#they picked an excellent voice actor for her

[binah-beloved]

If you didn't know a promotional video for library of ruina on consoles dropped recently and it revealed what the 9 Patron librarians will sound like (Angela and Roland's Japanese voices were revealed in an earlier video but they are in this one as well)

Here's the video https://youtu.be/g2gNWK2J6yk?si=UBzxHLxL6yoVhtts

And to ask what is your thoughts on Binah's Japanese voice? I like it/think it fits personally (though I prefer the Korean voices due to bias of hearing it first)

my god...

ahem.

yeah it's good.

[demiesworld]

jjk men and how they show their love for you

☆ characters: satoru gojo, suguru geto, toji fushiguro, kento nanami, + choso

☆ genre: fluff, romantic, domestic

☆ contents: mentions of abuse & death in toji's part, but nothing graphic

☆ notes: reader is a female and uses she/her pronouns. ages are not mentioned in this, but the reader is of legal age. curse spirits, sorcerers, etc. do not exist. everything is purely fictional.

— satoru gojo: cuddling

he likes it when you two are alone together in the privacy of your home, cuddling together underneath a warm blanket while watching a really bad (in his opinion) movie that you picked out. and even though he really wants to critique the writer's script of the characters, and the actors acting performance, satoru doesn't say not a word to you about it. he just holds you around your waist tighter and nuzzles his nose into your neck. he likes the smell of you after a shower because you smell fresh and it's comforting to him.

— suguru geto: quality time

to suguru, there's no better way to keep your attention on him than taking you out somewhere or just spending time together. when he takes you out on a date, he encourages you to silence your phone (or better yet turn it off) to avoid any distractions. same goes for when you two are being intimate. he's a man that wants eyes on him and for you to listen to him. he does the same thing for you. you want to tell suguru about the nosy bitch at work? he's listening and giving you advice. you want to go to the netherlands? he's buying a plane ticket in business class for you two. whatever it is, suguru loves to spend time with you as long as you are on the same page as him.

— toji fushiguro: acts of service

growing up in the zenin family and being abused by them sculpted toji into the cold, callous man he is today. followed by the sudden and tragic death of his previous wife he didn't think he could find love ever again. not until he met you. you warmed this man's heart at the first time he saw you. he likes to show you that he loves you by doing things that makes your life easier. he'll pay and put gas in your car. he will help you with cleaning the dishes after a meal that you've cooked for. if you're running short on money for you rent, he'll even cover it for you and doesn't expect for you to pay him back. just the thought of you being comfortable is a good enough reward.

— kento nanami: words of affirmation

with kento, you would wake up in the mornings to a good morning text followed by him reminding you of your beauty, your excellence, and telling you not to let menial things get you in a bad mood. in your lunches you would find a hand-written note from kento complimenting you. in spite of being a full-time salaryman, kento would call you during his lunch break to talk to you and listen as you complain about your coworkers. he loves hearing your voice. at night, just before your head hits the pillow he would kiss your forehead and wish you a good night's rest. kento can be quite the charming man when it comes to you.

— choso: gift giving

choso... precious choso. he likes to shower you with gifts as a way to show his undying love and appreciation for you. if you mention that you like something, but you couldn't get it, best believe it will be either on your doorstep or in your hand within the next day. when he sees you eyeing something in the store for even a second, choso will buy it for you. he won't take any "no's", "stops", or returning the item back. choso bought it FOR you. if you return any of his gifts it will hurt his feelings and he'll think you don't love him. so be careful when you are trying to let choso know not to get you gifts.

letter from demi: i have adopted a new style of how i do... idk what you call these blurbs? headcanons? idk. anyways im changing some things up with how my posts are... styled. i hope the work and the way it is made looks good! lmk what you think babes!

[lets-try-some-writing]

Transformers One: My Thoughts and Critiques

Note: This is going to be a very long read, so be prepared.

Before I begin my thoughts on the film, allow me to state beforehand that I will be looking at this film as a standalone film first and foremost. I will not be considering the fact that it is meant to be part of a trilogy until the end of my assessment because a good piece of media should be capable of standing on its own. With that said, minor allowances will be made because of this fact.

Additionally, I will not be applying any other continuity lore to this film review in order to limit my continuity bias (although I will make frequent comparisons). Please note that these are my thoughts and opinions and the fact that I even bothered to write more than a two sentence 'it sucked' with a wail of anguish tacked on means that the film has value. I am merely picky. Obviously, this will have a heavy does of my personal takes thrown in along with genuine analysis, so don't take my assessment as gospel.

From this point onwards, spoilers will be present. Read at your own risk.

The Good

(Me trying really really hard to not accidentally be negative.)

The visuals for Transformers One are, of course, stunning, and the voice acting, as a general rule, is very on point. Chris Hemsworth as Orion Pax and later, Optimus Prime, was a decent decision. I like his voice as Orion, but regarding Optimus? I have opinions that will be discussed later. But for the time being, his voice as Orion gives the character life, emotion, and a great deal of ethos. He's likable and interesting, giving him depth that we have not seen in any other Orion Pax since G1.

Megatron's voice actor was also incredibly well picked. The emotion and tone in his voice was undeniable and gave D-16, and later Megatron, such enthusiasm and vibrancy that I (and likely much of the audience) couldn't help but feel for him in many of his interactions and speeches. I loved hearing how his voice evolved as he went, slowly becoming more aggressive and deep. Elita-One was a reasonable pick when it came to voice actor. She certainly had tone and opinions. Bumblebee's voice actor was very entertaining when it came to giving the character development. Having Bumblebee with such a enthusiastic voice actor made him into someone who had far more depth than he likely would have otherwise.

Sentinel's voice actor was golden. He comes off just the way the movie needs him to be, and it is done quite tastefully, although it certainly doesn't break any molds when it comes to the cliche evil character arc. I adored Airachnid's voice acting. It fit her well and was a polite, but well earned shift from the snootiness seen in other continuities. She automatically has more depth simply because of her voice.

The worldbuilding for Transformers One was well done considering the time limits of the film and the focus that had to be given to other subject matters. There are many issues of course, but overall I cannot fault a single film for not having the length and depth of something like Prime or the IDW comics. The flora and fauna showcased were bright, and at least in the case of the flora, quite diverse. The designs for the few creatures showcased were interesting but not overwhelming, especially for the Quintessons. The shift from inorganic to organic was clear as day with their presence, and highlighted the love and care put into every single frame of the film. It was clear that there was real love shown to each character, movement, and scene. For once, the creators seemed to genuinely care about what they were doing.

The fight scenes were stunning. They flowed incredibly well and made excellent use of the environment and the biological aspects of fighters. The use of partial transformation and transformation in general was something I have never seen given such emphasis in a Transformers film or cartoon, not since Prime at any rate. It was done perfectly in my opinion, and showed an actual understanding of how the characters should move and likely would move in various combat situations.

Onto the actual film. The movie hops right into the action and we, the audience, are given a fantastic view into who Orion Pax is as a character. We see his longing to be something greater right off the bat, giving new fans a solid start for his character. Old fans are also given a nod to various continuities with his character design and his overall knowledge and interest in the archives tied with his station as a miner.

The design of Iacon was a fascinating shift from other continuities, that with everything being underground. And D-16's introduction was well integrated into the scene. His and Orion's friendship is masterfully done, and their interaction on the train gives amazing hints into their past, potential history, and creates interesting lore for an audience to ponder. Their relationship is by far one of the most important and intricate parts of the film. It is a masterclass in setting up a relationship prior to a film or story actually shoving two characters into a setting where more of their traits are showcased. Honestly, we can see so much about both of them from that first scene.

D-16 bailing Orion out of trouble quietly like its normal. Orion going through all the effort to give his friend something of value that is both personal and has money attached. Banter that showcases their depth and rich relationship that also flows smoothly and naturally, like old friends should. We get to see how Megatron will come into being through his adoration of Sentinel Prime and Megatronus Prime. His youthfulness combined with Orion's desire to see and experience everything brings out the best in both characters, giving them reason to be together and to get along.

I will never stop giving my praise for that first scene with D-16 and Orion since it was so tastefully done.

Their work in the mines is well directed and the introduction of Elita is... a thing. (thoughts later)

The lore presented in the mining operations is ingenious as it showcases both Cybertron's situation, lays the groundwork for the knowledge characters possess later in the film, and overall shows D-16 and Orion's hesitant heroism (at least on D-16's part) when they save Jazz from certain death. In some cases, the introduction of new information is masterfully done through the use of referencing demotions and promotions in a manner that applied to the situation in question. The lore regarding energon and the overall loyalty of the miners also demonstrates much of the mindset Cybertron is operating under and is done quite well, as seen with the cogless bots being totally fine with their lack of transformation ability for the most part.

Brilliantly done pre-set mindsets. Especially showcased with Sentinel's message to the cogless leaving them all in sheer awe and cheer. I could sense the villain a hundred yards away, but I could tell that the characters believed what they were hearing, and that in my opinion is a show of how well presented the mindsets of the characters and overall view of the society are.

The race was fun to watch, with plenty of spectacle. Orion and D-16's conversation pre-race showed more of their character and D-16's adherence to the rules vs Orion's desire for something more. Orion leading them through back roads into the race also added more depth to Orion's character which I adored (and was unfortunately underutilized). I appreciated the tricks pulled by Orion and D-16 to win. I also adored the brotherhood shown between them, especially how Orion went through the effort of giving D-16 his chance to be a hero, even if D-16 was hesitant. Their brotherhood in the beginning of the film was honestly one of the best highlights, and distracted me from many other things that I will discuss later that were less than optimal.

I loved seeing how excited D-16 was toward the end of the race, and of course how Orion stopped to help him. Their banter in what I assume was the medical bay was also enjoyable and laid further groundwork for D-16's character.

The scene with Sentinel congratulating D-16 and Orion Pax was suitably filled with awe and stiltedness in equal measure. It played well and showed D-16's character as well as Orion Pax's passion and drive. One thing I will not fault the film for is Orion's devotion to his goals. They were clear and remained so from the get-go along with D-16 admiration (right up until the fifty minute mark).

The meeting with B-127 was unique, and an interesting show into the madness that forms in those who are condemned to the bottom rungs of society, even though it was played for laughs. The introduction of the main plot device was something I have critiques regarding. Although, with that said, D-16 and B-127's reasonings for going were both done pretty well. I like how D-16's reason played off his character and previous history with Orion. Again, the brotherhood between them is key in this film.

The logical leap to get onto the trains was well done and also set up essential plot devices for later. Elita's presence was odd, but whatever.

The fight scene on the train and the rush to stop Elita from telling on all of them was well played for the most part. Her anger made sense and her snark didn't exactly come from nowhere. Her taking of the map made reasonable sense (although I have opinions). B-127 is vaguely humorous at times during their journey, which I can appreciate in small doses. (His cave comment got a vague chuckle out of me.)

The introduction of the Quintessons was well placed in light of the future scene with Sentinel. I loved our main characters maneuvering to avoid detection as it showed their cooperation as a team for the most part. Orion's knowledge of the Quintessons made sense in light of the very first scene in the film (again, it was an excellent start to the movie and laid a lot of groundwork).

There were a few scenes in this film that really kicked me in the feels, and the moment the group enter the cave and find the bodies of the dead Primes is one of those moments. The scene is solemn, not a hint of snark or banter to be found. Everyone is lamenting, thinking. The atmosphere was perfect, and the sheer emotion from D-16 in particular was delightful in its own quiet way. The way he sat before Megatronus Prime was emotional. For once in the rapid fire mess that is TF One, time was taken to let everything sink in. You can see a quiet shift in him, and in Orion there is something that makes the audience note how lost he appears. Elita and B-127 only added to the scene as their usual lines died off, letting the scene simply breathe. It was, in my opinion, very well done. Especially with the music running softly in the background.

