#sorry i love war history stuff

[vaguely-concerned]

laughing so hard at seeing several people post semi-concern trolling stuff in the dragon age tag like 'can't believe this fandom has gone from a peaceful group of people with a pure and wholesome love of thedas to a pit of infighting and discord :( sad' and then glancing over at their profiles. yeah you are all of twenty years old aren't you I suppose you have no way of really knowing

[melzula]

My HC is that since Zuko is royalty, the heir, and also commanded his fleet on his hunt for the avatar, he’s used to taking charge. But the way I’m thinking of it is him being casually dominant with the y/n. Things like using a soft but firm voice to make sure they eat enough, that they’re warm, putting his hand on their thigh to keep it from shaking, etc. the gaang would start to notice how it takes one look from Zuko and y/n complies. Wrapping his hand around their hips to bring them down to sit in his lap, subtly tugging their skirt down when it rides up, stuff like that.

Could I please request some of your amazing writing for casual dominance with Zuko?

pairing: Zuko x reader

notes: okay so this was actually pretty challenging to write just bc i had to be careful about not making zuko come off as too controlling while also still fulfilling the details of the request. however i think it came out pretty good !

summary: Zuko shows his love for you the only way he knows how to

To those on the outside, your relationship with Zuko appeared to be… odd.

No one could quite determine whether he saw you as an equal or as someone who needed to be taken care of. Everyone knew you could handle your own; you’d been a skilled swordsman during the war and a master at hand-to-hand combat. No one doubted your ability to fend for yourself, but it seemed once you began dating the Fire Lord there was no longer any need for you to do so. Zuko took care of you, and being with him meant never having to lift a finger and never having to worry again. You were his prized jewel, and he took it upon himself to care for you in the only way he knew how.

Growing up, the Prince had never properly learned how to show affection or lovingly nurture a relationship. His parents weren’t the greatest example, and his father’s coldness left much to desire. However, his upbringing as a royal and his time commanding a fleet during his search for the Avatar allowed him to grow into a leader. In his younger years he’d been hotheaded and impulsive, but with time he had learned to be firm yet fair. He was a benevolent leader who only wished to do what was best for his people, and this same thought process extended to you.

You’d missed dinner one night and left him waiting in the throne room, too engrossed in your studies to realize how much time had passed or just how hungry you were. Your stomach growled incessantly and your head was beginning to ache, but you were adamant about finishing your book. Having recently been proposed to by the Fire Lord, you took it upon yourself to read up on the history of the Fire Nation and your expected duties as Fire Lady. You were overwhelmed, and eating dinner was the last thing on your mind.

“Y/n,” he had called, startling you out of your focused state as you rested your gaze upon his figure in the doorway. “We were supposed to have dinner together, remember?”

“I’m sorry,” you uttered bashfully, using your book to shield your embarrassed features. “I must have lost track of time. Let me just finish this last page and then I’ll-“

“Y/n,” he repeated with a pointed look, one that had you slowly lowering your text.

“Yes, Zuko,” you had finally relented. You couldn’t ignore your growling stomach any longer, and so you’d tossed your book aside and taken the arm he’d offered for you before allowing him to escort you to the dining room.

Zuko wasn’t strict, wasn’t cruel, just firm. It was his way of showing he cared for you, and you took no offense to how he so often liked to be the one in charge. Whether it be in his actions or in his tone of voice, he took the lead and you followed. This wasn’t to say that you didn’t have a mind or will of your own, but often times Zuko took it upon himself to step in whenever he felt you weren’t taking care of yourself the way he believed you should be.

His love could be conveyed through mundane actions such as wordlessly slipping your shawl over your shoulders without you having to ask to ensure you won’t be cold during a stroll in the palace gardens or resting a comforting hand on your thigh to stop the nervous bouncing of your leg during an important meeting. Anyone and everyone could see the influence he held over you, the dominant role he’d taken in your relationship, and you happily fell into place with him.

“Don’t you think it’s just a little weird?” Sokka had noted once to his sister after watching Zuko carefully wrap his fingers along your hips and delicately pull your figure into his lap as if he were handling a porcelain doll. You looked radiant in your silk robes and ceremonial makeup, a look picked out by Zuko to ease your anxieties over your lack of knowledge of traditional Fire Nation fashion, and as the Fire Lord’s fiancé you were the talk of the ball.

“Maybe it does seem like Zuko is usually the one in charge,” Katara had agreed thoughtfully, her gaze carefully resting upon your features to search for any sign of discontent or restlessness. Of course, she found none. “But I know y/n, and if she had a problem with it she would have stood up for herself and said something about it.”

The siblings watched as you conversed with various guests, your smile sincere as you spoke with the people you would soon help rule over as Fire Lady. Shifting in your seat as you crossed your legs, Zuko took note of the way the slit of your skirt had partially opened to reveal your bare leg. Wordlessly and without interrupting your conversation, the Fire Lord shifted the fabric so that your skin was kept from prying eyes. He didn’t care in the slightest if anyone saw, but he knew you would be embarrassed if guests began to question your way of dress, so he took it upon himself to fix the problem for you.

“I think it’s a love language thing,” Katara had explained after removing her attention from the scene and returning it to her brother. “He’s showing he cares through actions instead of words. Maybe it’s the only way he knows how to.”

“I guess you’re right,” Sokka relented, though his features still displayed a mild sense of disgust. “But that doesn’t make it any less oogier.”

Maybe no one on the outside ever truly would be able to comprehend the dynamics of your relationship with Zuko, but it wasn’t for them to understand. He took care of you and loved you in the only way he truly knew how to, and you appreciated him endlessly. With Zuko as your soon-to-be husband, you knew you’d always have someone looking after your best interests. All the same, Zuko knew he’d always have someone to love and accept him for who he was.

You were a perfect match.

| zuko tags: @ilovespideyyy @yiyibetch @eridanuswave @lammello @a-monsters-love @taeeemin @livelaughlovekuni @lovialy @alexatiu @heartfully10 @creationcitystreet-em

[girlthingdecay]

so.. sorry, just one quick thing.. see, my wife, she loves these old documentaries, shes real interested in that history stuff. its a little too rich for my blood, see, i aint really one for politics, not to mention all that death. the point ? oh, theres no point, just thinking out loud. funny thing is, not a whole lot of armies were willin to fight the soviets in the second world war. say, just out of curiosity, where did you say your family was from, mrs shmidt ?

[kiwriteswords]

oh oh i have a fluff v day request! maybe reader is jacks teacher and they have a class valentine’s day party, when hotch picks him up after school, jack is trying to set them up by planting one of those silly cartoon cards in either of their pockets 🤭

Matchmaker, Matchmaker, Make Me a Match [Aaron Hotchner x Teacher!Reader]

Ki2k Masterlist||MainMasterlist (not updated, sorry!)|| Ao3||Word Count: 1k|| AN: Happy Valentine's Day! Thank you for this request, lovely! I had so much fun writing it--I never usually write Jack-related fics, but when I do, I wonder why I don't more often because they're so sweet! ||Requests are still open for Ki2k!!

Tags/Warnings: female reader, Valentine’s Day, non-bau!Reader, teacher!reader, Jack's teacher!Reader, Jack Hotchner is present (for those who do not like kid fics, lol), sadly had to use Y/N Y/L/N :P--sorrry!!!

Summary: Jack comes home beaming about his pretty teacher to Hotch everyday, so when Valentine's comes around, he finds the perfect reason to get the two of them together.

Jack's little feet pounded on the pavement as he bounded towards the car where Hotch was waiting, his face lit up with the day's excitements. Throwing open the car door, he barely waited for the buckle to click before he started.

"Dad! Did I tell you what Miss. Y/L/N did today? She showed us how to make volcanoes with baking soda and vinegar! It was awesome!"

Hotch smiled, driving off as he listened. "Sounds like you had fun. Miss. Y/L/N seems very creative."

"She is!" Jack's voice was earnest, eyes wide. "And she's really pretty, too. She wears these nice dresses, and her hair is always perfect."

Hotch raised an eyebrow, a small chuckle escaping him. "Is that so?"

"Yeah! And she's super smart. She knows everything about science and books and... um, maybe you should ask her about the Civil War? You like that stuff, right?" Jack's attempt at casualness was comically transparent.

"I do," Hotch replied, his interest piqued both by the mention of history and the subtle undertone of matchmaking in his son's voice. "Sounds like you think she'd be good company."

Jack nodded vigorously. "She'd be the best! You always say you want someone smart and kind. And she's the best teacher ever. Everyone thinks so."

As they pulled into their driveway, Hotch ruffled Jack's hair, considering the little seeds his son was planting. "Maybe I'll have to meet Miss. Y/L/N at the next parent-teacher conference."

"Yeah! And maybe you can ask her about her favorite book or something," Jack added, hopeful.

Hotch laughed softly, the corners of his eyes crinkling with amusement at his son's not-so-subtle matchmaking. "Maybe I will, buddy."

Jack grinned, satisfied, his mission for the day accomplished.

The next time Jack came bursting into the car after school, his backpack swinging wildly as he clambered into the passenger seat.

"Dad!" He held up a piece of folded paper, waving it excitedly. "Miss. Y/L/N gave you a note!"

Hotch glanced over as he pulled away from the school parking lot, one hand steady on the wheel. "Oh? What’s it about?"

Jack grinned like he was holding the world's greatest secret. "I think she likes you."

Hotch blinked. "What?"

Jack wiggled in his seat, practically vibrating with excitement. "She sent you a note! Teachers don’t just send notes unless it’s important. And I heard my friend Olivia say that when someone writes you a note, it’s because they like you."

Suppressing a laugh, Hotch reached for the paper at a red light, unfolding it with careful fingers. His eyes skimmed over the words--just a standard, typed letter about an upcoming parent-teacher night and some classroom updates.

"Jack," he said, amusement coloring his voice, "this is just a general note. Every parent got one."

Jack frowned, his enthusiasm faltering for the first time. "Oh." He thought for a second, then brightened again. "But maybe she really wanted you to see it!"

Hotch sighed, shaking his head with a small smile. "I’m sure Miss. Y/L/N is a wonderful teacher, but she’s just doing her job. It’s not a secret message, buddy."

Jack crossed his arms, unconvinced. "I don’t know…she does walk me to pick-up.” 

"Because she walks all the students to parent pick-up," Hotch countered. 

Jack sat in contemplative silence for a few moments before mumbling, "Still think you’d be a good couple."

Hotch chuckled. "Noted."

The school hallways were quieter than usual, the loud bustle of daytime replaced by a hushed, anticipatory energy as parents trickled in for the evening's parent-teacher conferences. Hotch adjusted his tie as he approached your classroom, Jack's enthusiastic endorsements echoing in his mind.

