so hard to not thrust his hips up into your mouth, but it’s so hard when he feels you take all the way.

You nuzzle your face into the thatch of hair at the base of his cock. It’s soft and smells of him; it’s overwhelmingly Eddie. You drool out of the sides of your mouth as you finally come back up for air. Replacing your mouth with your hand. Jacking him off as Eddie takes your mouth in his own once again.

“Need to be inside of you.” he pulls you up so you're straddling his lap.

You adjust quickly so you can sink slowly on his cock. I'm not even thinking about a condom; you’re on birth control anyway. You need him. He needs you. Simple.

You hold his shoulders for balance as you ease your way on his thick long cock. It burns slightly as he stretches you out, but you need it. You want it.

“Fuck you’re so big, Eddie” your head falls back as you sink to the bottom.

Eddie watches in awe as your body envelopes itself around him. You’re so tight and warm around him that he can’t help but grip your hips to help guide you up and down his cock.

Slowly you start to rise and fall on his cock. Both your mouths hang open as the pleasure courses through your veins. You slowly build up your place until you’re bouncing on his cock.

“Got, you’re so fucking hot,” Eddie pants.

He can’t help but take your breast in his mouth again. This had to be the hottest experience of his life. An ‘older’ girl from the future wanting him just as much as he wanted her? Fuck maybe this was heaven?

“Does that feel good, baby?” you coo. All you want is for him to feel as good as you do.

“Shit, yes, your pussy is so tight, fuck me. You’re so sexy.”

“You’re so big,” you moan.

You silence him with another kiss. You feel his tongue in your mouth immediately. He’s so skilled it makes you think how he can use it elsewhere….

“I’m so close, Birdie. Are you close?” He pulls back.

“Mmmmmmmmmm” you nod your head yes.

You need more, but your legs are burning and about to give out. Your pace falters, and Eddie can see you’re getting tired, so he steadies your hips and fucks himself up into you.

“Oh my god!!! Eddie!!!” You hold on to his shoulder to brace yourself. His cock hits your g spot with each powerful stroke; it feels so good you can’t focus on anything else but cuming all over him.

“That’s it, Birdie, come on my cock, good girl.”

“Holy shit,” you cry out.

“I’m going to come. Where do you want?”

“Inside!” The aftershock still taking over your senses.

You listen to Eddie’s grunts as he releases himself inside of you, it sounds so hot you didn’t think he could be any more attractive, but he was holding you down on his cock, not letting any of his cum leak out just yet.

You collapse down onto Eddie chest as your heavy breathes become synchronized.

“I think they nicknamed you the wrong woodland creature.”

“What do you mean?”

“I’m going to call you Bunny instead of Birdie.”

Your brain is still foggy, and you’re unsure what he means.

“You’re like a bunny hopping all over my cock”

“Eddie!” You playfully slap his chest before you decide to go off of him.

“So, is sex really that much different from the eighties?” You giggle as you roll over to lie beside him.

“I think it might be better,” he says as he pulls you in for another hot kiss.

“You wanna go again?” You look at him, surprised.

“What? Can’t keep up with a younger man?”

“It’s four in the morning, Eddie. I have to work,” you moan. Your heart wants it, but your head says otherwise.

“Shit! I’m sorry”

“Don’t be. Tomorrow, I’ll show you what I can do; that first round was nothing.” You giggle.

After Eddie helped you get cleaned up, the room was silent for a bit.

"Thank you for being there for me, Bridie." Eddie takes your hand and gently squeezes it.

"No need to thank me, Eddie, I'll always be there for you."

#eddie munson x reader #eddie munson x you #eddie munson smut #eddie munson x female reader #eddie munson x y/n #eddie munson x fem!reader smut #eddie munson imagine #modern!eddie munson #modern!eddie x reader #modern eddie munson #eddie munson #eddie munson fan fic #eddie munson angst #Eddie Munson fluff

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thewadapan · 4 months ago

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So why did Transformers One bomb?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I. The One True Origin of the Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

II. The Spider-Verse of Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

III. I did not care for The Godfather

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IV. No politics means no politics

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

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

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

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

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

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

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

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

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

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

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

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

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

V. Place / Place, Cybertron

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

VI. Into nothing

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

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

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

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

#transformers #transformers one #movie review #essay

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