Their worldview was shattered in that cave, and I adored seeing it play out.

Alpha Trion's character was done well, very well considering how short of a chance he had to be on screen. He showed proper confusion, but then moved along once he noted the situation. There are things I would change obviously, but his character played its part, and I appreciated how he got to the point and limited his cryptic behavior to an extent. He seemed tired, as he should have. His death was also well timed and I appreciated how much the movie wasn't afraid to straight up off a titular character in other continuities. The scene with the T-cog distribution was also a delight to watch. The animation was very clean and it gave me a whole lot to ponder biology wise.

I must say Sentinel's interaction with the Quintessons was, quite frankly, not surprising. But it did convey its point well. I like watching this noble looking character finally drop his façade fully, bowing before invaders and shocking our main cast (even if the audience could see this coming from two seconds into the film).

D-16 and Orion's first argument hit me in the feels, mainly because I really did understand D-16 far more than I did Orion. He was angry, he wanted justice, and above all else, he looked lost. I was simply enthralled with the way his character started to shift and change, going from passive to aggressive in response to rapid fire hits to his worldview, ultimately leading to a perfectly reasonable bot shattering under the pressure.

Alpha Trion offering the group T-cogs from the Primes was interesting and left me with many worldbuilding related questions. The scene where the group first transform was fun. I liked how the characters were given a chance to show their inexperience and struggles. Disregarding the comedy, it made perfect sense for bots who'd never once transformed to have to learn to do it all from scratch, trial and error. It was fun, especially D-16's leg being stuck halfway into turning into treads.

From here my praise is a bit more limited, but I enjoyed seeing D-16 flex his authority and get his group in line. I appreciated the moment of tension between him and Orion, showing the conflict brewing and yet the lingering brotherhood that had not yet cracked. It was delightful to see the war going on inside D-16 in that moment, the hesitancy and the care for his best friend buried under newfound rage and betrayal. Orion later doing his best to try and check up on D-16 was a delightful touch that only further cemented their struggling companionship as the film progressed.

Seeing Starscream was fun. Shockwave's voice was a nice addition and the extra emotion I find was a bonus. Also Soundwave with unique abilities. Nice.

D-16 beating the ever living snot out of Starscream was fun on its own, at least without considering the context and pacing. I enjoyed Starscream's character and the change to his usual cowardly behavior was, in my opinion, well earned and much needed (at least so early on in this new continuity). Orion's growing confusion and uncertainty was a lovely touch. I also adored how he stepped in, bringing D-16 back to reality long enough for him to spare Starscream and make his declaration.

Just going to throw this in here. Sentinel Prime is peak evil and I loved how cruel he was throughout the entire film. He oozed snooty and evil billionaire. The entire scene with him slaughtering Alpha Trion like some sort of hound, his dialogue, and later his insults toward D-16 were just *chef's kiss*. Him carving Megatronus's symbol onto D-16's chest was downright evil and served to further prove just how terrible he was. It was a great scene with very solid dialogue. Honestly, despite how evil he was, Sentinel was one of my favorite characters simply because he was consistent and his dialogue was very well done without any severe stilted moments right up until the end.

Not much to say about the D-16 capture and the Orion & Elita-One pep talk scene. It happened. More thoughts in The Bad section.

Additionally, D-16 staring death in the face was brilliant. I loved seeing his sheer defiance, and the way he met his potential end with honor even when B-127 was willing to stay down. It spoke so much of his character and his development since the beginning of the film. He went from wanting to hide from fights to actively standing up for his rights.

Orion talking to all the miners was, in theory, and probably on paper, a fantastic scene. It wasn't as grand as it could have been, but I really appreciated the size difference between him and the others combined with his attempts to rally them. His speech was moving and I could see his comradery with his fellows the spark of Optimus Prime within him. I loved seeing him rally his troops, encouraging his people to stand and fight. The miners being all so small really did wonders for the scene though. I know I already referenced the size difference, but seeing all these cogless bots look up in awe did something wonderful, especially with the lighting.

The revelation of the truth was downright brutal. It wasn't done as well as it could have been, but I appreciated it all the same, even if it gave off "I'd kidnap a thousand children before I let this company die!" vibes. (Thank you, Monsters Inc).

D-16 fighting Sentinel and then the subsequent attempt on Orion's part to calm him down was... painful (in a good way). I knew it was coming, I could smell it a mile away, but I honestly hadn't expected the scene to play out as it had. Orion trying to stop D-16 once was expected. Him trying again and getting hit was very him, and very powerful with D-16's response thrown in. Seeing the anger that had been brewing in D-16 fade for a moment to instead be replaced by guilt and grief for a precious second brought me nothing but sheer joy. It was such a turning point for the character, especially when the disbelief in his tone hit. D-16 holding onto Orion while on the verge of breaking down, warring with himself, and then deciding to let Orion fall?

Beautiful.

In that moment, we got to see D-16 metaphorically die alongside Orion Pax, breaking their brotherhood so that Megatron could rise from the ashes and try to bring down everything that led to their paths crossing and ultimately diverging. Honestly, I would have paid good money for an alternate ending where Orion died and stayed dead for a while longer, specifically so that Megatron could have a chance to grieve and contemplate. There was just so much going on in that scene with the music, the loss, and the tension that made it a fantastic visual.

The whole comparison between Orion and D-16 as they changed and morphed was a wonderful thing to witness. I enjoyed Megatron's birth a bit more than I did Optimus's, but that was largely because as Orion approached Primus's core, I personally would have adjusted a few small things to keep the dramatics in place. Megatron's birth however was truly stunning, showcasing his strength, his rage, and his passion all in a few short scenes. The music was phenomenal and only made it all the grander. His speech was simply perfection and I have absolutely no complaints. The concept of Megatron was rightfully embodied there and I was all but squealing in excitement when he made his declaration.

Optimus and Megatron's battle was amazingly done. The fighting and the use of weapons and transformation was spectacular and I have exactly zero complaints regarding the fight scene on its own. Optimus then banishing Megatron from Iacon had its own set of feelings, although, there are things I would change.

Bumblebee's line at the end of the movie was actually funny. It got a very solid chuckle out of me.

The flashback was adorable. I loved seeing the contrast between the bot who D-16 was, versus what he became. A brilliant scene, albeit a tad out of place in my opinion.

I have exactly nothing good to say about the last few sequences of the film. But I will say that Megatron is forever awesome.

With all that said, the music for the movie was phenomenal and made scenes that otherwise would have been simply moving into heart wrenching moments of awe. The Fall is by far my favorite simply because of all the emotional tracks in it. Every time I listen, I see that pivotal scene play out in my mind. Megatron and Optimus's birth, so perfectly contrasted and the emotion played out spectacularly. It's been days since I watched the film, and the emotional value of the music hasn't worn off in the slightest.

The Bad

(Aka, my rant combined with actual critiques)

Oh boy here we go.

Orion is just off. As a character, there's something off about him. He's perfectly acceptable on his own, but there is a lack of substance to him that makes it difficult to find him compelling at times. We never really know why he even gives a crap about the things he does. He just cares about the Matrix and becoming greater because of... reasons. There's no basis for his interests, not like D-16 who expressed in dialogue and actions why he cared about the things he did. He loved Sentinel because Sentinel "saved" them. He loved Megatronus Prime because he was the "strongest Prime who ever lived". Orion's reasoning for caring about the Matrix and freedom in general amounted to wanting to help Sentinel. I mean, it made sense, but it wasn't particularly fulfilling for his character, especially when the rest of the population was perfectly fine with their situations for the most part.

There needs to be reasoning. What happened to him to have him break the mold and try to act out? Why did he break it at all? Orion is obviously an outlier in mentality, and therefore he should have at least been given a single line of dialogue with D-16 to explain his interest, (excluding his declaration of wanting to help Sentinel find the Matrix. That is a mere statement and it didn't give me much of anything to understand why he cared since he wasn't as devoted as D-16). This issue follows him throughout the whole film. He's a bit of a shell at times, although it could have been due to the way his dialogue hit. This lack of foundation for his character made it difficult for me to really feel for him like I did with D-16. When D-16 got angry, I was on his side because I understood where he was coming from. But with Orion? He was always just... there. He expressed emotion and I loved seeing how he shifted, but his growth didn't match the pace the movie set, leaving him in the dust a bit.

It weakened his character drastically.

His voice is also a tad... bland. No offence to Hemsworth, but I just don't think he managed to capture Orion like Brian Tyree Henry managed to get D-16 and Megatron. Orion had his moments, and those moments were spectacular, but his speeches never had any of the depth of Peter Cullen's Optimus or the youth of TFA's Optimus. He lacked something distinctive to set him apart. He tended to sound somewhat blank in certain scenes, almost like Hemsworth had only just been given the script (or was still attempting to be Thor). It was especially bad when Orion becomes Optimus Prime. Where Hemsworth did an arguably fantastic job as Orion, his voice simply didn't fit Optimus. Am I biased because I enjoy Peter Cullen more? Yes. But also, Optimus is a mech meant to show power.

He needed a deeper voice desperately, something that would rattle and have the tone of a true commander, demanding respect even when he's being gentle. Hemsworth was a fine Orion Pax, but Optimus needed to change and become something more in my opinion. They didn't even have to change voice actor if Hemsworth could pull off a bit of range like Brian Tyree Henry did with D-16 and Megatron.

No complaints about D-16's introduction.

Back to the film. The sheer amount of background Easter eggs was fun right up until I started seeing far too many familiar faces in the same place. The world of Transformers One, unfortunately, feels incredibly small. We see Iacon and we see the cogless and Sentinel's servants, but nothing else is really there. It's a strange emptiness. I can tell the film creators were trying to fill the void, but we never got the chance to see those who did more than just mine. Where's the middle ranks? Who is running everything else? Why is every single Autobot a miner? There should at least be a few middle rank bots wandering around. We did see scenes with random civilians at the end, but I would have liked to see a greater range of work involved in Iacon. Even just a medic would have been great. If those things don't exist, then how does the city operate? Where the heck are the other cities? Is there a council of some sort? How is Sentinel running literally everything without an inner circle? We only ever see Arachnid after all.

Honestly, a tad more variety is what we needed. Not to say the variety we got was terrible, but seeing a medic, a random vendor, or even a military drill sergeant in the background would have done wonders I think.

Additionally, there should not be so many familiar bots all in one place. I know this is a new continuity, but it feels weird because there is no way every single big Autobot just happens to come from Iacon because they were ALL cogless miners. If that is the case, that destroys so much depth it's not even funny. I mean, the continuity can do what it wants since its new and has its own lore, but I suppose its a bit of a let down if everyone shares the exact same origin. Additionally, the voice acting for most background characters was... fine. Some scenes were fantastic, like the race where everyone rushes to see the miners on screen. But the movie could have greatly benefited from a few more unique and passionate voices. I wanted to see true anger, REAL heartbreak at the lies that had been fed to the cogless. This is more petty than anything else, but a few more voices and a bit more depth would have been fantastic.