He paused at the doorway, spotting you as you animatedly discussed a student's progress with a couple before him. Even from a distance, your passion was palpable, your gestures animated and your smile bright. When it was finally his turn, you looked up, recognition and warmth lighting up your features.

"Mr. Hotchner, it's great to finally meet you," you greeted, extending a hand. "Jack speaks so highly of you."

"The feeling is mutual," Hotch replied, taking your hand. "He hasn’t stopped talking about you since school started."

As you both sat down, the conversation flowed effortlessly. You shared insights about Jack's strengths and areas for improvement, your words thoughtful and encouraging. Hotch was struck not only by your understanding of his son but also by your genuine care for all your students.

"I strive to create an environment where they can all feel supported and challenged," you explained, your eyes lighting up with a fervor that resonated deeply with Hotch. It was clear teaching was not just a job for you but a calling.

The conversation shifted from academic achievements to personal interests, and Hotch found himself discussing topics he rarely explored with strangers. Your interest in classical literature and your hobbies sparked a shared enthusiasm. Hotch was pleasantly surprised by how much he enjoyed talking about his own rare escapes.

which he seldom shared due to his demanding job.

As the meeting concluded, Hotch stood up, feeling an unexpected reluctance to end the conversation. "Thank you for everything you’re doing for Jack," he said sincerely. "And not just for him--for all the kids."

"It’s truly my pleasure," you replied with a smile. "They make it easy."

There was a brief pause, a moment of shared understanding, and an unspoken acknowledgment of a connection neither expected.

"If you ever need help with any class activities or if you organize any field trips," Hotch added on impulse, "I’d be happy to contribute."

Your smile widened, pleased and surprised. "I'll definitely take you up on that."

As Hotch walked away, he couldn’t shake the warmth that filled his chest. Jack might have had childlike motives for wanting him to meet you, but Hotch couldn’t deny the genuine interest he felt--a spark ignited, perhaps, by the passion and beauty you exuded, both inside and out.

The door clicked shut behind Hotch, and the familiar sound of home was a welcome relief after the draining hours of a difficult case. As he shrugged off his coat, the sight that greeted him was anything but the quiet he had expected. 

Jack was in the midst of chaos, surrounded by a whirlwind of craft supplies--glue sticks, construction paper, crayons--all spread out like a tornado had swept through their living room.

Jack had just begun staying home for short periods of time by himself--something Hotch didn’t take lightly, but this was not a sight that he ever expected to see. 

"Jack, what's going on?" Hotch aske, his tone a mixture of amusement and concern as he stepped carefully over a stray roll of tape.

"Dad!" Jack looked up, his expression frantic but determined. "I need to make the perfect Valentine's card, but nothing looks right!"

Hotch knelt down, picking up a half-finished card that was more glue than paper. "Isn’t tomorrow just the school Valentine's party? What about the box of cartoon Valentines we bought last week?"

Jack shook his head vigorously, sending his hair into disarray. "Those are for my classmates! This one has to be special--it’s for Miss. Y/L/N. I want it to be perfect because I want her to come over for dinner and have a romance like in the movies. Like the Disney ones!" His eyes shone with the earnestness only a child could muster. "And you have the right hair to be like Prince Charming!"

Hotch couldn’t help but laugh softly, touched by his son's intentions yet aware of the need to tread carefully. "Jack, it’s very sweet that you want to do this for Miss. Y/L/N, but inviting her over for dinner and trying to set up a romance--that’s something she and I would have to talk about. It's not on you to worry about."

"But Dad, I just want you to be happy, and Miss. Y/L/N could make you smile," Jack protested, his lower lip trembling just a bit.

Sitting down beside his son, Hotch put an arm around him, pulling him close. "I know, buddy, and that means a lot to me. It’s okay to make her a card, but we should keep it about thanking her for being a great teacher, okay? As for dinner, how about we invite her over as a thank you from both of us, just to enjoy a meal, not as a date? We can see where things go from there."

Jack seemed to consider this for a moment before nodding, a small smile creeping back onto his face. "Can we still make it the best card ever?"

"Absolutely," Hotch agreed, his heart lightening at his son’s quick recovery. "Let’s see what we can create with less glue this time."

Together, they spent the evening crafting a more modest but heartfelt Valentine's card, Hotch guiding Jack’s enthusiastic efforts. As they worked, Hotch couldn’t help but think about your reaction, the warmth of your smile in his mind giving him more hope than he wanted to admit. 

Maybe Jack’s little plan wasn’t so far-fetched after all, just premature. As they set the finished card aside to dry, Hotch found himself looking forward to handing it over, curious and slightly hopeful about where a simple dinner invitation might lead.

Valentine's Day had brought its usual flurry of excitement, and amidst it, Hotch received an email that made him pause. It was from you, thanking him for the generous card and his contributions to the classroom Valentine's Day party. Reading between the lines, Hotch assumed it was also a nod to the dinner invitation Jack had ambitiously included. Buttoning his coat, he headed to the school, curious and admittedly a bit nervous about the meeting.

As he entered the classroom, the scene was vibrant with kids laughing and trading candies and cards. Jack spotted him immediately and with a grin wide enough to split his face, dashed over and grabbed his hand, tugging him through the clusters of giggling children.

"There’s my dad!" Jack announced proudly, pulling Hotch towards you.

You laughed as Jack nearly yanked Hotch off his feet. "Easy there, Jack, don’t break your dad’s arm off!"

Jack paused, gave Hotch a comically exaggerated wink, and said, "I’ll leave the romance to you two--it is Valentine’s Day, after all!"

You chuckled, shaking your head at Jack's antics. "Hotch, you’ve raised quite the little charmer."

Hotch, a bit flushed but smiling, replied, "I’m not sure where he gets that from. I’m currently at a loss for words.

"That’s alright," you said with a gentle smile. "I don’t mind coming up with the words, as long as that dinner is still on the table."

"It definitely is," Hotch assured you, his tone warm and more confident.

From the corner of his eye, Hotch saw Jack giving a not-so-subtle thumbs up before darting off to join his friends, leaving Hotch and you to chat amidst the joyful chaos of the classroom party.

As the children continued their celebrations around you, the two of you discussed logistics for the dinner, the conversation easy and flowing naturally. It was clear that what started as a child’s innocent matchmaking might just turn into something truly special, much to Jack's delight--and perhaps to his credit.

[bananasplit133]

Yoo, just like everyone else, I have been STARVED for conquest fics, saw yours and cried of joy! I loved it so much!

I couldn't figure out if you do requests or not but if you do could I pretty please ask for one where mark somehow convinces conquest about the helping humanity and blah blah blah, cut to where conquest and mark are in the gda doing tests and something where the reader works as a hero analyst for Cecil or something and meets conquest during one of the strength tests and is struck by love at sight?

Sorry for my shitty explanations and stuff, it's a rough idea I've had for a long time and wouldn't mind any tweaks you make to it, no pressure of course! And keep up the good work!

Hi, anon! I loved this idea, thank you for requesting it. :D (I hope you'll enjoy this story just as much as the previous one!!! Sorry if i didnt write some things correctly, i might've misunderstood a few things)

Not Yet

Conquest x Reader

(Scene opens in the GDA testing facility, where Conquest and Mark are undergoing strength tests. The reader, a hero analyst working for Cecil, is observing.)

-----

The first time you saw him, you thought you were going to die.

Not because he attacked you—no, Conquest barely acknowledged your existence at first—but because the sheer weight of his presence alone was suffocating.

The GDA facility walls trembled with every impact of his blows against Invincible, the reinforced testing chambers barely containing the raw destruction. Conquest fought without hesitation, unrelenting, unstoppable. A force of nature disguised as an old man. He moved like war itself, every motion efficient, brutal, and unmerciful.

Yet you weren’t afraid. Not in the way you should have been.

Instead, you were… captivated.

It was absurd. You knew it was absurd. This was a being who had razed civilizations, whose hands were stained with so much blood that history itself bent beneath his conquests. He had no kindness, no remorse. Only purpose.

And yet, as he stood there, his breathing even, his single eye sweeping the facility with cold calculation, something within you stirred.

Perhaps it was the way he held himself—proud, ancient, and unyielding. Or maybe it was the way he regarded the world, as if everything in it was either an obstacle to be crushed or something too insignificant to bother with. But for the first time in your career, you found yourself unable to simply analyze the scene before you. You felt something dangerous—curiosity.

Your pen hovered over your clipboard, and before you even realized it, your voice cut through the post-battle silence.

“You’re holding back.”

Conquest’s head snapped toward you, his eye locking onto yours with the force of a hammer blow. The other agents stiffened, stepping back instinctively, but you held your ground, pulse thrumming against your throat.

“What did you say?” His voice was low, rough, like distant thunder.

“You’re holding back,” you repeated, firmer this time. “I’ve analyzed hundreds of fights, studied every high-tier threat that’s walked through these doors. That wasn’t you at full strength.”

A slow, amused huff left him. “Clever little thing, aren’t you?”

Your grip on the clipboard tightened. “It’s my job.”

“And yet you stand before me, speaking as if you are not prey addressing a predator.” He took a step forward, the air itself seeming to bow under his presence. “Tell me, what makes you so bold?”

You could feel every gaze in the room on you. Mark looked vaguely concerned, Cecil watched with veiled intrigue, and the guards gripped their weapons like they were ready to drag your corpse away at any second.

But you refused to waver.

“Because I know monsters,” you said plainly. “And you… You’re something worse.”

Something flickered in his eye. Interest. Just for a second.

Then, he chuckled. It was a deep, unsettling sound, like bones grinding together. “Perhaps you are not as insignificant as I thought.”

-----

Days passed. Then weeks.

You kept observing. Kept talking to him. At first, it was just another part of your job—gathering data, deciphering his behavior, understanding how a mind like his worked. But somewhere along the way, it became more.

Conquest did not entertain fools. He did not waste words on the weak. And yet, he answered your questions. Not all of them, not directly, but enough that it became clear: he found you amusing.

You learned the way his eye would narrow when you pressed too far, how his mouth would twitch when your words held a particular bite. You learned his philosophy, his unwavering belief in strength above all else. And he… learned you.

“You ask too many questions,” he mused one day, arms crossed as he loomed over you.

“You give too few answers.”

“I do not waste words on those who do not deserve them.”

“Then why answer me?”

Silence. Then, a smirk. “Because you are bold. I wonder how long it will take for that boldness to be crushed.”

“You seem very invested in watching me break.”

His eye gleamed, something dark curling at the edges of his smirk. “I enjoy watching things fall apart.”

You should have been terrified.

Instead, you felt your heart pound for an entirely different reason.

---

It wasn’t love at first sight. It wasn’t even admiration. It was fascination—the slow, creeping kind that burrowed into your bones and refused to leave.

Conquest did not change for you. He did not soften, did not falter in his beliefs. He remained a war-hardened conqueror, a destroyer of civilizations, a being who existed solely for battle.