It's only made worse by the fact that the entire film just feels tiny compared to the scale its operating on. One city, one mining area, one train, one open field, one race track, one abandoned base, one rebellion base, and a cave. Sounds good on paper, right? Lots of room to move. But we never see anything about any other part of the world. Not even a mention or a poster on the wall for a different city. It made everything so much smaller and more controlled. That's not necessarily a bad thing film wise, but giving artificial depth through background characters and whatnot would have been great. Even just some chatter from background characters would have served this purpose. Think about Star Wars or Lord of the Rings. Both movies referenced planets and places that came into play later far before they actually showed up, and in only one or two lines. TF One needed such dialogue if it wanted to establish the scale of the world. Unfortunately, we didn't get that.

The first mining scene in the movie agitated me on a spiritual level. Not necessarily because it was bad. I found the actual operation of the scene very interesting, especially seeing how Cybertron reacts to the mining and how the bots go about getting energon. It was downright fascinating watching the trained and trialed methods the crew used to get in, do their mining, and get out. Jazz was hilarious. However, Elita-One murdered the mood for me.

Elita is... an interesting case. I will just say it outright. She serves no purpose within the film that actually means anything. And this fatal flaw reflects horribly on her character. On her own, a bit of snark and anger over her situation and even the arrogance would be good character flaws for her to work past, but combined with her place in the film, it made her nothing short of grating. Every scene she did anything more than fight or offer reasonable commentary was a slow torture for me. There was nothing to give me a reason to like her. She's an arrogant bot who thinks she knows and can do everything, and that bothers me. If there was something for her to have to go through to work past those flaws, then I could appreciate it. But she maintained her poor disposition throughout the entire film with little to no outward changes. It was a wasted character and an arc that was never even given a chance to exist.

With that said, every time Elita turned up and started getting talkative I died a little inside. I am prepared to be crucified for that take.

Elita's attitude after Orion and D-16 saved Jazz was just the worst. Even though I understood her take, she still bothered me with her rudeness. She's a very selfish character if you really look at her, and it shows. Her voice acting wasn't bad, although there were a few repeat lines that got stale fast.

The Iacon race was a fun concept, but Orion's character was again left to exist in a vacuum when he took D-16 to the race. Evidently, Orion knows a crap ton about the underground and travelling discreetly. This skill is never seen again. Nor is his knowledge of travelling quietly on his own ever mentioned after this scene, to my knowledge at any rate. Whatever the case, he was given a hint of lore and then left to go be rebellious for reasons we still do not have a solid foundation for. Honestly, I understood D-16 far more than I did Orion and I think that's a problem in a film meant to be their origin.

I have no real complaints about the actual race. The scene with Sentinel had nothing for me to comment on negatively.

Bumblebee is again, another character who holds little use in the film. I understand WHY he was put in (fanservice and all that), but the way he was implemented was very poor. There were far better ways to incorporate him into the story and actually make him important and telling. Instead, he's just a chatterbox there for jokes and one liners. He's far less agitating than Elita though because at least he has vague chemistry with our main protagonists. Also, B-127's whole nickname sequence should have been cut, or at least sidelined a bit. It really wasn't that funny, and if the crew were trying to show how isolation has gotten to him, the whole fake friends part got that across quite well.

The plot device was ridiculous. Not necessarily in its existence, but in its implementation. You want to have a SOS message from Trion to be the key? Cool. DON'T put it in the actual trash in the most obscure place on Cybertron. The fact that the bloody message survived is a miracle and quite frankly, it felt contrived. There were far better ways to implement the message. Think about Stars Wars and R2D2. Personally, I would have been privy to a bit of War for Cybertron coming into play, or possibly Smokescreen from Prime. That way Bee could actually be useful while still offering the crew their plot device. That said, it wasn't the worst thing and with a bit of grace, it is not a major sin.

The train scene with Elita was actually painful to watch. I despise her so much, and she just made the whole thing agony to get through. I skipped through her kicking the guys around like boyscouts because it was not appealing in the slightest. (I do understand some people like her, but I am not one of them and this is where my bias shows most.)

No complaints about their stint on the roof of the train.

Elita's entire scene on the ground where she gets in Orion's face made me want to strangle her. I can understand her reasoning, but she's so frickin annoying that I simply could not care about her in the slightest. Her lines might have even been funny if she hadn't been such a poorly done character.

Why does she get the map??? Why??? She isn't even meant to BE there??? Orion, why are you letting her walk all over you??? That's your evidence! You can't even trust her! Let D-16 read the bloody thing. He feels like he has the most braincells out of all of them. I get that they were aiming for girlboss and mom friend vibes combined with Elita, but she's simply agitating and I think it would have been far better for Orion or D-16 to lead the way and show more of their character. Actually, let Orion do it. He snuck into the archives all the time. He's a perfect fit for the role and would have given him the chance to show off that foundation that he lacked throughout the entire movie. If they REALLY needed Elita, they could have used the chance to build that oh so lovely ship bait for fans by having Elita and Orion have to work together to successfully read the map. After all, Orion knows all the weird underhanded stuff and Elita was a team leader for the miners. Their combined knowledge could have been a bonding moment AND been useful to the plot later to show why they fight together in a reasonable fashion.

Again, Transformers One feels tiny. There was one creature type shown on screen, and I understand animating is a pain, but even just some shifting shadows as the group walked would have been nice. Would have made things feel more alive and artificially expanded. (again, a petty complaint above all else. Maybe Cybertron just doesn't have a ton of animals.)

No complaints about the cave scene.

So... T-cogs can just be taken from the dead? Is that not a health issue? We see later that Megatron taking Megatronus's T-cog changes him further. Does that imply that all four of the crew are now biologically related to the Primes? If those T-cogs aren't rusted to hell and back after fifty cycles and don't give the crew infections later, this has some startling implications. Less of a complaint and more of my confusion. Seriously, are there no prerequisites to have a T-cog when a bot's original one has been removed?? Does this mean that biological offspring can be a thing via passing on a T-cog?

(I have some worrying thoughts about relationships on Cybertron now because of the shift in characteristics for the crew when they got their Prime inherited T-cogs)

Too much exposition from Alpha Trion. It fit the scene certainly, but the whole film had a running problem of mouthing off and throwing exposition around like candy. It was not done particularly tastefully 90% of the time. In fact, the only exposition that I liked was from D-16 and B-127 because it felt natural for them to explain things as they did. Trion's was cool certainly, and honestly if Orion's first exposition in the archive and then Trion's were the only dumps, I would have been quite happy.

I can't believe the Primes fell as easily as they did. I understand they were ambushed. But how on earth did Sentinel manage to personally cut down several of them when, up until that point, Alpha Trion said they were winning? One sneak attack is understandable, but the rest was a bit unbelievable. Especially Megatronus Prime.

Why is everyone suddenly so chill with killing? I mean D-16 just shot someone to DEATH despite having never raised a hand to pretty much anyone with intent to kill up until that point. Is this a society thing? Cultural? (I am not talking about Orion here. He's a sunflower compared to B-127 and everyone else going off and chopping enemies to bits)

Regarding D-16's arc, it was rapid fire from this point onward. I can see what they were aiming for, but there was a distinct lack of anything to really cause him to fall as far and as fast as he did. Actually, allow me to rephrase. Rather it was that he HAD reason, it was simply too fast paced of a film for me to feel his change and truly cement it in my soul. It stuck and it most certainly made sense, but it was a bit like whiplash when he chose to let Orion fall to his death despite them having gotten along up until that point for the most part.

Orion is an idiot as well. He spent all of D-16's rapid fall into warlording staring at his best friend like a confused goldfish. He did very little to step in aside from try to ask if D-16 was alright and stopping him from killing Starscream. Yes, D-16 was captured and there wasn't a lot of time to do therapy. Yes, the rapid character change occurred literally over the course of like, a day and change, so I can't fully blame Orion. And do I understand why he was so hesitant? Yes of course. The change was super fast. Do I also understand how and why D-16 fell? Absolutely yes. Were both of these characters rushed? Abso-frickin-lutely. The foundations were there and they were fantastic. They just had to be roller coastered to their completion without any regard for the emotional value of pacing their respective shifts away from their previously shared goal.

I do not truly blame the film creators for the rush, but it does kill a lot of the emotional impact that would have come if we'd been given more time to see D-16 and Orion have more and more arguments over increasingly difficult moral decisions.

Starscream and the High Guard are stupid. They are a fantastic concept on paper, but much like half the cast, their implementation was poor in the extreme. They came from nowhere, were exposition dumped into existence, and promptly followed the rando who beat the snot out of Starscream and could have, for all they knew, been an actual spy. For some of the best trained bots on the planet, there was not a single braincell amongst them.

Starscream had so much potential too. But that vanished into smoke twenty seconds into his face getting bashed in. Soundwave looks like a taco. And he acts like one with his lack of substance character wise. Shockwave was neat right up until he got wrapped up into the stupid gag with B-127. It's a dumb joke and it destroyed whatever seriousness was building. Like come on guys, we are at the one hour mark. It's time to get serious or go home. Again, aren't these the High Guard???? Very important very well trained bots??? Why are they acting like savages and petty children? We at least need explanation for that if we are rolling under that rule. They needed more depth desperately. As it stands, they were nothing more than free guns for D-16 to yoink for future movies.

Also, again, Orion the goldfish. Standing there all confused without doing a bloody thing about it. He's so passive in this movie and it infuriates me because it feels like his character arc never picked up the pace like D-16's did at the hour mark. I understand he's going through a lot and watching his bro fall is likely a bit shock to the system, but one would think with how close they are that Orion of all bots would be the one to try and humble his brother in arms. (I am aware he did his best with what time he had, but still). I know that if one of my siblings decided to go all murder hobo on me I would be the first to get up there and throw a shoe at their head. Once more, I do understand that Orion was likely in shock, but due to the pacing of the film, he feels a bit like stale bread right up until he's literally shot.

Neat, a fight scene. D-16 is captured, ooooh that could be interesting- aaaaaaaand there's Elita being the worst again. Great pep talk. Fantastic even. Now I hate her even more because all I am getting is sheer arrogance and not even in a humorous way like Knockout from TFP. Good heavens Elita sucks.

"We won't follow you." *Elita exists* "wE wiLl fOLLoW yOu" - Frag ALL the way off with this garbage. High Guard indeed. High on drugs and low on self-esteem. Elita has done NOTHING to prove herself worthy of being followed, or Orion for that matter. It would make far more sense for the High Guard to just be pissed off and opt to go fight Sentinel on their own since they've lost their new leader and a ton of their troops all in one raid. It would have been majestic for them to straight up decide now or never and lead a charge, and then have Elita and Orion join them with unexpected troops in the form of the cogless.

Again, aren't these guys meant to be the High Guard? Why can't they get into their own city? Surely they have contacts or old knowledge? Actually, why can't Orion bargain his way into their ranks using his knowledge of all things underhanded in Iacon? It would have been a great callback to his scene getting himself and D-16 into the race. I know they sort of went that route by having Elita get everyone in while Orion went to fetch the cogless, but it would have been way more interesting to see them working together in a logical manner and planning their attack. I know there were time constraints, but that doesn't mean they couldn't have worked together for a short period of time and shown either the brutality of the High Guard or their similarities in regards to goals and ideals.

The scene with Orion addressing the cogless was certainly stunning, but it needed more. Emphasis, tone, lighting, music. I think it needed something just a touch grander. Not too much mind you. Orion needed to have come back with a new aura around him, something to really make him stand out aside from his newfound height. This is his dawning moment after all, his first spark of Optimus Prime. If he'd spent some time scheming with the High Guard, maybe he could have had an air of a fledgling soldier, just bloodied and ready for battle. He did punch Darkwing, and that certainly helped, so I will give him a pass in this regard. His speech still would have meant more if he'd been a bit grittier and yet still kind, especially contrasting D-16 who took one life and then never stopped doing that. His compassion was a nice touch, as well as his relatability to his fellows, but there had to be that hint of something more commanding. He had the inklings and I appreciated his first real speech, but the rallying cry was, in my opinion, a tad off. It could have been due to the voice acting. (Seriously though I did love this scene, I just have itty bitty suggestions regarding how it could have been better. And Orion made a funny face halfway through his big pep talk so there's that).

The background character voice acting didn't show quite enough confusion or awe for me to really be sold on the scene. I would have preferred something more akin to the TFP scene where the kids are introduced to Optimus. Shock, awe, excitement, a hint of fear. Those things were present of course, and I understand the miners were tired from doing their million and a half shifts. But a bit more could have been done. More background chatter essentially.

No complaints about the Sentinel and D-16 interaction.

The battle scene was well done, all of them. The Arachnid thing worked, but the big reveal of the truth did absolutely feel torn right off of 'cliche villain downfall bingo'. I would have liked something a tad more original. Just a bit. But it did get the point across well enough so I can't really be upset.

Again with the background characters. It wasn't bad, but where's the RAGE?!? Where is the sheer chaos? It was emphasized later with the battle, but I think that scene with the big reveal needed a bit more violence so show just how unruly the population ended up. It could also make it clear why so many would eventually choose to join Megatron. Give me ONE guy with a Molotov cocktail throwing it at a statue of Sentinel or something. Why not have some of the cogless start attacking their superiors as well as Sentinel's servants, just to show the sheer destruction going on? Please, it would have been delightful and only have taken up like, five second of screen time MAX.

No real complaints about the scene with Orion, D-16, and Sentinel. It was still fast paced, and Orion still felt a bit like a goldfish, but overall the scene was perfect. The pacing is all that made it feel somewhat off.

The birth of Megatron was perfect. Zero complaints.

Once Orion reached Primus's core, the birth of Optimus gave off "Meeeeeeeegatrooooooooon~" vibes from the TFP Movie (Thank you Unicron. Love the voice acting man). Alpha Trion's voice was not doing it for me. It made a grand moment rather cheesy. Personally I think Orion needed whispers, echoes and flashbacks to go along with D-16's increasing violence and declaration. It would have been the perfect time to throw that flashback from the closing part of the film in. Let Orion see a ton of rapid images of him and D-16 along with increasingly loud whispers from all the Primes, cumulating in "Arise, Optimus Prime." Maybe even chuck in visions of the dead Primes, showing bits of their lives as a way to nod to the knowledge contained within the Matrix (if this continuity is going that route anyway. If nothing else, it would look cool and allow each Prime to meet Optimus in a natural manner during his creation). Additionally, that way Optimus can maintain a hint of mysteriousness but also grandeur.

Optimus flying up to the surface like superman.

I get what they were going for, but it was a tiny bit silly. I think it would have been grander for Optimus to have taken a bit longer returning, simply so that he could have the very earth part for him Moses style. I am not entirely sure. There isn't really a right way to fix this scene in light of the time constraints, and frankly the sonic shoot up to the surface did look cool and served its dramatic entrance purpose. I don't necessarily dislike it, but given the opportunity, I would have gone a slightly different route.

No commentary on the battle. It was perfect.

Again, Megatron's character arc was seriously rushed. He needed far more time. I adore him in TF One. He's quite literally the best character in there. But everything leading up to his final moment was rushed and it left me feeling unsatisfied at the end. There was plenty of foreshadowing in small ways, but those didn't start happening until the hour mark, give or take. Also, Optimus banishing Megatron from Iacon?? Why just Iacon??? Where the heck are the other cities?? Do they exist?? I'm spitballing but the whole scene felt ever so slightly off. Megatron limping into the distance didn't feel quite right. I honestly think that in exchange for wounding him, Optimus should have gotten a scar somewhere in return as a reminder of his cause. Megatron got Megatronus's face burned onto him. Let Optimus get a similarly noticeable marking, that way both players show a mark of their fallen friendship.

Sidenote: How does ANYONE know how to fight in this film?? Sentinel, the High Guard, and those with T-cogs makes sense. Orion? Sure. He did a lot of rough housing. Elita? Maybe. Hard to tell with her limited background. But D-16 and B-127? The rest of the cogless? Where did they pick it up? Its a recurring problem. And how does the crew improve so fast? I mean, they know how to fight with their big ol saws from mining, but we don't get to see in anyone except Orion so its hard to believe anything. We are never given a solid time period between the journey to the surface and then back down again, and really I think some of that travel time should have been spent with the group sparring or otherwise bantering about their backgrounds to lay the groundwork for their skillsets.

Regarding the final scene of the film, its really bad. Painfully bad.

(I would like to throw Elita off the nearest structure thank you.)

I get that they are laying the groundwork for more movies, but the flashback was quite forced. It was cute and absolutely had a place in the film somewhere, but not right there. It didn't feel quite right, or at least not with how it was edged into. The narration was just... weird, to me at any rate. The T-cogs being distributed was cool, certainly. But it raises many questions about the logic of it all. It feels dues ex machina. Not in a good way either. Not saying it wasn't cool, but it did feel forced. Like a participation trophy. I would have loved to see the cogless remaining that way and having to collect cogs from wherever Sentinel stored them, or otherwise take them from the fallen. That way they could have more diversity going forward.

That whole ending bit with Optimus and the Autobots running into the sunset was stupid. There is no other way to describe it. The scene gave nothing to the film and I think it would have been spent far better if we saw Optimus and Megatron both gathering their armies while the Quintessons loomed overhead. Megatron watching his warships be built and then him looking up at the sky. Optimus gathering up the cogless and helping them get their T-cogs via Matrix and then also looking upward. Only to then have it end with the Quintessons looming above.

The Quintessons were so underutilized in TF One it wasn't even funny. I don't even really know why they were there. I mean I understand they had to exist for war reasons and Sentinel and all that. But if they are such a threat, then they need to either be driven off so that the Cybertronian civil war can happen, or they need to make themselves everyone's problem so that Optimus and Megatron's spat looks all the worse for the planet.

There needed to be more for the Quintessons. They needed to have played a bigger role or to have been somehow removed from the playing field by the end of the film. Even one scene with them seeing Sentinel falling and then opting to get the heck out of dodge would have served well enough. But they didn't. And for that reason they are just... there. Letting their prized slaves rebel. They won once against all the Primes. Why not do so again?

Also why do they want the energon??? There are too many questions right now and not even the barest inkling of an answer.

The Characters

(A look into every character of note + my edits to their development in the film.)

Orion Pax/Optimus Prime:

Orion's character is quite well done. He has goals, morals, and a personality that shines in the right environment. His adventurous spirit gives him life, and his desperate desire for something more makes him compelling when he's given the opportunity to really flex his morality muscles. He has a bit of fight in him, an eagerness to improve and assist those around him that makes him lovable and fun. Every moment he was on screen was a delight, and there was never any point where I directly despised his presence. He had moments of greatness, and moments where I would have preferred someone consulted Peter Cullen for advice on scenes where more Optimus was meant to show. His arc was steady, but it didn't move quite fast enough to match the pace D-16 set with his rise (or fall). It was clear Orion was meant go from largely trying to become greater for his own personal reasons to instead fighting for something more than himself. The creators were attempting to broaden him, give him more to fight for and more to lose. They were well on their way to doing that, but Orion's arc simply did not move fast enough, leading him to end up feeling a bit static while D-16 steamrolled ahead.

To adjust him, all I would want to see is for Orion to be shown having a more solid reason for his goals. Instead of just wanting to help, perhaps have him witness a hint of the mess on the surface at some point in his youth. Maybe he could mention it to D-16, saying that when he was newly forged, he either witnessed a record or saw a peek of the surface or perhaps some other Quintesson related thing to get him to feel a degree of investment in trying to help. Maybe he found the surface lovely and wanted to travel there. Maybe he heard legends of the Primes and particularly wanted to see them and make sure that they really had fallen. He either needed to show a level of devotion to the cause to match D-16's love for Sentinel and Megatronus Prime, or he needed to be skeptical. I would have loved to see Orion doubt, simply because no bodies of the Primes were ever recovered and old records did not mention the Matrix passing on (or perhaps he is skeptical in general). Whatever the case, giving Orion this foundational skepticism or believe would have allowed him to be more compelling when the truth was revealed.

Then, to match D-16 character arc, Orion should have started to try and take a commanding position earlier. Perhaps he could feel just as betrayed and angry, but instead of being more passive like in the film, his anger could instead be directed as the Quintessons who allowed things to happen as they did. Maybe Orion could feel loyalty toward his people as a whole, making him want to do things correctly and rally his kind together for the sole purpose of ensuring no other could ever enslave them, directly contrasting D-16 who was off to kill Sentinel for arguably more personal reasons. Making Orion care more about the people as a whole, knowing that they have all suffered under the threat that is the Quintessons, all the while D-16 cared more for his specific group of fellows... yeah it would have been delightful. Just, having Orion focus more on the bigger picture as the movie progressed, leading him to maybe mistreat D-16 a bit in his haste to spread the truth rather than get rid of the source of the problem. This way both Orion and D-16 could be given depth, since arguably, both are right in their approaches.

These are, of course, vague edits. And much like D-16, there isn't a ton I would change for Orion. He just needed more time on screen, and more opportunities to be presented with moral challenge and/or chances to lead.

"The line between friend and enemy is not as clear as I once believed. Once it's crossed, there's no going back, because some transformations, are permanent."

D-16/Megatron:

D-16, and later Megatron, was by far the best developed character in the entire movie. A very good thing considering the film is his origin moreso than anyone else's. He had the most growth to go through, and my goodness he went through it fantastically. He started off somewhat meek, mild tempered, and cheerful. He was a normal bot, one just happy to go about his life and enjoy his few passions as an average civilian. But as the film progressed, his character shifted from one of fun and adventure to anger and betrayal. One lie after another stacked up, slowly breaking down his innocent belief in everything he held dear until he had nothing left to stand on. All he could do was direct his anger at something, lest he lose himself entirely. His reasons were all justified, and you could see the way his morality shifted between "I want him in chains" to "you need to get out of my way, before I move you myself." and it was brilliant. Everything about his arc was well formulated, at least regarding showing his shift in character.

All I would have changed is the rate at which he changed. It was very fast paced. And from what I gather, occurred over the course of maybe a day or two. Crimes of passion are a thing, and some change really does happen that quickly, but D-16 needed at least a few more scenes of moral debate. Perhaps a scene in the beginning where he makes a simple choice that Orion's agrees with and then a very similar scene later where he goes directly against his previous choice. He should have been shown arguing with Orion more as the film progressed, and over more and more serious matters. Perhaps it starts with the map, but as time goes on, it starts edging into who to kill, who to suppress, what path to take in laying siege to Iacon, etc. That way D-16 moral shift can come a bit more naturally when he finally beats the snot out of Starscream and later kills Sentinel with no remorse.

D-16, and later Megatron, is a delightful character. There is very little I would change for him. Above all else, he needed more time on screen to shine, and I think that's the best possible critique there could be for a character.

"The age of Primes has ended. No more false Prophets. Follow me, you will never again be deceived! Rise up!"