But you had earned something rare.

His respect.

And maybe, just maybe, something deeper.

One day, as you walked through the observation deck, reviewing data, you felt him before you saw him. That impossible, looming presence, crackling with restrained power. You turned, and there he was—closer than usual, watching you with an unreadable expression.

“You linger in my thoughts more than you should,” he murmured, voice like distant thunder.

You swallowed. “Is that… a bad thing?”

He tilted his head, as if considering. Then, slowly, he leaned down, his lips brushing the shell of your ear as he rumbled:

“You are far too sweet for this world… I should rip your heart out and devour it before it ruins you.”

Your breath hitched. Every nerve in your body screamed at you to move, to run, to do something—but you didn’t. You stood your ground, staring up at him, heart hammering against your ribs.

A smirk curled at the edges of his lips. He straightened, eye gleaming with something wicked.

“Not yet,” he murmured, almost to himself. “Not yet.”

And then, just like that, he was gone, leaving you standing there, pulse wild, stomach twisting in ways you refused to acknowledge.

Because you knew.

This was far from over.

---------

(GSGHSNH4FSNNHUHWHAIIUJSHKCDKJC!!!!!!!!!!!!)

[thewadapan]

So why did Transformers One bomb?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I. The One True Origin of the Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

II. The Spider-Verse of Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

III. I did not care for The Godfather

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IV. No politics means no politics

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

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

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

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

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

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

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

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

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

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

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

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

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

V. Place / Place, Cybertron

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

VI. Into nothing

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

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

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

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

Budiansky quit the comic after fifty issues, allowing Furman to take the reigns as sole writer, and Furman basically got the final word on what the Transformers are. They did not evolve from naturally-occurring gears, levers and pulleys. They were not designed by a supercomputer, or built by an alien race. They are the chosen sons of God. The Thirteen are, of course, an invention of Furman's. And Transformers One is perhaps the most Furmanist story ever told. It's the culmination of years and years of lore building up, ossifying into something you can no longer describe as the history of a universe—no, this is a mythology. It's the most perfect form of brand alignment imaginable: this is not an origin story, this is the origin story. It's been the origin story for a better part of the decade—and now that everyone's seen it in theatres, it will be the origin story forever.

It's not just the fiction, either, by the way. These days, if you go into the store to buy a Transformers toy, chances are it'll turn into some misshapen made-up futuristic concept car with unpainted windows and wheels that don't even roll—and that's terrible.

There's truly a lot to hate about Michael Bay's Transformers films, but with each new entry that's released following his departure from the franchise, I feel like I only find myself appreciating them more. In the 2007 Transformers movie, we see the Transformers crash-landing on Earth in their "protoforms", and their movements are animated like they're shy, like they're naked until they scan an Earth vehicle and adopt a disguise. The visual impact of Megatron, meanwhile, is that he doesn't adopt a disguise in that movie: he's a horrible metal skeleton that turns into a jet made of knives. It's weird and alien and it rules.

In the 1980s Transformers cartoon, and in the last-minute Cybertron-set prologue added to Bumblebee, and now in Transformers One, the Transformers look basically the same on Cybertron as they eventually do upon their arrival to Earth. Optimus Prime turns, unmistakably, into a truck. He has windows on his chest, and smokestacks on his arms. He doesn't have these features because he disguises himself as an Earth truck. He has those details because that's just what Optimus Prime looks like. They're his "essential brand elements", or "trademark details", which "identify the must-have elements in character design to be carried across all creative expressions". Prime may take any form he wishes, so long as it looks exactly like himself. A mask of my own face—I'd wear that.

What I find fucked up about the reception towards Transformers One is that a lot of people seemed very invested in its success—and not its popular success, certainly not its artistic success, but rather its commercial success. They wanted this to be the first film to make one bumblebillion dollars. They wanted Hasbro to line its fucking pockets and make movies like this forever. So if you express any kind of negativity towards this film online, which might theoretically affect some other person's decision of whether or not to go and see it, which might theoretically affect the profit it makes at the cinema, which might theoretically affect the future of the franchise in some unknown way, then you're some sort of fandom traitor who oughta be executed.

If you're so worried about the future of the franchise, the fandom really isn't where you should be looking. Like, c'mon, the Transformers fandom has been good as gold, we buy so many toys. Meanwhile, Hasbro just got finished laying off around 100 employees with no warning to make their books look a bit better. Transformers designer John Warden—who'd worked at Hasbro for 25 years, is widely credited with inventing the modern paradigm of Transformers toylines, and ultimately became the creative director of both Transformers and G.I. Joe—was on assignment to a convention in the UK with the rest of the Transformers team when he heard the news. Suffice to say, he did not end up making a public appearance at the convention. With his work's health insurance snatched away without notice, he's had to resort to crowdfunding to pay his family's medical bills. As a well-known figure in the toy industry, he will presumably find a new job and land on his feet, but the same cannot be said for all 99 of the remaining employees we're told have been unceremoniously dumped.

The Binder of Revelation, which has been something of a holy grail of behind-the-scenes material for over a decade, has finally been leaked—presumably by one of these guys, presumably out of spite.

Now, I'm not going to pretend to have been paying particularly close attention to Hasbro's financials, but from where I'm sitting, it sure seems that ever since the sudden death of then-CEO Brian Goldner in 2021—credited for saving the company in 2000, and overseeing the explosive growth of its intellectual property ever since then—his replacement, Chris P. Cocks (or "Crispy Cocks", as we're all now calling him), has been dead set on gutting the company for all it's worth. The Power Rangers franchise, which the company acquired for $522 million in 2018, is dead in the water, with huge quantities of physical assets being flogged at auction for quick cash. In 2019, they acquired the entertainment company eOne for $4.0 billion, and now they're selling off the whole shebang (except the cash-printing Peppa Pig franchise) for just $500 million. I guess maybe they just fucked it big style?

Because now, Crispy Cocks has proudly announced that Hasbro is going to stop financing movies altogether.

I'm sure that in the wake of this announcement, many of those aforementioned fandom pundits will be drawing a correlation between this announcement, and the box-office figures for Transformers One, and the fact that you personally failed to convince your Mom to go see it with you or whatever. "Ah, you see! They didn't make enough of their money back, and now they're consolidating. Simple economic cause and effect. Market forces." And look, I'm not going to sit here and claim these things are wholly unrelated. Of course they're very related. But I am going to make the case that, in truth, nobody at Hasbro really cared how Transformers One did. Unless it turned out to be some pie-in-the-sky runaway hit, I don't think the future of the Transformers film franchise would've been particularly different if only the film had done better.

With Paramount, Hasbro has been making these movies and having them underperform ever since 2017's The Last Knight—which apparently lost Paramount $100 million—and that's because at the end of the day, what they're most interested in isn't making movies. It's making toy commercials. And on that level, the Transformers films have clearly been a success so far.

Now, Crispy Cocks' skinsuit fashions itself as a gamer, so he can personify Hasbro's hardcore pivot towards digital and tabletop gaming. While we await the release of the assuredly-dogshit, assuredly-hell-to-have-worked-on, assuredly-never-coming-out Transformers: Reactivate, the brand has been whored out to a procession of mobile games you've never heard of, glorified gambling machines designed to hack the monkey part of your brain with bright colors and Things You Recognize. The exact content of these games is irrelevant; all that matters is the announcement, on every single pop culture news outlet simultaneously (naturally—they're all owned by the same company, talk about Monopoly), of New Collaboration Between Transformers And Goon Warriors Free To Download Now. Your daily, weekly, bi-annual reminder to think about that thing you can buy.

That's all any of this stuff is.

All these words spilled about what a good movie Transformers One is, and how bad it is, and why the marketing failed it, and what the next one might be like, and- none of it mattered! It does not matter. From the beginning, this movie was always going to be too preoccupied with its own mercenary interests to be something anyone would ever be able to seriously talk about as a work of art, even corporate art. The actual content of the movie is irrelevant; I've spent very little of this review talking about it, because there's nothing there to talk about. It is the mere fact of the movie's existence that serves its purpose. Like the Optimus Prime Fortnite skin, it's enough for it to occupy our attention.

Maybe that's why they staggered the film's release date: because some marketing exec watched the rough cut and realised, if everyone saw it at once, we'd be done talking about it within a fortnight. And in ten years' time, after it has been paraded around whichever streaming services survive 'til then, and nearly every last cent of revenue has been squeezed out of it, the kids will be able to watch it on YouTube with ad breaks, and decide what they want for Christmas.

To the Transformers fans reading this, I am begging you, unless you happen to own shares in Hasbro for some fucking reason, to disabuse yourself of the feeling that you owe any kind of loyalty to a toy franchise. It shouldn't matter to you one jot how Transformers One did in theatres. The people who actually make the product you care about, the friendly faces paraded before you on livestreams and press tours, don't see this money anyway—they too are merely assets, who can be fired and replaced with cheaper, inferior equivalents.

I'm sure many of you will have, from the very start, seen this review for the foolish endeavour it is. I've wasted all this time criticising Transformers One for its lack of artistic vision, when the truth is, Transformers One is playing an entirely different game. Like the Disney Channel running "Fishy Facts!" segments to subliminally get kids interested in fish a full year and a half before the release of Finding Nemo, this is not a product—it's an ad for a product.

...

Okay I'll be honest, I don't entirely love where this review has ended up. It ends on kind of a "bummer note", I guess you could say. Flashing back to sections I. and II., I feel like things started out so fun. We had that whole bit at the start where I was telling you about the Transformers, remember that? We learned so much together. And there were even a few moments where I was able to express some kind of sincere joy and appreciation over this thing that I supposedly adore so much. Sure, I did a lot of complaining, but it was fun complaining, right? It had like, a sarcastic edge to it, sort of.

What happened? Why am I suddenly talking like I want to cut someone's head off? As I grow more bitter, I type this essay with increasing difficulty. The massive gun that's sprouted from my forearm keeps colliding with my monitor.

Hasbro descends from on high to reward @TFHypeGuy, a grown-ass adult who has spent untold unpaid hours fearlessly replying to every single viral tweet to tell people to go see the film, somehow netting himself 80,000 followers in the process, with a crate of toys, which was probably his end goal from the start. He and I duel. We trade blow after blow. Finally, he clobbers me with a Walmart-exclusive light-up Ultimate Energon Optimus Prime figure. "It didn't have to end this way," he says. Then he banishes me to the surface world to think on my sins.

VII. The Wrong Trousers 👖 | Train Chase Scene 🚂 | Wallace & Gromit

When Eric Pearson came onto the project,

It was late middle of the game. They had a script that had the outline of the story, which is still very much the structural bones of the story now. But what I found interesting about animation is there are certain things that were far along in the process. The train escape to the surface was very far along, so that was just kind of locked. Maybe you could change a line here or there. Meanwhile, the opening, the whole first 10 minutes, was all storyboards and sketches, which changed a bunch of times.