Elita-One:

Elita-One is the worst offender in the entire film when it comes to horrible character. Where others lacked personality, she got far too much and absolutely zero development for it. She came in arrogant and came out just as if not more so. Obviously, the creators were aiming for her to be a foil for the boys, trying to make her into a more stable and commanding counterpart to Orion's, and later D-16's, rebellious nature. But her extreme arrogance, snarky attitude, and little to no love for anyone else made her presence grating. There wasn't enough of a relationship between her and the boys for me to see her in a more familial light for them, nor was there enough of an indicator of rivalry for her viciousness to not be annoying in its presentation. She was mean, bitter, and overall a pain throughout the entire film. And while there were reasons for those traits to be presented initially, they were obtrusive and took away from the film since they were never again addressed or given proper conclusion. Elita-One had no character growth, and as such, she leaves a bad taste in my mouth. Her relationship with Orion in particular was agitating. She had a backstory at least, and it did contribute to her character, but it didn't help to differentiate her a ton or warrant her arrogance, unfortunately.

Elita-One needed a reason to be so confident in herself that was visible to the audience, not just her forcing her crew to repeat her greatness. Arrogance can be done well, as seen with Starscream and Knockout in TFP, but Elita's just came off as annoying at the best of times. To adjust her character, I would have pre-established her relationship a bit differently. Instead of aiming to be supervisor, she should have been one already. To make her arrogance less annoying, she should have been shown as being affiliated with Orion before her demotion, perhaps as the one letting him get away with all his shenanigans. That way her arrogance plays off as her bantering and simply noting her station, and maybe she flaunts it around a bit, having Orion do her random favors since she won't go breaking protocol, but she knows he will. Their relationship could be one of mutual benefit, perhaps even hinting at Elita having used Orion's help to achieve her station at some point. That way they can be vaguely affiliated and their power dynamic can be somewhat equal since Orion offers a service and in turn, Elita covers his back when he decides to go and wander off.

If the creators wanted to go the ship baity route, or even just make Orion and Elita closer, it could be a thing where Elita was an old friend of Orion's who simply drifted apart after her rise to supervisor. Instead of being harsh with him during the mining scene, she could offer to speak later. Their entire dynamic could be that of ancient friendship, older than even Orion's and D-16 connection. Maybe they were in training together. Perhaps they were on the same mining crew for a while. Whatever the case, making Elita a bit nicer would go a long way, especially if she attempted to cover for Orion yet again after he broke protocol to save Jazz. She could try to cover for her old friend and be punished for it, making her less willing to help later in the movie when her aid is needed once more. Her character could go through serious growth because of this.

Additionally, if this were to be how her character played out, when she's brought to the surface, her lingering arrogance can be crushed like a grape in the unfamiliar environment. Where she once looked at Orion as a bit of a nuisance due to his habit of going places where he really shouldn't have been, she can now appreciate his skill and support him with her own. Maybe as a former supervisor, she's the only one who can read the map accurately, but for that same reason, she has very little skill in traversing the land and translating old indicators on the coordinates. That's where the boys could step in, helping and offering their skills and in turn showing Elita that while she's not the best and never will be, her skills are valuable when applied correctly, just as her companion's skills are as well. They could play off each other in a more meaningful way, helping Elita develop a healthy relationship with her companions and her ego. By the end of the movie, she could end up a bit more like Skybound or Earthspark Elita-One, confident and competent, but mature enough to know when to let someone else take the lead and when her job should be to play support.

She could even serve as a bit of an echo of Megatron, starting off where he ended. Anger, passion, and of course, arrogance. Then slowly she can learn to mellow a bit and apply herself in a far more productive manner. This could let her relate to D-16 as he starts to crumble, giving her more of a reason to be invested in him since as she improves, he starts to fall to pieces. There are many ways she could be played, but more importantly, she needs to be showed having actual chemistry with her companions and changing as a character into someone more mature. She's not a bad pick for a character, but she needed to be tempered, a lot.

"My point is, that your instincts tell you to break protocol for a reason."

B-127:

B-127 is a character that, on his own, doesn't really have a purpose being in the film at all. He's comedic and does show the beginnings of maturity in more serious moments, like when he and D-16 are captured. However, he lacks substance. He's fun, he's peppy, but it feels like a lot of the basis for his presence hinges on old and new fans recognizing his paintjob and knowing who he will become later down the line. He's a rather shallow character, which is not a necessarily bad trait since Sentinel pulled it off brilliantly. But since he is meant to be a main character in this film, I would have preferred he be given a more solid foundation. His actions are fine, his personality is acceptable, but he needed more to work with, a reason for his behavior if you will (since he can't exactly have a reputation to run with, being on sub-level 50).

I think the best way to have introduced him and given him a foundation would be to foreshadow the sub-levels. Perhaps have it be noted that bots go down a few levels and never come back, unfortunate miners who mess up one too many times. (maybe D-16 reminds Orion of this potential fate). Instead at staring at smelters, B-127 could be introduced as a scavenger. Rather than be down so many levels doing essentially nothing, perhaps show him weaving through discarded rubbish in huge heaps before they can be incinerated, taking bits and pieces that he likes. This way his random assortment of knowledge can make sense. It can explain his madness in a slightly more believable manner. Seriously, if B-127 knew how to get out, why wouldn't he leave at some point to seek out companions? Better it be that he's trapped, and now that he's got new companions, he feels totally fine accepting them and showing off his collection of trinkets since they are all prisoners together. He could state he's been down there for a very very long time, maybe making him the oldest out of the eventual group of four. This would explain why he has the plot device later, and if he shows off more confidential reading/viewing material he's collected, his knowledge base and animalistic fighting style make more sense.

It would give him a foundation as someone more feral, easily surprised, and excitable. It would give him unique skillsets, such as scavenging and self repair. If needed, he could even be the team's makeshift medic. Maybe B-127 could even have a broken T-cog instead of missing it altogether, showing that the practice of removing a cog was imperfect for a time, and since his removal failed, they disposed of him. Yet another hint of what is to come. His introduction scene would be about the same length too, since all that would change is the setting. It would also give all three time to bond since B-127 doesn't know how to escape, but has resources, which would allow D-16 and Orion to put their heads together to get them all out. It would also create a sense of loyalty for B-127, encouraging him to stay with the group. No changes need to be made to B-127's personality, just a shift in scenery.

"Are you serious? This is the greatest day of my life! I get to work for the government!"

Starscream:

Starscream's appearance in this film, much like Elita's presence, served little to no purpose. He existed purely to provide D-16 a chance to exercise his brutality and growing passion for rebellion. However, with what little time he had on screen, he presented an incredibly unique version of the character. Gone was the cowardly behavior seen in almost every single Starscream to have ever been produced. This Starscream appeared to be a highly competent character, willing to fight and die for his cause. He showed determination, energy not seen in any other Starscream. I can't exactly say he was the most intelligent character, a shame considering his station. But the embers of something more that he presented were fascinating, and in my opinion, a delight to witness.

I would have liked to have had his foreshadowed earlier. Personally, I think a great way to have hinted at his presence would have been to make him a bit of a martyr. He could have been blamed for the betrayal of the Primes, with Sentinel pinning their fall on the High Guard and Starscream in particular. That way, he could have been foreshadowed via D-16 absolutely hating him for his "betrayal" and also served to hint at the High Guard's power later. Additionally, if Sentinel made it so the High Guard looked like they'd sold out to the Quintessons, him going to the surface would be even more "Dangerous" since he'd be fighting "traitors". All the more for him to have lied above, and more to keep everyone off the surface.

Bonus if Starscream actively has a warrant out for him, as evidenced perhaps by chatter from background characters or maybe even Darkwing calling D-16 and Orion Pax "High Guard/Starscream sympathizers" for their rambunctious activity. Through this slight shift, Starscream's later appearance could be far more meaningful and make him an ally of note, especially if its mentioned that he and his people have been attacking energon trains for sustenance and to mess with Sentinel. Starscream's intelligence can be shown, as can his former ties to the Primes, all by adding a line or two depicting his presence.

"Two options for you! One, we slowly dismantle each of you one bolt and screw at a time, and really make sure you feel it. Or two, in exchange for a quick death, you give us intel on the energon trails, access to the mines, or anything else that could hurt your Boss, Sentinel Prime."

Soundwave: Soundwave can hardly be called a character in this film. He exists. That's about all he has going for him. He looks like a taco and has all the personality of one, that being none at all. There was so much potential for him, but he got a grand total of perhaps three lines before he became background noise. Jazz had more lines than Soundwave. Jazz, the cogless background character. We know nothing about Soundwave except the fact that he's with the High Guard and apparently important enough to have been in the records. No explanations regarding his abilities, no backstory, no reason behind his connections. Nothing. He's a familiar name for old fans to gawk at and does little else.

If Soundwave is going to be in a film, I feel like it is law for him to play at least a semi-important part. Even if I didn't know Soundwave from other continuities, he would still be seen as highly underutilized. Personally, I think he would have done so much better serving as an agent of Sentinel Prime who turned when he learned the truth. He could have been right at Sentinel's side whenever he was in the city, offering reports on other cities and their struggles to obtain energon but ultimately being waved off. This could help with the small setting feeling and give Soundwave character through his hesitance and concern for the rest of the population. It could be fascinating to see Soundwave loyally follow this Prime, despite his concerns, and then be betrayed with the knowledge that his world and his people have been enslaved by the one he thought was their savior. This way, he would have a very valid reason to hate Optimus when he comes into being, and consequently have a reasonable desire to join Megatron.

"Scanning electrical impulses: He speaks the truth."

Shockwave: Thankfully he's less of a taco. Unfortunately, he only has a bit more personality than Soundwave. We also know exactly nothing about him and he suffers from the same problems as Soundwave personality wise. We've got next to nothing to work with, not even a title. He also comes off as a bit of a potato since the very first thing he did when threatened by Elita of all bots was to bend the knee. It does tell us about him, but its not done tastefully and as it stands, Shockwave has the personality of a small child who got his favorite toy stolen from him.

Much like Soundwave, if one is going to use Shockwave, he has to at least have had some sort of impact in the past, if not the present. I would have liked to have seen him possibly have been the one who assisted in removing cogs from the newly forged. It is an essential part of their structure, so I imagine there is a certain degree of delicacy involved. Or barring that, why couldn't he have been the High Guard's medic or scientist and studied the process and uses of the Transformation Cog? That way, he would have a plethora of knowledge and be very invested in Sentinel's downfall since he knows the truth of the matter. Perhaps he feels guilty for having assisted. Maybe he was banished for trying to do too much. There are a thousand things that could be done with even a hint of such a backstory. Heck, maybe he could be the one to have a small mountain of cogs to offer cogless bots during the battle against Sentinel. Or if we want to maintain the emotional value of the bots fighting without their cogs, have Shockwave offer up images of piles upon piles of destroyed T-cogs or something for evidence. There is a lot of potential for him that was never realized, and all it would have taken is a line or two to establish him and his usefulness to the Decepticons later.

"He wouldn't stop talking."

Sentinel Prime:

Sentinel's character was, quite frankly, delightful. There were no redemptive qualities about him, and I personally found that to be perfect for his character. He was cruel, prideful, vicious, arrogant, and everything else I expected from a cliche villain. And yet, despite being cliche, his voice acting combined with his stable character portrayal always had me adoring how terrible he was. Whenever Sentinel came on screen, I was excited to see him because I knew how he was going to act, and I was thrilled to see it play out every time. I knew his personality, and yet how he went about his activities always exceeded my expectations. Personally, I adored how smug his dialogue was, right up until the very end of his life. It sold him as being the worst, even if he wasn't breaking any new ground with his character. Sometimes you just need a character who sucks as an individual. I appreciate that the movie was willing to make him irredeemable, unlike other iterations of Sentinel Prime who at least had a slightly non-selfish hidden motive somewhere in their backstory. There's nothing I would change about him, not in the slightest, at least not without adjusting the entire movie and rewriting it from the ground up. He fits. Simple as that.