And I do think that's a really difficult position for a scriptwriter to be in. Sure, the parts of the screenplay I feel able to attribute to Pearson, I wasn't particularly impressed by. But I think this anecdote goes to show how unnatural the constraints can be on a story like this. When you think of like, a scene that's key to Transformers One, you're probably imagining something like the Megatron/Optimus fight, or the scene in the mine—not the train scene, which is basically a bit of arbitrary connective tissue bridging the two main locations in the film.

Josh Cooley, the film's director, the face of the film on the press circuit from a creative standpoint, came onboard after five years of previous development work was already done. Writers Andrew Barrer and Gabriel Ferrari, who originally pitched the film and presumably wrote the early drafts of the story, might have already left the project by that point. Aaron Archer and Rik Alvarez, the creative forces behind the Binder of Revelation, left Hasbro years before the film was even pitched. It's no wonder to me that the final result feels incoherent, disjointed, and oddly stilted. It's certainly no wonder that nobody at Hasbro today really seems to care about the film; it's not their baby. If any of the people credited with bringing the project to completion had been given full creative freedom to make whatever Transformers movie they wanted, it would've looked completely different.

Luckily, there are still plenty of areas of the franchise where creators have just been allowed to go ham. Over in Japan, TRIGGER has taken a modest budget for a music-video and produced one of the most visually-striking bits of animation in the franchise, a true love-letter to all the weird parts of its forty-year history. And in America, comic creator Daniel Warren Johnson is halfway through his Eisner-winning new run on the title, which is the kind of thing I would basically recommend to anyone without caveats as being a phenomenal story, period. If that comic can be said to be an advert for anything, it's for Skybound's other, nowhere-near-as-good comic series, or for the unofficial unlicensed copyright-infringing Magic Square Optimus Prime toy Daniel Warren Johnson apparently used as reference the whole time.

I dunno, maybe Hasbro stepping back from financing these films is a good thing, in the long run. Maybe we can do without Transformers movies for a while. And however many years down the line, maybe Paramount or some other studio will put together a new team of talent, and they'll get to do whatever it is they want. And maybe the movie they make will be the one that knocks everyone's socks off.

Truly, I don't know where the road leads from here. It hasn't been built yet. It could turn out to go anywhere.

If you made it this far, I hope some of what I've said has been entertaining or interesting. Thanks for reading!

Time to for me to come clean. There is one other reason why I've waited so long to release this review... and that's because I have a special announcement to make. Last month I set myself a little challenge: to write something that's at least as long as this review, but which isn't another negative-nancy tirade. It's a story.

The working title is "Ice Road Transformers". It's like an episode of that one reality TV show about Canadians driving trucks across frozen lakes—except the truck is Optimus Prime.

Early reviews say it's good! It'll be going through several rounds of revisions, to turn it into a well-oiled machine, hopefully in time for a seasonally-appropriate wide release in February. I'm very excited for you to be able to read it. You can follow me here or on Bluesky to be the first to find out when it's ready!

I'd like to thank my friends Jo and Umar for their work interviewing Cooley and di Bonaventura during the film's press circuit, along with Viv, Callum, and Omar for allowing me to enjoy this film much more than I otherwise might have. I wouldn't have been able to express many of my feelings about this movie nearly so cogently if not for the conversations I had with them. Additional thanks go to Chris McFeely, as his Transformers: The Basics videos (linked throughout this essay) refreshed my memory on a lot of the Aligned stuff, sparing me from having to read The Covenant of Primus again.

[tacobacoyeet]

More dilf Patrick!! Pls!!!🤭🤭🤭

i am sorry it took me so long to get to this. i have been thinking So Much. there is smut MDNI!!!!! also i did not proof this at all i was quite literally just yapping

-----

hear me out: he’s wearing those old ass shorts. you know the ones. frayed at the bottom, loose at the thigh, hanging low enough to hint at the curve of his hipbone. and they have a hole. somewhere vaguely obscene. and he will not throw them out. “they’ve got history,” he says. yeah. so does the roman empire. let it die.

he also has a mug that says "best dad" in comic sans and he drinks his coffee black out of it like it’s some kind of war ration?? always finishes the last two bites of your food. carries cheez-its and specifically the tangy great value fruit smiles in his hoodie pocket and forgets they’re there until bedtime.

and then there���s the dad stuff that just—does something to you. the way he crouches to tie tiny shoes and mutters “double knot for safety” with his brows furrowed like a surgeon. the way he lifts the kid one-armed onto his hip and groans like he just deadlifted 200 pounds. the way he kisses their head and says “you good, champ?” and then walks around the grocery store like that for twenty minutes. like it’s nothing. like he wasn’t once a world-class athlete. now he’s just a dad with a half-eaten granola bar in his back pocket and spit-up on his collar.

and you shouldn’t want him more now. but you do. so badly it’s stupid.

he gets the mail barefoot in the rain. does bath time with a towel wrapped around his shoulders like a cape. makes grilled cheeses with the baby strapped to his chest and sings off-key lullabies to a beat that doesn’t exist. he reads bedtime stories in a funny voice even when he’s tired. insists on brushing their teeth "together as a team" even though it takes ten fucking years. he's always been a fan of overcomplicating things... LOL.

you catch him folding onesies in the laundry room—folding, not shoving into drawers—and you’re gone. you back into the dryer and he raises an eyebrow like “babe?” and you’re like “babe.” and then the dryer’s on and the baby monitor is quiet and he’s fucking you up against the clean whites because he’s still got it. he never lost it.

and then later he’s limping slightly, rubbing his back, saying “think i pulled something” while putting aquaphor on the baby’s butt and you’re just sitting there stunned. who is this man?????

also: sunday morning sex when the kids are at art and tashi's. slow and lazy and filthy. he lets you ride him for so long it’s almost mean. your bellies touch. your chests touch. everything is touching. and he moans like you’re doing something unspeakable just by loving him like this. just by wanting him now. like this. after all these years. after the weight and the hair and the way his back cracks when he bends to pick up a sock. you still want him. and it undoes him.

he’s yours. he’s always been yours. and now there are tiny humans sleeping in the next room with his eyes and your smile and he still looks at you like he can’t believe it.

this next section about you bring pregnant. i must admit i had to take a Break because my thoughts were a little crazy!!!! but we are up. anyway: he doesn’t just like the changes. he’s obsessed with them. stretch marks? he traces them like constellations. swelling? he kneels between your legs and kisses every inch. softness? he talks about it like it’s a fucking miracle.

you complain about feeling huge and he goes “good.” not teasing—genuinely pleased. “means you’re growing our kid. means your body’s doing its job. means you’re mine.”

sex while pregnant? his favorite. the extra sensitivity. the way your body cradles his. the need. he takes his time. checks in. holds your belly like it’s part of the rhythm. mutters things that make no sense and still make you cry. "so beautiful. fuck. how are you real?"

and after? postpartum?

when you feel like a stranger to yourself—sore and squishy and leaking and tired—he’s there. nosing at your neck while you pump. holding your hips while you cry over clothes that don’t fit. carrying you to bed when you fall asleep mid-feed.

he’s careful, but not scared. when you’re ready, he touches you like he never stopped wanting you. like the body you’re grieving is still his favorite thing in the world. maybe more so now.

he kisses your belly with so much love and admiration. groans about how soft you feel. his hands don’t leave your skin. his voice drops to a whisper. “all mine. all this—mine.”

and when you flinch or get shy? when you mutter “i don’t feel sexy” he freezes. stares at you like you’ve just insulted god. and then he fucks a correction into you because he will Never ever accept you not thinking you aren't beautiful. we already know patrick feels things deeply!!! he's crazy about you!!!

he doesn’t need you to bounce back. he needs you to stay. to let him memorize every version of you. to believe him when he says he’s never wanted anyone more.

and you start to believe it. a little. when he looks at you like that. but then he makes some fuckass comment about how his bones aren't equipped for that kind of strain anymore and you just roll your eyes and move on. small victories

[moonstruckme]

Glad your back love! I have a request if that’s alright. Remus and reader going on a bookstore date and lunch or something!! That would be so cute. Imagine how excited both of them would be picking out books and being affectionate. Just a lot of fluff and cuteness. Thanks sweetness hope you enjoyed your break!

Thanks for requesting sweetness!

Remus Lupin x fem!reader ♡ 1k words

You’re feeling a bit guilty about the teas you’ve snuck in, but if there are two people who can be trusted around books, it’s you and Remus. He takes a careful sip as he leans in to skim the titles, sticking one hand in the pocket of his pants. 

“Island of Love,” he reads, amusement lilting his tone. “Original.” 

“I think I’ve actually read some of that author’s stuff,” you say. 

Remus quirks a brow at you interestedly, hand coming out of his pocket to pull the novel from the shelf. “Let’s see, a summer wedding, the groom’s brother and bride’s maid of honor hate each other, but—oh, he’s frustratingly attractive…and something about passionate summer heat.” The corner of his mouth twitches. “Wonder what that could be alluding to.” 

“Alright.” You steal the book from him, slotting back into its space. “I never said this stuff was, like, literature to be studied at Oxford. If you’re going to disrespect my section, run along to yours.” 

“Fairly sure it’s considered rude to abandon your date,” he muses. “What’s my section, by the way?”

“Depressing stuff.” 

“Oh?” 

“Mhm.” You take a sip of your own tea, trying not to fluster under his attention. You scan the shelves idly for a distraction. “It’s all rather doom and gloom. Very well-written doom and gloom, to be fair, but I’m not always looking to have my life changed. This stuff is fun, at least.” 

“I see,” he hums. “Oh, this looks familiar.” 

You turn to see him holding up the shiny new version of the worn and waterstained paperback that rests perpetually on your nightstand at home. 

“How do you know about that?” you ask him. 

Remus smiles. Your heart flutters. “It was on the coffee table when I was over last week. Are you rereading it?” 

“Yeah.” You shrug, turning your eyes away from him. “I reread it a lot, it’s my favorite.” 

“Mm, I noticed it looked fairly battered.” 

“Well-loved,” you correct him. 

He chuckles quietly, and you grin because you can’t help it. “Right, so sorry. My mistake.” 

You brush a piece of hair out of your face, slotting it behind your ear. Watch Remus’ eyes track the movement. “So what’s your battered book?” 

“Hm?” 

“Your favorite,” you clarify. “The book that’s all war torn and full of nonsensical annotations.”

He thinks for a minute. “I’m not sure,” he admits. “I have a few I go back and forth between, but lately it’s been The Secret History.” 

You have to cover your mouth with a hand to hide the full breadth of your smile, and Remus narrows his eyes at you. 

“What?” he asks.

“That book is so depressing.” You shake your head, delighted at being so right. “I mean, it’s beautifully written,” you amend. “Really gorgeous. I’m just not sure I found the plot as compelling as the prose.” 