"What truth? That I plucked your cogs from your newborn chests, forced you to mine so that I could pay off the Quintessons, and live like a King?"

Alpha Trion:

Alpha Trion was a fascinating character with so much potential history and lore attached to him. I am quite sad he didn't get more of a chance to shine, considering his past and his status as the last living Prime. He did serve his part in the movie, quite well might I add. But he could have had more. He was so very tired sounding, lost even. He seemed to care for our main cast and offered so much wisdom, and yet had so little time to actually impress it upon the main characters. He died with honor and what times he did have the chance to speak were well put together. However, I would have liked to see a bit more of him, personally. A bit more character, spice if you will.

I would have given at least one digit on my right hand to see him train our group of four, or at least begin guiding them back to Iacon so give them more time to talk. His presence could have accentuated the fallout between Orion and D-16, showing their shifting ideals when compared to the pure goal of Alpha Trion. Perhaps he could be the one to try and guide the group into working as a cohesive unit. And perhaps his slaughter could be one of those things that drives D-16 and Orion apart now that they no longer have a stabilizing force to keep them from arguing over what to do with their evidence. Honestly, I'm thinking something Uncle Ben combined with Uncle Iroh for Alpha Trion would have been a perfect way to introduce him, make use of him, and ultimately offline him in a meaningful manner. But again, time constraints are a real issue and I understand the problems the movie had giving everyone time to breathe.

"I failed you, old friend. You deserved so much better than this end."

Arachnid: She's a fascinating character who I personally would have loved to see more of. The times she turned up on screen were always noteworthy, and the fact that her intentions were largely unknown gave me a feeling like she was this movie's Soundwave. She didn't need too much development because her role in the movie was perfectly structured. She was Sentinel's right hand, his eyes and his hands. She is a perfect example of a character who doesn't need much exposition or backstory simply because she fulfills her role perfectly. We can make assumptions and still have room to speculate, but her character doesn't feel like a vacuum or like its missing some grand piece. Would I have appreciated a hint more for her thought? Yes.

Personally, I think hearing rumors of Sentinel's frightening right hand might have given her the final touch she needed to be a solid character in my book. Just some bots being in awe as she walks by with Sentinel, or perhaps Orion recognizing her from some old text from the archives. That way she could come onto the scene with a reputation. Or barring that, a sense of dread. That said, I did enjoy her introduction and I have no real critiques of her. The character is built well for the time she's on screen. I enjoyed her far more than I did Elita-One which should tell you all something. A girlboss character can be done well. Look at Arachnid and her combat prowess and intelligence. Elita was just a poorly done, slapped together attempt at giving our main cast flavor.

"I see everything."

That One Random Quintesson: It looked neat. Very intimidating in its own weird way. Certainly uncanny considering the metallic scenery. Could have used at least a line or two to sell the evil. I personally would have paid money for the Quint to talk in gibberish and for Sentinel to somehow understand because that would show just how long he'd been working for the Quintessons.

Jazz: We saw him a grand total of perhaps five times and I love him. No complaints. He's very Jazz and maintains his Jazz attitude throughout every single scene he turns up in. I especially love him during the scene where Orion rallies the cogless. He looks so confused and yet so happy later one when he gets his Transformation Cog.

"Little? There's nothing little about you."

Darkwing: DARKWING DUCK- I'm kidding. Darkwing's character had little to no depth, but he served perfectly fine considering his role in the movie. An aggressive enforcer of some variety, evidently high ranking enough to be in the Iacon 5000. He's got enough flavor to him that I'm sure someone in the fandom will decide he is their blorbo and run with it. He's not breaking any new ground, nor are his lines anything noteworthy. He simply is, and considering his role, it suites him.

"You are no cog bots with limited options. Report to waste management immediately."

Background Characters in General: Nothing really of note. They existed and served their purposes. I appreciated the fact that no two bots were the same appearance wise. It made Iacon feel more lived in, a trait desperately needed considering how small the world felt. Seeing so many familiar faces was fun.

The Plot

(An assessment of the story overall & its holes.)

The plot was fantastic, at least with all the random unneeded scenes not considered.

There were quite a few themes present, most of which were at least touched upon. Honestly, the journey to discover the truth was a wonderful overall plot. I have very few complaints about the way the story set out. Two miners who, by accident, are cast away and gain an inkling of the truth. This in turn sending them on a quest to uncover said truth, only to have their worldview shattered. It's simple, and at the end of their road, their differing ideas regarding what to do with the truth are what drive them apart.

There are some things that don't add up, such as the time it takes the crew to actually get from Point A to Point B at any given part of the film. Time is a real issue in the movie. If we had only been given the illusion of more time passing, some of the pacing issues might have been less in our faces. Additionally, there are a few inconsistencies.

The boys being chucked down fifty sub levels because the plot needed it to happen. The plot device just happening to be there for reasons. How B-127 and the boys know how to get anywhere is beyond me. Elita being at the exact train they need to board at the exact right time is a bit off. The t-cog situation is interesting and I can't help but wonder how that whole mess really works. The High Guard popping out of the ground like cabbage patch kids. D-16 suddenly choosing to betray his best friend for reasons that were not given enough time to justify.

It's just a lot of smaller things that added up, when combined with the pacing, to create something a bit off. However, overall, the base story attempting to be told is very solid, only needing to be tweaked and refined to add further depth and give characters reasons to be there at all.

A very solid 7.5 - 8/10 movie when viewed overall.

The World Building

(Current questions & Information + musings)

Cybertronians don't bleed, unlike other continuities.

I find this fact downright fascinating. When characters are killed, they don't bleed. TFP bled, pretty sure other continuities did as well. Except for G1 at any rate. It's an interesting take since energon appears to be a liquid, not crystal, on this new version of Cybertron. That leads me to believe that it must be pure energy since the moment it is taken in, it appears to go straight into powering the bot in question, rather than flowing through their veins. They are far more machine like, and I have had that fact grow on me a lot. Less alien, more mechanical.

The cogless had their cogs removed before coming online. Where are said cogs now?

It really is fascinating to think about. Sentinel had all of these T-cogs removed, presumably thousands upon thousands of them. I have to wonder, were they destroyed? Stored away in case on of the bots allowed to have their cogs needed a new one? If they were thrown away, how did no one notice or snag a few? There are many questions regarding how this big biological aspect of the cogless was kept from them.

Where are these bots forged? No Well of Allsparks was mentioned, at least to my memory.

It was stated that the first Primes came from Primus's core, which adds up since they are the closest this new continuity has to demi-gods. I would say that it would be likely that bots just clamber on out like the Primes did, but considering how fricking long that fall was for Orion, I have my doubts. Personally, I'm thinking this continuity probably is going the hotspot route where bots just kinda pop out of the ground in certain places. They obviously aren't climbing since they weren't online for their T-cogs to be removed. That leads me to believe that they likely form in hotspots and are cultivated until they are ready to come online. This would give Sentinel plenty of time to do a little removal all easy peasy.

Cycles are years. Days are days.

Interesting take on time, but ultimately kind of useless on its own. Lots of human time terms are used, so it seems cycles is just in there for alien factor. A unique take all the same though. I like it.

Primus is mentioned and acknowledged, but there is no mention of Unicron whatsoever.

It's really quite fascinating, but not particularly surprising considering the setting TF One takes place in. Many bots are uneducated, and with the fall of the Primes, it could very well be that no one knows about Unicron anymore because the threat he posed paled in comparison to the Quintessons. It could also be that Sentinel might have had any records about him removed in order to keep the population afraid of one threat, rather than many. It's not as thought Sentinel can deny Primus exists. But Unicron? Can't see it? No need to believe it. Still, it will be fun to see if Unicron ever comes up.

The war with the Quintessons is stated to have gone on for thousands of cycles, and yet there are few ruins. Just how devastating was it? How powerful are the Primes?

I am of the belief that long ago, Cybertron was an empire. There were cities everywhere and the surface was most likely covered in defenses. Most likely, the Quintessons whittled away at Cybertron's surface population, hence the war going on for so long and the people retreating underground into their creator's shell. The Primes appear to be powerful, but they were most likely scattered across the surface to try and limit the damage done by the enemy. The war was likely very close to be lost after millennia of being continually under siege when the Primes finally fell. In a sense, Sentinel likely did buy Cybertron time, but he also doomed them by destroying what history they had that might have helped them.

Are there other cities on Cybertron? There has to be, considering how large the planet is, but the offered energon to the Quintessons tells a different story. What happened?

We don't have enough information to make a good guess, but I personally believe, as stated above, that most cities were likely wiped out. Those who survived fled underground, meaning that most cities are either few and far between, or they are so sprawling that 'Iacon' encompasses far more area that we are led to believe. The offering of energon could have possibly been so small because it has been so long. Maybe, once upon a time, the offerings were far larger since more cities could bring energon in. It's hard to tell.

Is Cybertron in a post apocalyptic state?

I think so. Considering the ruins on the surface, the suppression of the masses, and the struggle to get energon, I do think that Cybertron is sitting in such a state when the movie is happening. The setting scene in Transformers One, and Iacon in particular, appear to be the last gasp of a dying race after what could have been a siege lasting up to thousands upon thousands of years.

T-cogs evidently have a certain amount of biological alteration involved in their acquisition.

This can be seen in Megatron when he takes Megatronus Prime's T-cog. Personally, I think this says something about the use of a T-cog. Some appear to be more suited toward combat whilst others have other uses. It appears to be Cybertron's version of the genetic lottery, since up until one gets a T-cog, it seems as though it is quite impossible to determine alt-mode or abilities. Look at Jazz. He didn't get his little door wings until after he got his T-cog. This has a lot of implications for T-cog inheritance too. Is that a thing that can happen? Does it affect various bots differently? Many many questions.

Does the T-cog have an effect on the mentality of those who inherit it? Was Alpha Trion aware of this when he chose which T-cogs to give to the crew?

I honestly think it's impossible to know at the moment. We don't have enough lore to make a solid assessment. But I would like to think it at least has some effect on the bot in question when they get a T-cog that was not originally theirs. Again, look at Megatron. Maybe Alpha Trion selected the Primes with the most adaptability for a reason. Perhaps some of those latent traits present themselves in their new wielders. I don't know, but I would very much like to.

Cogless bots are essentially children.

They are smaller, slower, and from the looks of it, less liable to fight against those larger than them (although that could just be common sense.) They don't appear to be less intelligent or anything, but I do imagine the T-cog is a sort of wakeup protocol for bots. It diversifies them, allowing for specialization. So yeah, from the looks of things, they might as well be children frame wise.

No noticeable spark chambers. Instead, we have the slot for T-cogs.

I find it downright fascinating that instead of having a way to expose their sparks, the TF One bots instead expose their slot for their T-cog. There's not a ton I can gather from this lore except for the fact that this must mean sparks are likely farther into the frame and more protected, and like a human heart, probably not meant to be seen.

(Also the smut writers are going to have to get creative)

There are different Primes this time around. Still Thirteen of them, but a few old and new faces from various continuities.