His mouth actually drops open. You can’t tell how much of the shock is teasing and how much is real. “You thought that book had no plot?” 

“No, I mean, plenty happened.” You turn to face him, forgetting about the books around you for a moment to focus on this one. “But I felt like it happened so slowly, and there was so much in between that was just tons of description. It was like they almost skimmed over the murder part! There were so many plotlines that were brought in and then just disappeared, though I guess I can respect the ways in which it reflected real life.”

You think for a second that Remus might argue with you (he should, really—it’s his favorite book and you’re slandering it), but he keeps his mouth shut, watching you interestedly. 

“And don’t you think Richard was a bit passive? Henry and Bunny had so much going on, but the narrator could have literally been a fly on the wall the whole time. He kind of reminds me of Nick Carroway, you know?” 

“From the Great Gastby?” He tilts his head, eyes squinting a bit (it’s devastatingly cute). “How’s that?” 

“Just, they’re both such flat characters.” You frown. “I don’t really think either of them needed to be in the story at all. I mean, having a narrator that’s a character with no personality is effectively the same as having a non-omniscient third-person narrator, right?” 

Remus is biting the inside corner of his lips like he’s trying not to smile. “Right.” 

“What?”

“I’m just thinking that I need to get you talking about books more often,” he says. And that’s real affection in his eyes, mixed in with the humor. 

You look down, grinning at the front of your shirt, but his little smile doesn’t waver. 

“Shouldn’t be hard,” you say. An awkward, obvious sidestep of the compliment, but he lets you get away with it. “Your turn. Let’s go to your section.” 

He shrugs. “If you think you can stand it,” he says, but starts moving in that direction. You notice he’s still holding the copy of your favorite book. 

“Aren’t you going to put that back?” 

“No.” He doesn’t need to look down to know what you’re talking about. “You’ve already torn one of my choice novels to shreds, now it’s my turn to read yours.” 

A little bite of nervousness snips behind your belly button even as his sidelong look lets you know he’s only joking. “You could always borrow mine.” 

Remus blinks. “I’m flattered that you’d trust me with it,” he says, and it almost has you blushing again, that he knows the significance of you offering him your copy, “but I think I’ll read the un-annotated version first. But if the offer still stands after I’m finished, I’d love to read your thoughts on it.” 

He says it like it’s nothing. Like taking the time to read your favorite book twice, just so he can get to know you more thoroughly, isn’t the sweetest thing anyone’s ever so much as thought of doing for you. You worry that if you look down, your heart will be glowing right through your shirt.

“Alright.” You muster your courage, taking him by the hand. “But now we also have to find one to read together.” 

Remus has looked down at your joined hands, something like shyness coloring his expression, but he looks up to quirk an eyebrow at you. “Are you so sure we’ll be able to find something we can agree upon?” “So long as it involves a main character that actually does something, I think we can manage.”

[mirensiart]

I know it’s been done before but the Warriors angst of Mask being a bratty kid and saying he hates him at some point during the war and like, Wars knows it’s because Mask is a kid and they’re good after but it kinda haunts them both because “what if I was the worst brother ever”/“I didn’t think about my words and as an adult I know that must’ve really hurt captain and I didn’t even say sorry” until LU and Time cryptically tells Wars he needs to talk to him alone and everyone else is going 👀 to each other (except probably Wind, who knows the History) and Time apologizes and Wars tries to tell him it’s okay but they both cry about

(Time has sat on the side of the bed at night with his head in his hands, upset, and had to explain to Malon it’s because he was a shit when he was 12 and he feels bad about it, she tries her best to reassure him but it’s a load off Time when he comes home and tells her he talked to Wars about it)

i love it when people make mask an angry angsty kid who's very reactionary and like who can blame him what with everything he's been through

i can def see that happening, like kids are brutally honest and say stuff they don't mean all the time, hell even us adults sometimes say hurtful things during a heated moment

i'm obsessed over time spending YEARS thinking about that interaction and internally cringing over it

like the fact he stayed awake next to malon for hours thinking about it and forever feeling guilty over not apologizing and understanding the captain now that he's an adult and malon trying to console him is taking me out cause I've been there lmao

i can def see mask eventually telling wind about it and how he feels guilty he said that and wind giving him big bro advice on how to apologize and mask is like determined to do it but then the war gets too intense and eventually it ends and mask is send back to his timeline and oh he never got to apologize :(

so time getting the chance to talk to wars thanks to LU and finally apologizing (he never forgot wind's advice over how to do it lmao) is just so OOOUGH

wind watching the entire thing from the background like a proud big bro like hell yeah he finally did what i told him to lol

[tf-rechargeandrebound]

Ok I redesigned them for the last goddamn time

TFR Autobot designs ^^ (I'm sorry if the colours look fucked up idk how to fix exporting stuff)

Character profiles beneath the cut

Optimus Prime

Allegiance: Autobot

Alt mode: Freightliner semi truck

Occupation: Autobot commander, current Prime

Likes: Cybertronian history, reading, Earth’s general vibe, long drives, peace and quiet

Dislikes: His position as Prime (he’s not very vocal about it though), snakes, icy roads, large social functions, taking breaks from all that gosh darn paperwork

Once a humble dock worker named Orion Pax, Optimus Prime is the leader of the Autobot Resistance, and is being counted on to save his home from the Decepticons. Any Autobot would describe him as wise, kind, stoic, somewhat stern, and a great leader who can sometimes get grumpy when stressed or tired. His most trusted officers and family, such as Elita-1, know that he’s also rather socially awkward and a bit of a bookworm. He cares deeply for every single Autobot under his command, and has grown to care for Earth as well. He generally dislikes needlessly reckless behaviour from those around him, as he can’t bear to see even more lives lost to the war. He often doubts himself, his role as Prime, and his actions, even if they were right. At the end of the day, Optimus wants nothing more than to live a quiet life with his loved ones.

Elita-1

Allegiance: Autobot

Alt mode: F-16 Fighting Falcon fighter jet

Occupation: Autobot commander

Likes: Astronomy, meteorology, flying, Earth rain, stargazing

Dislikes: Megatron (everyone hates him but she hates him on a very personal level), confined spaces, caves, snowstorms

Before she was Elita-1, she was Ariel, and before she was Ariel, she was a miner designated AR-1. After escaping the mines when she was young, she was taken in by an old dock boss named Kup who offered her a job at the docks, where she met a young mech named Orion Pax. Elita and Optimus Prime are both co-commanders and conjunx enduras. She’s much more of a social jokester than he is, and is extremely popular amongst the troops. She’s cunning, loyal, intelligent, and a fierce warrior who always stands up for what’s right and puts others before herself, all while being someone who’s willing to lend an ear to anyone who needs to vent. She’s truly the definition of an Autobot.

Bumblebee

Allegiance: Autobot

Alt mode: 2017 Volkswagen Beetle

Occupation: Special Operations scout

Likes: Earth pop culture (especially video games and 80s music), open roads, making friends, adventure, summertime, stories about pre-war Cybertron, carwashes

Dislikes: Being teased for his height, sharp objects, confinement, failing a task or mission

Bumblebee is one of the youngest and most promising soldiers in the Resistance. Raised by Optimus and Elita, he chose to join the fight against the Decepticons once he came of age, a decision that they respect but don’t fully approve of. His oddly small stature makes him ideal for espionage-based missions, and he’s nearly mastered using his size to his advantage while in direct combat. Bee is an extremely upbeat and friendly bot, and while he may be small, he has a big spark that cares deeply for everyone around him. He often recklessly puts himself in danger to protect others, which usually gets him injured, but the injuries are worth it, in his opinion. Overall, Bumblebee is a dependable, determined, and brave Autobot, just like his caretakers.

Wheeljack

Allegiance: Autobot

Alt mode: 2015 Chevrolet Silverado

Occupation: Autobot Science Division, Chief Engineer

Likes: Science, inventing, researching, stunt driving (he doesn’t do it much anymore, though), lab work, reading scientific reports, explaining things he’s invented or fixed, explosions

Dislikes: Listening to his body when it tells him to take breaks, not knowing about a subject, distractions from his work, long fights

Wheeljack is one of Cybertron’s greatest scientific minds. He’s a brilliant, eccentric engineer and a good-natured bot who others like to be around. He can easily become engrossed in his work, and has little regard for his own personal safety, as he frequently patches himself up and regularly visits the medbay after his daily experiment blows up in his face. He often looks out for the youngsters around him, and ends up fostering a strong paternal affection towards his human ally Sadie. While he’s not on the front lines as much as he once was, he’s still quite a capable fighter and a force to be reckoned with.

Ratchet

Allegiance: Autobot

Alt mode: MXP-170 ambulance

Occupation: Chief Medical Officer

Likes: Peace and quiet, napping, organizing his equipment, Engex, bossing people around

Dislikes: People or bots who annoy him, his equipment being disorganized, comments about his age (unless he makes them), hotshot young bots (except for Bee), busy cities

One of Iacon’s best and most dedicated medical professionals, Ratchet is an elderly, cranky old medic who’s constantly trying to keep his fellow Autobots out of trouble. He’s no stranger to wartime, as he's a veteran of the Quintesson War that took place before the majority of his comrades were even protoformed. Having raised both Optimus and Wheeljack, they’re two of the only bots who know that, despite his prickly exterior, Ratchet is actually quite a softie deep down. Still, Ratchet has a nasty temper, and he often doesn’t work well with others, preferring to do things “his way”. When the situation is dire enough, however, he’ll accept help from those around him. Occasionally, he’ll be relaxed enough to lightheartedly joke around with those he’s closest with, but overall he’s a tough, no-nonsense, hard working old bot.

[miraclecherryblossomsblog]

I had another au idea......actually been holding onto this one for a bit might as well share it

TW reader's a monkey.......AGAIN omg, interdimensional shi happens, lots of other fandom references, giving birth, babies

Ok so not really sure how to explain this so bare with me ok?

But what if you lived in a world that is jttw inspired? like monsters and gods exist buts its different as if its more modern era...magic exist but also contributes its energy for technology and stuff. Laws work more so the same like ours, mortals and immortals coexist, sorta like hsr (honkai star rail)

what if.....you were the wukong in your world?

this gonna be long I AM SORRY ONCE AGAIN this is the intro so no wukong x reader yet in this one

part 2 here (not yet in the making)

BEFORE YALL COME AT ME NO I DON'T MEAN YOU BEING WUKONG just to be clear....I mean you were sorta in the same place as him like spiderverse I mean

Like you have certain abilities like his but not completely equal

Unlike wukong who was born outta a rock you were born normally, cuz you WERE suppose to be born human hence your parents.

But why are you a monkey if your parents are human you ask? Its cuz u got "blessed" by the stone deity. You see in the time of your birth your family moved to the mountains due to the war that was happening between humans and demons cuz humans dumb and broke the agreement between species

Anyway your family went in, barely escaping the chaos of the situation, they managed to find a cave that looked rather pristine for looking abandoned, they found a small house or rather looked like a house...it seemed to be part of the rocks itself, your ma's contractions are starting so your pops quickly gets your ma inside not before being welcomed by an elder monkey (NOT WUKONG OK just a elder monkey)

He offers to bring help to deliver the baby, your dad not having much choice he accepts and both go in to start the procedure

The elder monkey calls for more of his people to help, female monkeys quickly gather and prepare the stuff

as your mother does the final push a mysterious female voice starts to speak, saying how you're destined to become a strong warrior who will bring peace between worlds and protect to those who can't

Your dad confused sees the others monkeys being in sorta of a praying position as the others help your mother, that's when your cries start your father quickly wanting to see you and mother wanting to hold you. And they do, both are so happy and thankfull filled with tears and laughter until your lil body starts to glow into a yellow light

your body that was once smooth is now replaced by slight damped fur, you face once human now possesses humanoid monkey features, a tail pops out of the blanket slight curled to your body

and now you're thinking "well shi that means were orphan then cuz our parents don't wan us no more-" NUHU THEY LOVE U WITH ALL THEIR HEART they just took a long moment to take everything in lmao

The elder offers yall's to stay and live along with the monkey since now u lil bby self is basically part of the pack now, and ofc they accept and well mark history as the first humans to live alongside the monkey people

Was it bit difficult to get used to? yes, did they had their own ideals that sorta didn't go well in living there? also yes but they decided to learn about the culture and become more open minded for not only their sake but yours too.

You got like a whole village as your family now, they all had their doubts letting humans in but by time it showed that you parents were lot more better than the other humans who they had encountered in past times

so yaaaaaaaaaaaaayyyyyyyyy happy life u being a well loved monkey <3

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

A/N: will have a part 2 depending how this goes but hope yall liked this brainrot of mine <3333333

[hunters-vigil]

The Archon's Baby - Chapter 4 - Reunion

Previous Chapter Next Chapter

request from ao3: Make one where they have a child but the female character doesn't tell Mavuika that she is expecting a child and distances herself from Mavuika please 🙏🙏

warnings/mentions of: pregnancy, pregnancy symptoms, talks about hypothetical major character death.

Fic under the cut, don't repost my stuff on other platforms, i have ao3. Reader is not the traveller. Reader's adoptive sisters are Chasca and Chuychu.

"Mavuika?" you whispered, hearing her hum, clinging to her clothes as you buried your face in her neck. A sob escaped your mouth before you stop it, your lover holding you a little tighter as her ears picked up on the noise.

"I'm here, my darling," your achon cooed, pressing her lips to the crown of your head as you held onto her desperately.

"I've missed you." The words wouldn't escape your mouth without some force, your emotions getting the better of you thanks to your hormones, but Mavuika didn't know that.

"I've missed you too," she whispered, gently pulling you back so she could look you in the eye, as tears streamed down your face, "I'm sorry I've been so busy that you felt like you couldn't approach me."

Your heart fluttered, closing your eyes to lean into her touch as she cupped your face, "the Pilgrimage and the Night Warden Wars are more important..." you began, but Mavuika didn't respond. "Natlan needs you." Burying your face back into her neck after your archon wiped away your tears.

"You needed me, and still need me." Mavuika argued, but she knew deep down that you were right. She was the Pyro Archon... Natlan's people are her priority, but that includes you.

She could remember when she first met you, approaching the Scions of the Canopy to look for information on her family. Ancient names may have documented those warriors, but many people didn't receive them, yet still should be remembered.

"If you're looking for history from 500 years ago... your best chance is Chasca and Chuychu's younger sister. A wingless, but the drive to dig up as much history as possible has found many tribes a lot that was thought to be lost." Your Uncle Wayna advised the Pyro Archon, who thanked him for his help.

"Any idea where she could be found? Chasca is a peacekeeper, and Chuychu is a doctor, but..."

"Despite the sisters arguing against it, she moved out into her own place, plus... she's better with an outlander wing glider than with a qucusaur." Wayna explained, letting out a sigh, "there were rumours of her not even being from Natlan, but... she doesn't remember anything from before she was found and taken in by Chuychu's parents."

"I see..."

Mavuika kept this in mind as she approached you, spotting the intrigue but also sadness in your eyes when you caught sight of her. It was like you saw right through her walls, helping all you could to dig up information on her parents and younger sister.

"I hate that you'll never truly get to live. You ended your life early 500 years ago to be here, and then you'll sacrifice yourself for Natlan again if you need to... you'll never get to grow old, find love, have children and watch them grow up... you're so selfless, Mavuika. Natlan would get to live, but you wouldn't. You're so determined to save Natlan, but you don't want anyone to try save you." you confessed after many nights helping Mavuika with her plans.

She hadn't wanted to let you in, you weren't a warrior, (despite the training she had heard about from your sisters) or an ancient name bearer... You'd figured out too much just from your research, putting together the pieces to realise her sacrifices. Past, and future.

Maybe it was a moment of weakness, a moment of selfishness, that first kiss, that first touch, but Mavuika couldn't resist. She held back, hesistating as you frowned, realising why she had stopped.

"It's okay. I want to, not because you're Haborym, or Kiongozi... but Mavuika, so please..." that was all it took for Mavuika's restraint to be gone, leaning in to finally let her lips meet yours.

She could never have thought that that moment would have led to this. You, exhausted, crying in her arms as she held you close, wishing she had more time with you than less than a year.

"Please, don't go. I just... need to feel you a little longer," you began to beg as she shifted slightly, pulling you on top of her, until a squeak of pain escaped your lips.

"Did I-"

"No, no. It wasn't you, I'm just..." you hesitated, realising that you hadn't told her, "tender. I'll be fine..."

"Tender?" Mavuika's voice laced with confusion, her hands lingering at the hem of your shirt. However, she decided against asking to remove the cloth, instead resting her hands on your waist after you settled your head on her chest. "Are you injured?"

"I'll be okay, I'm not hurt. But, can we stay like this, just a little longer? I know you're really busy but..." Mavuika shushed you, holding you closer, as hands lingered under your shirt, drawing patterns on your skin.

Meanwhile, one of your hands lingered close to your belly, trying to be surreptitious but it helped you to self-soothe. Your other hand was a lot less calm however, holding onto Mavuika for dear life, like she would slip away any moment.

"I'm not going just yet. Even Archons need to sleep, my love." Pressing her lips to the crown of your head, her hand shifted, moving to hover over the hand on your stomach, causing a question to flicker in her mind.

Did you go to Chuychu about your sickness? If you did, what did your sister have to say? You seemed better, but the exhaustion, and the look Atea had on her face when she turned up at the People of the Springs, having just witnessed you and Mualani just leave...

Unfortunately, Mavuika couldn't ask you about it, hearing your breathing even out as sleep got its hold of you once again. A quiet sigh escaped her lips, appreciating your warmth as she closed her eyes and let sleep consume her too.

[somepsychopomp]

I super love you omegaverse au! I’m wondering how Athena would react to ody getting pregnant with Telemachus considering her desire to make him the perfect warrior and what her designation would be if any

Athena, a virgin goddess, watching her stupid mortal protege get preggers:

Okay but for real though, I do like to envision Athena as an alpha *most of the time*. (This isn't what you asked for but here's some background between the two of them)

When she first met Odysseus and he was a young child, Athena presented herself as an alpha because it just felt natural. After all, she's the goddess of wisdom and war. She should be perceived as powerful, but her designation doesn't stop Odysseus from wanting to befriend her in addition to their mentor/mentee dynamic.

Also, Odysseus was too young to have presented by the time they met, but it would've been pretty obvious that he was destined to be an omega. Athena probably would've taken Odysseus' secondary gender as some sort of challenge bc like... yeah why wouldn't a god as impressive as herself be able to make an omega into the greatest warrior ever?

But as Odysseus grows up and she secretly becomes more fond of him, things start to change. Athena learns that Odysseus is more receptive to her teachings if she herself presents as an omega because she feels more relatable and inspiring to him. He doesn't want to get bossed around by yet another bigger, older alpha, he wants someone who understands him.

So by the time Ody is in his late teens, Athena is still huge and powerful and all that stuff, but she shows herself to Odysseus exclusively as an omega. Deep, deep down, she prefers it this way too. To Athena, her being an omega closes the vast dichotomy/power gap between them ever so slightly and lets her feel as if she has a real, solid bond with her mentee.

Ody, in contrast, takes Athena being an omega as her wanting to be his friend (which will lead to mentor/friend thing in My Goodbye).

OKAY now onto the pregnancy, sorry for the side tangent.

I think Athena would be "disappointed" in Ody for getting pregnant because that means there'll be a solid few months where he won't be able to train physically. Also, him having a baby means less time they'll be able to spend working together.

But lowkey I do think she'd just take it in stride. Like "oh of course my omega apprentice got pregnant, mortals do tend to do that." She'll have to adjust her plans for him the same way a teacher adjusts their lessons when their students fall behind, but there's no setback that's too great for Athena.

So as "compensation" for not being able to train Odysseus as a warrior, she'd spend his entire pregnancy drilling him about strategy, history, asking his elaborate riddles, giving him ridiculously hard puzzles to solve, and doing everything imaginable to train him mentally to keep his senses sharp.

Like she kinda views his pregnancy as a physical illness and since she never really gave Ody a break before, even when sick, she won't stop now.

Like Odysseus could be bent over a bucket puking his guts out from morning sickness and Athena would be holding his hair back, asking, "Now, Odysseus, let's say you were pregnant while your kingdom was at war and an assassin has snuck into your palace at this very moment. How would you defend yourself?"

Odysseus, still spitting up bile, replies by taking the golden, and very pointy, pin in his chiton and reaching back to deftly strike at her hand.

"Very good. Next, let us presume there was more than one assassin. What do you do first? Call for help or stand your ground, and why?"

Ody would very much want her to stop talking at that point, but he knows she's only looking out for him, so he just goes along with it.

[apoloadonisandnarcissus]

Full article: here.

This connects with the Elrond = Sauron theory, here and here.

Melian of the Valar and Anger Issues:

In his interview to Decider, explaining the kiss, Robert Aramayo also talks about this:

Specifically, Adar namedrops Melian, one of Elrond’s most important ancestors. Aramayo explained how hearing this father of the orcs talk so intimately about Melian was meant to perfectly unsettle the young(er) elf. “It shows a real deep understanding for the history of Middle-Earth. You know, there’s something about Melian, isn’t there? The ‘Girdle of Melian,’ the sort of the protective sphere that she [creates], the power of her, and what she sort of represents in the lore and stuff,” Aramayo said. “So it’s impressive that he would bring it up in that moment.”