I have no clue what it implies for the most part, but from the looks of it, we aren't going to have an IDW/TFP Arisen any time soon. All the Primes are named, have faces, and are confirmed to be dead. There's no mystery here about some secret resurrection Prime goofing around in the background. I like it personally, even if it does limit the more mythological aspects that could be present in this new continuity.

There don't appear to be any sort of familiar or mentor-mentee social structures on Cybertron. We also don't see anyone who acts young enough to possibly be newly forged. Does this mean everyone comes online with basic knowledge? Or are they put through bootcamp before even entering society?

Again, I'm thinking the bots are raised like cabbage patch kids, grown and watched over wherever they form until they come online. Then, most likely, the cogless just kinda figure it out, IDW style. Same goes for the rest of the population.

How are the cogless selected for their fate? Is it random since Sentinel removed their T-cogs before they even came online?

It's a good question that I would like the answer to. Most likely, it's a numbers game. Special traits don't appear to present until a bot gets their alt-mode, leading me to believe that the cogless are selected based purely off how many miners are needed at the time.

D-16 gained a weapon via being angry. Do all bots have that? Is it a stress response? Or is D-16 special like that?

Again, the T-cog question. It feels like it's related to biology somehow, but I don't have enough info to make a solid guess.

The Matrix is referred to as an entity. Why is that?

No bloody clue but I really hope the dang thing talks or has some sort of unique ability aside from being an extra battery that gives Optimus a really cool axe.

The bots have eyelids and tongues.

It makes sense that they have them. I just think it's neat.

Some bots have real names. Other do not.

I have no clue what this implies, but I am running under the assumption that there is either a criteria to meet to get a name, or bots just pick their names and roll with it.

The Ending + Implications

(How I think things will go from here in future films.)

The ending scene was ridiculous and felt chucked in there above all else (note: I am referring to everything after the t-cogs are distributed). However, it did offer a hint of insight into what is coming in the future.

Based on what Transformers One presented, and the fact that it has been stated that it will (if all goes well) be part of a trilogy, I have a few predictions for the coming films. Of course this is all speculation because the movie ended on a rather open ended note without much foreshadowing for what is to come, at least on the surface. So take this as my musings above all else.

Firstly, the Quintessons are going to be removed or otherwise sidelined as a threat. Optimus's line regarding the Quintessons at the end of the film leads me to believe that they were more of a plot device than anything else, and I expect them to become even less prominent going forward. I simply cannot see them being the BBEG of the trilogy considering the layout of the movie. Although it is very possible that they could serve as a minor antagonist to push the war along in later films.

If things continue as they are and the creators keep to the origin story vibe, then I see the second movie as likely focusing heavily on the war and its rapid fall into sheer chaos. I expect it to be fast paced, just like Transformers One. So quite likely, it will be a series of battles, schemes, and Megatron marching his armies while Optimus desperately tries to rally his people and fight back.

The second movie will probably be split between Autobot and Decepticon perspectives, Avengers Civil War style if I had to guess.

We will likely see Megatron gathering troops and capturing territory while Optimus fortifies what land Sentinel previously controlled in order to try and limit conflict (and promptly fail).

Optimus will go through some arc or another that gets him to fight seriously, but considering this is Optimus, he is probable to maintain his attitude of 'I can fix him' at least to an extent. Although, considering how he sent Megatron away, we may be surprised going forward.

We are going to be introduced to key Autobot and Decepticon characters throughout the second movie. Prowl, Jazz, Ironhide, Arcee, and others. Starscream, Soundwave, Shockwave, and the rest will likely get actual development.

There will probably be at least one peace talk that goes south the instant Optimus dares to breathe in Megatron's general direction.

Elita is bound to get more screen time than she deserves.

Bumblebee will earn his name and either have his voice taken from him, or he will end up forcefully silenced through some other means, perhaps a vow or trauma. Depends on how mature the creators want to make him in the future.

Megatron will probably end up seeing Orion as having died in some capacity, either that, or he will see everything Optimus stands for as a betrayal of their shared history and a insult to the suffering of the cogless.

The third movie will likely end with both factions abandoning Cybertron during a great exodus (if they are trying to follow G1/comic canon vaguely.) I simply don't see the films moving to Earth since that's been seriously overused over the past twenty or so years.

I anticipate the introduction and or the alteration of previously well known characters throughout all the films. Since the creators have been willing to adjust the origin as much as they have, nothing is off the table.

Those are all the predictions I can make at the moment considering there has been very little to work with foreshadowing wise.

My Suggested Adjustments

(My thoughts for an ideal TF One which stays within the time limit, keeps to the established plot & acknowledges the future existence of more films.)

Now, again, before I begin my edit rant, I will try my very best to keep to the plot of the film and not go off track. I will be offering edits, not a rewrite (yet). Also, most of this is just musing and things I would like to see, not professional writing. Take with a grain of salt. That said, here's what I would adjust.

I would add a few lines of dialogue during D-16 and Orion's chat on the train to hint at Orion having a fascination with the surface and/or skeptic attitude toward what they've been told backed with a desire to check things out for himself. This would be just to build a little extra character. Additionally, during their chat, D-16 can remind Orion that the surface is dangerous not only because of the Quints, but because the traitors are up there. The wild High Guard, now gone mad. Orion can wave him off, stating he's not going to become like Starscream before moving onto his discussion about how he has a feeling like he's meant for something greater. The conversation can then continue as normal.

Remove Elita from the mining scene in the beginning. Have someone like Ironhide be the team leader so that his gruff personality can really drive home just how dangerous their job is before they even get started. Instead of Elita's rant, Ironhide can again remind his group about the risks of their work and maybe even discuss how someone got his or her lower half crushed in the last tunnel collapse. The group can then rush to get to work, with D-16 and Orion being all buddy buddy about it. D-16 and Orion can greet a few of their fellows, maybe assisting a bit in order to bring in more familiar faces. A brief pause can occur for Elita to look down on the group from her position overseeing things. She and Orion can share a brief look/nod/salute/gesture that D-16 can then mock and Orion can use to remind his brother in arms that Elita is an old friend, nothing more thing less. Elita can then call down, ordering them to get a move on before they get in trouble. Ironhide can then get the group hustling into the tunnel. This would solidify Elita's place of power while also introducing other characters and the harshness of the work.

The mining scene can go on as usual, but when the rescue happens, Elita can jump down and order Orion and D-16 back, maybe yelling something like: "Pax, D-16, pull back! I won't ruin my record with three deaths in one day!" in order to cement her deep care for her position. And once they make it out safely, Elita can check Jazz over for a moment before getting in Orion's face, D-16 probably trying to not be involved. There they can share some dialogue that shows Elita's exasperation with him, but also her fondness. Perhaps something like this:

"How many times have we done this Orion? I can't keep letting you break protocol!"

"Even to save a few lives?"

"We are miners. Danger is part of the job. Your recklessness is a liability."

"Even though it saved you from that tunnel collapse last cycle?"

"That is beside the point Orion, and you know it. You really need to develop some self-preservation skills."

Then of course Darkwing can jump down and fire Elita, only this time instead of being as sudden as it was in the original TF One, Elita can instead be fired for letting Orion and D-16 off yet again AND sustaining an injury to her team (RIP Jazz's leg). She can fight back, saying that lives were saved despite the breech of protocol. Darkwing can then shoot her down again even when Orion steps up to try and take the blame. This way, Elita can have the final straw moment with Orion, her expression being bitter as she has her rank badge ripped off. Her dialogue with Darkwing can hint that this is not the first time she's let things slide, hence the demotion. She can look at Orion and D-16 in sheer anger, shaking with rage as she murmurs about how hard she worked for this position before shoving past both of them. This would make her less agitating as a character but still give her ample room for snark and anger while maintaining a connection to our main cast.

When Sentinel gives his message to the people, D-16 can get just as excited TF One canon, but Orion can be a bit skeptical. The scene with Elita can influence him, making whatever skeptical nature he'd developed all the more real. Perhaps, as a bonus, Sentinel mentions that the winner of this race will get to request something from him/get a new rank. Seeing this, Orion will then want to get in both to try and prove a point, and to hopefully make it so that he can get himself and those closest to him to a high enough rank to make a difference. His hope could be that if they won, he could request better oversight in the mines and a chance to show their grievances. D-16 can still, of course, not want to be involved when Orion implores him to try and be something greater.

The race scene can stay as is, only changing to show Soundwave AND Arachnid by Sentinel's side. But when the duo are in the med bay, Ratchet can come by to fix these two idiots up. Instead of being cogless, he can be one of the higher ranked bots and perhaps serve Sentinel personally. While Orion and D-16 have their little banter session, he can work on them and probably tell them to shut up before the Prime arrives. Perhaps he also comments on their poor repair, wondering if the mines have medics. D-16 and Orion can state that they do not, earning Ratchet's anger since he assumed they at least had basic health care. Maybe he even tells them to watch their mouths, or perhaps praising them for their stupidity and being mildly in awe of it. This could set him up as an ally later.

The discussion with Sentinel can go as it does in canon, but when he leaves with Arachnid, it can be Soundwave who is ordered to 'remove' them. Soundwave can hesitate, looking at the duo and then at Ratchet would could try to object since he would know what is coming. Soundwave, ever the loyal aid to his Prime, could then call Darkwing in to take D-16 and Orion to their fate. Soundwave can even look genuinely upset at the scene, his fists all clenched up as the duo cry out in confusion. Ratchet can curse, and the scene can end with our two heroes being thrown down to sub-level fifty where no one without an alt mode with wings can escape.

Down in sub-level fifty, it can be a horror show. A huge set of incinerators where huge conveyor belts are transporting waste to the fires without end. Maybe there are even a handful of bodies amongst the mix, miners and other cogless. D-16 can continue to believe it must have been some huge mixup, perhaps getting all angry about it before B-127 appears from the rubbish, looking terrifying and scuttling over to them. He can get all up in their faces, maybe touching them to ensure they are in fact alive before his mask lifts and he goes right into being himself. He can have his nickname moment, but it can be mixed in with him showing the duo around the fires, giving them some warnings like:

"Don't mess with the bodies, those tend to be infected."

"Watch where you step! Don't want to miss energon by accident. It's rare down here!"

"With you two here, I won't have to worry about accidentally ending up on the conveyors while recharging!"

B-127 can ramble for a bit, much to our duo's horror. Then he can show them his makeshift residence, made of trash and other things. Inside can be all sorts of wacky things, including STEVE. As he's showing off his collection and gleefully pointing out things from various cities he's found, D-16 can marvel at a few of the older wartime relics Bee has and Orion can sift through Bee's stack of random reading and viewing material. As D-16 tries to smile through B-127's eager explanations of how he found things, Orion can note the symbol of the Primes on one of the small disks B-127 has. Bee can notice and exclaim how he found it on the body of someone from the High Guard forever ago. At that, D-16 can recoil, but Orion can turn the disk on.

The message can be revealed as normal, and again, Orion can convince D-16 to go despite the threat. Being trapped underground, they decide to give it a shot. B-127 sadly points out that he's been down in the sublevels for actual cycles and he's never been able to get out, not without a T-cog. At this point, he can show off his damaged T-cog, taking it from one of his shelves for all to see. The duo can be quite confused as Bee states that he came online with it broken, mentioning how he felt someone trying to mess with it before he was thrown into the sublevels. Orion's suspicions can grow, D-16 can become more adamant that something OTHER than Sentinel is going on here, and from there, they can use B-127's things and tools to work their way out. Perhaps they construct a grappling gun, or otherwise use old material to tower their way up to a vent on the far wall. D-16 can undo all the screws with some difficulty as the conveyor belts below them threaten to drag them into the fires. But with time, they can quickly crawl their way out, perhaps with D-16 grabbing Bee before he can fall back into the rubble below.