Why is this strange? Firstly, Elrond and his future daughter Arwen never get compared to Melian herself in the lore, but rather to her Half-Maia daughter, Lúthien (Arwen is pretty much described as “Lúthien 2.0.”, and even her love story with Aragorn is Lúthien x Beren, part 2).

According to Rob, the mention of Melian by Adar is what triggers his anger, and what causes Elrond to act OOC in that scene. Which doesn't make any sense, because Elrond would be proud and honored by such a comparison, actually (and it has nothing to do with his beauty).

The only character who would get this triggered by the mention of Melian is Sauron himself, because:

1) His fellow Maia was a thorn in his side (and Morgoth's) for pretty much the entire First Age and the War of Wrath;

Beyond lay the wilderness of Dungortheb, where the sorcery of Sauron and the power of Melian came together, and horror and madness walked. Of Beren and Lúthien, Part I

2) Melian's daughter (Lúthien) was responsible for Sauron's most humiliating and spectacular defeat by bringing Huan (the Hound of Valinor), with her to Tol-in-Gaurhoth (Isle of Werewolves, where Finrod, Galadriel's brother, died protecting Beren from the werewolves). This is when Sauron shapeshifts into a giant werewolf to fight Huan, and gets defeated.

Halbrand/Mairon: Whose dagger was it, Galadriel? Who is it you lost? Galadriel: My brother. Halbrand/Mairon: What happened to him? Galadriel: He was killed. In a place of darkness and despair [Tol-in-Gaurhoth]. By servants of Sauron [werewolves]. Is that enough for you? Galadriel tells Halbrand about her brother’s, Finrod, death, 1x05 

(Sorry not sorry, I had to). 

In the lore, Sauron disappears for a very long time after this defeat, and “Rings of Power” already mentioned how he was tortured beyond belief by Morgoth (this implies that, after losing a strategic stronghold to “a girl and her dog”, Sauron most likely was imprisoned and tortured by Morgoth somewhere). 

Lúthien/Beren parallel:

The "tent/kiss scene" itself, in 2x07, is a parallel to Beren and Lúthien, and the quest to retrieve one Silmaril from Morgoth’s crown, which would lead to their fight with Sauron (and Finrod’s death later on):

But Thingol looked in silence upon Lúthien; and he thought in his heart: 'Unhappy Men, children of little lords and brief kings, shall such as these lay hands on you, and yet live?' Then breaking the silence he said: 'I see the ring, son of Barahir, and I perceive that you are proud, and deem yourself mighty. But a father's deeds, even had his service been rendered to me, avail not to win the the daughter of Thingol and Melian. See now! I too desire a treasure that is withheld. For rock and steel and the fires of Morgoth keep the jewel that I would possess against all the powers of the Elf-kingdoms. Yet I hear you say that bonds such as these do not daunt you. Go your way therefore! Bring to me in your hand a Silmaril from Morgoth's crown; and then, if she will, Lúthien may set her hand in yours. Then you shall have my jewel; and though the fate of Arda lie within the Silmarils, yet you shall hold me generous.' Thus he wrought the doom of Doriath, and was ensnared within the curse of Mandos. And those that heard these words perceived that Thingol would save his oath, and yet send Beren to his death; for they know that not all the power of the Noldor, before the Siege was broken, had availed even to see from afar the shining Silmarils of Fëanor. For they were set in the Iron Crown, and treasured in Angband above all wealth; and Balrogs were about them, and countless swords, and strong bars, and unassailable walls, and the dark majesty of Morgoth. But Beren laughed. 'For little price,' he said, 'do Elven-kings sell their daughters: for gems, and things made by craft. But if this be your will, Thingol, I will perform it. And when we meet again my hand shall hold a Silmaril from the Iron Crown; for you have not looked the last upon Beren son of Barahir.' Then he looked in the eyes of Melian, who spoke not; and he bade farewell to Lúthien Tinuviel, and bowing before Thingol and Melian he put aside the guards about him, and departed from Menegroth alone. Of Beren and Lúthien, Part I

Here, "Thingol" is Adar, who presents "Elrond" (Beren) with the choice of handing over the Silmaril (Nenya) in exchange for Lúthien (Galadriel): "The Ring for Galadriel's life. What is it to be?"

Which means, the comparison with Melian is odd ("You [Elrond] have the beauty of your foremother, Melian of the Valar"), because there is no direct parallel between Elrond/Melian happening here.

Then, why is Elrond parallelling Beren in this scene? He’s a Half-Elf who decided to retain his immortality (Half-Elves get to do that, and that’s why Arwen chooses mortality to be with Aragorn). He’s not a mortal man like Beren, nor is he in love with an she-Elf of legendary beauty and power.

There is another character who can make sense in this context, and that’s Halbrand (Sauron’s human form). Mostly now that the executive producers of the show, Charlotte Brändström, revealed that Galadriel was in love with Halbrand (direct parallel with Lúthien x Beren).  

Morgoth’s crown is also nearby (we know that Adar not only has it, but actually show it to Galadriel in this very tent, in 2x06), and the Balrog is also there (at the mines of Moria, in Khazad-dûm).

Interestingly enough, Sauron is the one who mentions Beren in Season 2 of “Rings of Power” (and he must have been dying inside talking about it): 

Yes. You are right. Of course. Men are capable of great frailty. But when the darkness falls, there are always some who rise forth and shine. Eärendil, Tuor, Beren, son of Barahir. Sauron/Annatar tries to persuade Celebrimbor to forge the Nine rings of power, 2x05

And the plot thickens because Eärendil is Elrond’s father, and son of Tuor (Elrond’s grandfather who married Elwing, Lúthien and Beren’s granddaughter). “Rings of Power” Season 2 pretty much went through all of Elrond’s genealogy, in scenes with Sauron and Adar.

After Beren and Lúthien rescued a Silmaril from Morgoth's Iron Crown, this was later given to their descendant Elwing, wife of Eärendil. Both took it to Aman, and the Valar decided to rise it as a new star. In a vessel appointed by Elbereth, Eärendil rose in the horizon as a sign of hope for Elves and Men. And this is the light that shines in both Galadriel’s mirror and the Phial of Galadriel (which she gives to Frodo to help him in his quest to destroy the One Ring = Sauron).

And to further strength the parallel between Nenya/Silmaril in the “tent scene” of 2x07, the fate of Fëanor’s Silmarils is also connected to the Three Elven rings of power: 

“Fire” = Maedhros threw himself into a fissure of fire in the earth, carrying his Silmaril with him. “Narya” is the “Ring of Fire”, and its current ring-bearer is Círdan (but it will pass onto Gandalf, later). 

“Air”: connects to Eärendil becoming a star in the skies. “Vilya” is the “Ring of Air”, and even though, his current ring-bearer is Gil-galad, it will belong to Eärendil’s heir: Elrond.

“Water”. Maglor casted his Silmaril into the sea, and wandered along the shores of the world singing laments over the loss of the Silmaril. “Nenya” is the “Ring of Water”, and will be forever held by Galadriel, herself. In time, she’ll, too, suffer with “sea longing” (which many assume it’s only the desire to return to Valinor, but there might be more to it). Like Maglor, she’s also known for singing laments (“Namárië”, also called “Galadriel's Lament”).

In “Rings of Power”, Galadriel met Halbrand (the “mortal man” she fell in love with) in the middle of the sea.

[bean-market-art]

梅が香を...

This is my end of an art trade with @kalolasfantasyworld! Working on this was an absolute BLAST (as you can tell from the five page Google Doc of explanations for all the stuff I did not need to add lmao) and I had so much fun with it! Thank you for doing the art trade with me Lola :D 

Full explanation of history and themes below:

Historical Overview

The Edo period (1600-1867) is pretty prominent in modern culture, and is often romanticized as one of THE periods of Japanese cultural significance. Hinokuni (Land of the Sun) in Black Clover is based off of Edo-period Japan, or at least the late Muromachi pd.

You might know this as a time of samurai, ninja, etc. However, a fair amount of that is completely wrong. Edo period society was carefully structured to maintain peace. There was no war, and therefore virtually no work to be done for warriors – save a few rebellions, samurai were basically unemployed. However, since all of the power was in the hands of the military, they remained at the top of the rigid hierarchy established by the shogunate. This ended up putting the samurai in a strange situation: they grew more and more financially destitute, but still kept their high status as society slowly broke down over 200 years. 

In the mid 1700s, however, Japan was the most urbanized country in the world. Woodblock printing meant that media became available to everyone for a much lower cost than it would if everything was an individually commissioned drawing. “Modern” consumer pop culture arrived and evolved in Japan much earlier than other places, and part of pop culture was the ukiyo-e.

What is ukiyo-e? 

Have you ever wanted to see a hand drawn and carefully reproduced woodblock print of a woman having sex with an octopus? I imagine you don’t, but we’re on Tumblr, so. You can’t be sure. 

Anyway, If you know The Great Wave off Kanagawa, the glorious and quintessential piece of Japanese art, that was done by Katsushika Hokusai. Hokusai, the mad lad, also printed women fucking octopodes. Both of these things are (according to the people of the time) a depiction of the “Floating World,” ukiyo. The Floating World refers to the beautiful, fleeting, and hedonistic red-light district of Edo (now Tokyo) which was literally a man-made sex and theatre island. Pictures of the Floating World are usually the traditional Japanese woodblock print, and can be anything from beautiful flowers to famous actors to scenic views to pictures of lovers, to… well, porn. A lot of porn.

However, this particular drawing is (thankfully) based off of Lovers Walking in the Snow (Crow and Heron), a wood-block print that dates to around 1770.

The long sleeves on the woman is one of the signs of the mid-Edo period, as those were in fashion at the time.

According to the Met, “Of all ukiyo-e prints of lovers, this one creates the most romantic and melancholic mood. Harunobu emphasizes the intimacy of two lovers strolling in the snow, even suggesting perhaps a michiyuki, a path to a love suicide.” The love suicide or double suicide was considered one of the most romantic things lovers could do at the time…. which… you know, that’s cool for them, but I wanted to thematically move away from that for this one, so I switched the crow to a crane 😭 This only partially solved the problem but I swear they’re not going to kill themselves guys I love Nozelena and there are other reasons I picked this print, please – 

Crow and Heron was created by Suzuki Harunobu, who invented the nishiki-e, or multicolored woodblock print. Prints prior to his innovation were limited to two or three colors, but Harunobu’s wealthy commissioners gave him enough money and time to carve up to twelve individual wood blocks to print many different colors onto one sheet of paper.

He is also famously known for fucking hating kabuki performers, so sorry, Harunobu, but I’m putting you in here with mentions of kabuki actors lmao. shoutout to Wikipedia for Harunobu facts please don’t kill me hbomberguy im just a little man with dreams 

Clothes 

I want to preface this by saying that these clothes are NOT COMPLETELY HISTORICALLY ACCURATE. With that being said, let’s get into the Themes :]  

Helena, our Crane, is wearing clothing that’s pretty similar to the woman in Crow and Heron, but she’s also wearing an auspicious red uchikake, or over-robe. Uchikake are only really used in wedding kimono in modern times, but they were frequently worn in everyday life by the wives of samurai-class nobles during the late Muromachi (1336-1573) and Edo periods. Consisting of a patterned silk robe left open over her white kimono with the fashionable long sleeves of the time, she’s hopefully a little more warm in the snow! 

Image courtesy of the Met. Uchikake depicting scenes from the Tale of Ise

Plum blossoms are the flower of the month for February, and make up at least ten entries in the Kokinshu, a famous seasonal poem anthology. These white blossoms are often elegantly 'confused' with snow on the branches of the plum trees, and are a sure sign of early spring.

Given that this drawing is being posted around the time that these poems were likely written back in the 900s, I thought it would be fitting to put Helena in plum blossoms. You can also see faded plum blossoms in two corners of the piece. Cranes (tsuru) are associated with the same bright red that Helena’s almost always drawn in. They signify long life, purity, good luck, and fidelity. Overall, cranes have the same general happy connotations that I think of whenever I think of Helena, and they have the same colors -- they're perfect for each other!

You can see a version of Helena’s outfit with the hood in the ukiyo-e below, also done by Harunobu. 

Nozel is styled as a daimyo or regional warlord of the time. I wanted initially to put him in a kataginu kamishimo, which you can see below, but the haori (jacket) and hakama (pants) that he’s wearing are also appropriate. 

Dressing him down and leaving his hair down saved me from having to draw his stupid braid hopefully gives the piece a more intimate feeling.

If Nozel was a daimyo of the time period, he’d only see Helena a few months out of the year. The Tokugawa shogunate used a system called sankin koutai, or alternate attendance, to prevent the regional warlords from rising up and trying to usurp their rule. This system meant that the wives and children of the daimyo were forced to live in the capitol, and the daimyo could come to Edo once or twice a year to see them. The shogun having everyone’s wife and kids readily accessible to him at all times was… a pretty effective deterrent from treason, so Nozelena wouldn’t get to see each other often. Any time they would spend together would be very precious, and I hope I've depicted that feeling. 

Nozel’s haori hakama is not very traditional (usually it would be black with gold thread for the kamon, or family crest stitched onto the shoulders of the haori. You’ll see that where there’s meant to be a family crest, I’ve put the Silva cross), but there’s a reason for that. The EEO store New Year had a Nozel in a haori hakama that’s pretty close to the colors of the aosagi, or grey heron, and that gave me an idea. 

Grey herons carry connotations with mystery and death, which fits well for a man who has a secret about death that he can’t reveal to anyone or risk killing them too. Herons are also featured in an incredible kabuki performance called Sagi Musume. This dance was famously done by onnagata Bando Tamasaburo (link here to watch! He’s a Living National Treasure: I can’t recommend it enough). It’s tragic, but beautiful. 

Crows and herons are both somewhat related to death, which is likely part of the reason that it’s intimated that the two lovers in Harunobu’s piece are walking to commit a double suicide. However, changing one of the birds in the metaphor to a crane lightens up the metaphor and makes it much more hopeful, which I associate with this ship. As spring comes in and the white snow melts away to reveal budding plum blossoms, so too does a little sun shine on the grey heron, trapped in his secret and closed off from the world. 

Or something like that. It’s pretty pretentious, but I enjoyed thinking about this relationship and conceptualizing the metaphors I wanted to use for this drawing.

Ai ai Gasa

The Met writes about Harunobu’s piece: “The couple walk together in the quietly falling snow, in what is known as an ai ai gasa pose, literally, the sharing of an umbrella and love.” I kept this pose for Nozel and Helena – I knew I wanted something to do with a paper umbrella, since our girl has paper magic. In the starting sketches, he was holding the umbrella over her head while she reached for koi in the river (koi in Japanese is a homophone for love), but this version of the pose is both more historically aligned and cuter in my opinion.

The umbrella actually exists. 

This is a wagasa – a Japanese umbrella – made by Matsuda Wagasa in Kanazawa. It has Helena’s signature red as well as a Hangetsu/half moon pattern. Kanazawa umbrellas are different from any other wagasa makers in the country, and a dying craft. Matsuda is the only store left that still makes Kanazawa-style wagasa. I know no one on this site really has any money, but if you want to buy a piece of long-lasting, living art, please consider supporting them. 

The Poem

The writing that you see in the corner is a famous poem from the Kokinshu. However you ask me, “Alex. This is the Edo period. That’s the 1700s. This poem was from the 890s. The EIGHT. NINETIES. Why the hell are you using poetry in Classical Japanese? No one from the Edo period could understand something that was written 800 years ago at the time.” And to that I say: that’s a very logical conclusion! However, you are WRONG, because there’s nothing LOGICAL about ELEGANT, AESTHETIC PERFECTION!!! 

Classical Japanese (theoretically the Japanese used from around 900 to 1100) was used well into the Meiji period (1868-1912) whenever someone wanted to sound fancy or official. There are hundreds, maybe even thousands of poems about plum blossoms and spring, but I picked this one for a reason. Harunobu often included poems in his work to poke light fun at them, but the inclusion of this poem in my drawing was perfectly serious. I’ll leave you with it to close out the explanation of this drawing. I hope seeing this piece of art has given you a happy and soft feeling, even if it’s only brief – I love Helena, I love this ship a lot, and I appreciate how hard Lola has worked to understand Nozel’s character and create an OC that plays well with him. I know only a few people who have put in the time and effort to meet Nozel where he’s at instead of trying to make him into something he isn’t. I imagine that for a man who has experienced so much death and made so many mistakes in his life, Nozel’s feelings for Helena are somewhat like this poem. 

梅が香を袖にうつしてとどめてば春は過ぐとも形見ならまし

mume ga ka wo/sode ni utsushite/todometeba/haru wa sugutomo/katami naramashi

If only the plums' scent/would shift to my sleeves and/stay there, then/even when spring is past and gone/a keepsake it would be...

[bambi-kinos]

From Yulia-k ask. I'm adding a follow up question. I agree with your respond. Why is Paul basically saying that JOHN found Yoko, and JOHN was madly in love with Yoko and he, Paul had to make way for her, and John-Paul couldn't continue as it was. It just sounds like something is missing in his own choice in this, like the India theory, or that Paul rejected John. It more sounds to me in every shape and form that Paul lost John because he found Yoko. "Then came the lawyers" etc. From Paul's pov. Why was Paul finding Linda a bigger problem to Paul? Paul must have known how John was gonna react to that after all his jealousy from the past.

I actually have an earlier meta regarding this that you would find interesting! I'll also insert it into my queue.

To add on to what we said a few years ago, I think Paul gave up on the relationship and couldn't think of a way to save it, while still trying to cling to it. The description of the "I want a divorce" meeting has Paul flinging out options to John about what The Beatles could do next, so stuff like another tour, doing another movie (presumably a proper one and not another documentary.) Paul knew that it was done and over but he couldn't bring himself to make that break. In a way he forced John to end it because he didn't want to do it himself. Hence why Paul made the point a few times that John initiated the divorce first and Paul simply announced it to the media.

I don't think meeting Linda was necessarily a problem per se. It seems more like Paul sees her as a natural consequence of John deciding to go off with Yoko. It's important to remember that Yoko had been stalking John and following him, sending him used tampons, running into his car to sit between him and Cynthia, spamming him with phone calls to the point that John had to change Kenwood's landline number at least once, etc. She was a known problem and had a long history of harassment and stalking. Paul has more insight into her and John and I think he understood to a degree that her persistence was what John found attractive.

John decided to start going off with her in an official way and "accidentally" let Cynthia find him and Yoko eating breakfast together while Yoko wore Cynthia's bathrobe. Then John started divorce proceedings and Cynthia remarked in her book "John" that Paul was the only person in the media machine that had the balls to drive over to her house and comfort her. George, Ringo, Mal, George Martin everyone, was too scared of John to go see her and say "John is being a big piece of shit, I'm sorry." Meanwhile Paul took her a rose, bluntly told her that John was acting completely fucking nuts, and that he wished her well. He even made her a joking offer of marriage though I do wonder what would have happened if Cynthia had taken it. Julian would have grown up with a responsible male figure in his life at least.

So that happened either before or in the aftermath of the New York City trip, I can't remember the timeline properly. But all of that tension was floating in the background when John and Paul went to New York to promote Apple and that's when Paul invited Linda into his limo with him and John and in John's words "next thing I know she's married to him."

So to me it looks like Linda was Paul's solution to a specific problem: John using Yoko as a tool in his ongoing war on Paul and against the lotus eating machine that is The Beatles media conglomerate. John was addicted to heroin, starving himself because his eating disorder had totally distorted his body image, and then he latched on to Yoko because she encouraged his deluded fantasies about being a guru or a messiah hence the pharmacological delusion that was "Two Virgins" and the fantasy about being reborn as a 20th century Adam and Eve.

Paul knew that John was unstable and he simply stopped trusting him. He did not see a viable future with John due to John's drug abuse, years of inconsistent behavior, and then Brian dying the awful way he did. It was all going down the drain and Paul was freaking the hell out, hence he went on a spree of asking his girlfriends if they would marry him. They all said no except for Linda. John's jealousy simply stopped being a factor for Paul. John is jealous? So what? He's been jealous before, it didn't stop him from bullying Paul over LSD, it didn't stop him from running off to Barcelona, it didn't stop him from dating his stalker and bringing her to their recording sessions, it didn't stop him from abandoning his son. And then add on to that the fact that Paul's biological clock was going off: he wanted children of his own and with Brian dead there was no longer a visible path forward for two bisexual men to have a family together. Not in 1968. And Paul wasn't growing a set of ovaries and a uterus anytime soon so he couldn't make his own.

Whatever dreams Paul had of him and John going off on their own as Lennon-McCartney, whatever that looked like, burned to ashes. Paul woke up from their shared dream of a future together and he found a stable woman with a clear head who wasn't impressed by his Beatle status and was adventurous enough to marry a guy she had known for less than a year.

For Paul, who values stability and wanted to make a good home for his future children, the choice was clear. There was no path forward for him and John, not anymore, and John seemed completely uninterested anyway. Paul's insistence that John left him first is extremely important, not just because of the details of the divorce meeting, but because in 1968 Paul was coming to grips with the reality of the situation. That John did not love him anymore and didn't want to be with him anymore and instead wanted to humiliate him and degrade him instead out of some sort of hidden injury that we can only guess at.

As far as Paul was concerned John abandoned him first and didn't try to work it out. John actively cut himself out of their picture. Paul wanted children and didn't want someone with John's stability problems in their lives. He met Linda, took a deep breath, and jumped.