From there, Orion can use his knowledge of all things underhanded to begin guiding them up toward the surface. D-16 can add his input by feeling for wind currents and whatnot. All the while, B-127 can tell them he's heard of a train depot nearby, considering maps and other things that fell into the rubble with him + shaking over head occasionally.

Once they get to the depot, they can try to join the masses of miners loading up the train carts. Attempting to blend in, they grab grates and try to move quietly and just, not emerge from the train once they get on it since they know its heading to the surface. But as they are waiting to load, they encounter Elita. She engages with them, attempting to stop them as a form of retribution and even arguing that she's saved their hides one too many times. Orion, despite his respect for her, pushing his group on. They push past Elita, discarding stealth in favor of leaping into the train before it can take off. Elita, still upset and desperate to stop them from causing more harm, throws herself in after them with the intent to stop them. The doors close before she can, and in anger, she pauses, and books it toward the front of the train to try and halt it. Being smaller and nimble, she dodges attempts to grab at her, even knocking a crate over which hits Orion. As they make it to the surface of the train, D-16 and Orion lag behind, but B-127 manages to slow Elita down by grabbing her leg long enough for Orion to also pull himself up and grab her arm before she can hit them.

Then the traintop scene can play out as normal.

Once they are thrown to the ground, Elita can still get up in Orion's face, but instead of losing her cool, she can instead grab him, take a few breathes, and say something along the lines of this:

"Orion, since they day we met, you've been a thorn in my side. Always getting me intro trouble whenever you decide to run off with your go-bot buddies and make a scene."

"I know. And I'm sorry. But this... this is beyond any of that. We could find the Matrix, Elita. We could do what Sentinel hasn't been able to. We can save our home."

"And that is the only reason I haven't tried to punch you yet, Pax. But if this mission of yours fails, if this is all some grand hoax, I'm taking you and your pals back to Iacon and getting my rank returned to me."

"That's fine, because I quite firmly believe that this is the real deal."

"It better be, or you can bet your bolts I'm never going to let you live this down."

"I wouldn't expect anything else."

Orion and Elita share a moment of reconciliation before they both look over the map together. Leaning on each other for support as they follow the coordinates. All the while, D-16 and B-127 comment on the scenery, and helping their group avoid various hazards. D-16 might even note how there aren't an High Guard rebels, a fact that leaves him suspicious, especially as the group passes through increasingly frequent ruins, all inhabited by the bodies of bots who bear the symbol of the High Guard, or the long dismantled old Cybertronian army. D-16 might even see how it seems as though a few of the High Guard were actively trying to defend civilians, as evidenced by the bodies. This leaves him thoughtful, less angry.

There should be a few flashes of the group taking cover as strange creatures move on the surface. B-127 can pause to gather up some abandoned weaponry from an old base, earning commentary from Elita-One about how she never knew they once had so many cities on the surface. It should be a somewhat solemn march, and as they go, they can practice with their haphazard firearms by shooting as various targets to acquire what energon they can and to scare off random creatures. Orion notes the cities they pass through, listing off names he's read in the archives and being saddened by the fact that they lost so much. D-16 becomes more and more upset as they go, seeing the bodies and wondering why Sentinel hasn't recollected abandoned resources or otherwise given the dead a bit of respect in light of the fact that they haven't seen a single enemy so far.

The scene running from the Quintesson scanner can continue as normal, and the group can rush to the cave as they watch the huge ship loom overhead. The cave scene can also continue as normal, only this time, the group can be even more distraught since they've seen the remnants of their old empire and already have doubts. Awakening Alpha Trion can go as normal, as can Sentinel's discussion with the Quintessons.

D-16 and Orion can get into a slightly more heated debate than normal when they return. Orion exclaims his desire to have the people get their justice, making sure everyone knows their loss. D-16 can agree, but their argument can occur when Orion makes it clear that the people come before getting revenge on Sentinel. This does not go over well with D-16, and although Elita and B-127 attempt to step in, Orion and D-16 begin to argue more furiously until at last, Alpha Trion steps up and pushes them apart gently. Probably saying something like:

"Primus has a plan for all his creations. Do not judge too quickly, instead, act with wisdom and foresight."

Trion can offer the values of his fallen brethren, encouraging D-16 to act as Megatronus Prime would, as a guardian of the people, their voice and their sword. In turn, he can urge Orion to follow after Prima or Zeta, telling him to use his noble spark to be a voice of reason. He might turn to the Elita and B-127, but then he notes that they are low on time. From here, Trion can give the group the T-cogs of the fallen Primes and hurriedly usher them out as Arachnid draws near. The escape progresses as normal, and Orion and D-16 again have their debate. Orion stands his ground a bit longer, showing a hint of anger. But remembering Alpha Trion's words, he consoles himself and D-16 by stating that he trusts D-16, which in turn diffuses the tension.

The group can move quietly, with Elita being solemn and B-127 a bit shaken up. Orion and D-16 discuss what they plan to do as Elita watches for enemy units and B-127 hurries ahead to scout. As they talk, it becomes clear that Orion wants to rally the people and spread the truth first and foremost. Meanwhile, D-16 wants to strike hard and fast, a tactful assault meant to end Sentinel. They can worry about the truth later in his mind. They argue for a while, and as they fight, Orion can get a bit aggressive, leading D-16 to push him. As they tussle, they end up tumbling, and despite both B-127 and Elita telling them to shush and trying to pry them apart, the group are unable to evade the High Guard soldiers that surround them. they aren't given a chance to fight back before Shockwave orders their capture.

The scene with Sentinel and Alpha Trion can go as normal.

The group can wake to Shockwave assessing them, noting that their T-cogs are not biologically theirs. He finds this interesting, and since they are of interest, he prepares to remove said T-cogs/perform other surgeries to see if they are a new flavor of spy. D-16's fears are confirmed for a moment, up until Skywarp and Thundercracker stop him, ordering Shockwave to bring the prisoners to Starscream. The name rattles the group, causing them all to bunch up in momentary fear. But when they are brought before him, Starscream looks at them all in intrigue. He questions them, asking why they were on the surface at all since its essentially a barren wasteland. Shockwave points out their T-cogs, and Starscream finds it suspicious. Skywarp and Thundercracker guard the group, one with a gun to B-127's helm to keep him quiet.

Starscream steps before the group, scarred and battered, maybe even a little sickly looking from lack of energon. The rest of his soldiers aren't much better. He assesses the group before concluding that they aren't spies, merely newbuilds who got too curious for their own good. Not wanting them to go back and spill the beans about the High Guard, Starscream offers them a place as soldiers in his ranks, confirming that they fought against Sentinel, not the Primes. He also makes it clear that he will require the group's information regarding energon, that being his major reason for keeping them at all.

At his point, D-16 can step up, angry and unwilling to serve another false prophet. He refuses to bow to a mech who fled, and then their battle goes on as normal. D-16 proceeds to hold Starscream captive, stopping Thundercracker and Skywarp, Starscream's lieutenants, from acting and ordering the rest to attack. He declares his desire to fight, to strike back against the enemy while they still can. He points out their weakness, their lack of energon, and describes his experiences in the mines. Knowing they served the Primes, D-16 repeats the tenants of Megatronus Prime taught to him by Alpha Trion, rallying the High Guard. The High Guard, seeing his passion, and after watching him beat down a few more bots eager to stop him, agree to follow his lead. Starscream is allowed to live, only because Orion steps up and grabs D-16's blaster. They have a moment of tension, but it fades as D-16 throws Orion off and declares that he knows the mines and can guide them in for an assault on Sentinel. The High Guard, having little to lose and finally having a chance to fight, are eager to serve.

Orion can then step up, upset that D-16 cares more about vengeance than the truth. D-16 states that they can share the truth later, once Sentinel is dead. Elita steps up to calm Orion, urging him to not be rash and compromise. B-127 attempts a similar method with D-16 and urging him to at least take time to plan. Orion and D-16 do not back down, and just as Orion asks for them to at least take time to discuss things, the attack from Arachnid occurs.

The battle goes as normal, but in its aftermath, Thundercracker, Skywarp, and Shockwave remain, along with about half their troops. Elita tries to get Orion up and going, reminding him of how his nature has saved bots time and time again in the mines, and how his instincts brought them there, to their newfound truth. She comforts him with a quick hug, urging him to get back up now that they have information to spread and friends to save. Orion agrees, and speaks with Thundercracker, Skywarp, and Shockwave. He bargains temporary leadership by offering the same information D-16 had, the way into Iacon. The High Guard are hesitant, but they follow if only to have one final hit at Sentinel before their end. They are all sickly anyway, and Thundercracker can note that without Starscream, they don't have much motivation anyway.

The group can board up on a train that passes by, throwing out the crates and loading soldiers instead. Elita takes control of the bridge with the help of Shockwave who guides her through security protocols. When asked how he can do that, he simply states that he once served Sentinel, keeping it vague and maybe stating he was his head scientist at one point and that his credentials are still valid since he was assumed dead. It could be something like that. And Shockwave can get them past security without issue. Thundercracker and or Skywarp rally the troops as Orion leaps from the train, making his way toward the mines.

There, he can speak to his fellows. Covered in soot, grime, and ash, he can hold a gun given to him by Skywarp before his leap, and he can make his grand speech. There, the miners are hesitant even after being told the truth. But Ironhide and Jazz can step up, offering their belief and support. Seeing that, other faces from the mining scene earlier in the film come forward, willing to fight. Orion tells them to gather up their tools, to fight for their freedom, and from there, the miners also raise concerns about their wounds. At that point, Ratchet can step forward, stating that he can help. Orion is in awe, but is even more shocked when he gets word that Soundwave of all bots is offering aid and supplies. More soldiers join the miners, eager to fight. Ratchet can smile, picking up a pistol and declaring that he, Soundwave, and a few others have had enough of turning a blind eye to the injustices committed by Sentinel and his kind.

D-16's interaction with Sentinel goes as normal, although Starscream does pipe up along with B-127, attempting to save D-16 neck as he refuses to bow. After Sentinel carves the symbol and Arachnid points out their incoming enemies, the scene can shift to show cogless, not cogless, and High Guard soldiers alike all pouring onto the premises. Sentinel can demand to know why their defenses are lowered, turning to Soundwave in anger. Soundwave for his part can then betray Sentinel openly, showing his distaste and getting a solid punch in before he's thrown across the room. On the ground, Ironhide can be seen directing soldiers alongside a future Decepticon of choice, perhaps the Stunticons or Constructicons help him tear down some walls or other defenses. Ratchet can also be seen working with a few of the cogless and offering covering fire as Jazz and Prowl rush forward to get in a few potshots with their far too large weapons.

The battle progresses as normal, and Orion manages to get the truth out as per usual. The scenes shift to show bots all across the city swarming in anger, breaking things and fighting anything or anyone that looks like they might follow Sentinel. Elita and B-127 celebrate and Orion orders them to go assist with controlling the assault in order to capture Sentinel's followers and limit the chaos. They agree and rush off, but Orion soon finds himself in the battle with D-16 and Sentinel.

The Fall goes as normal, only having a bit more aggression on Orion's part as he pleads with his best friend, begging him to at least wait until the people can judge Sentinel themselves. They are fighting for freedom of choice, and he tries to dissuade his friend for D-16's sake. Unfortunately, the Fall goes as planned, and D-16 lets Orion drop after he comes to the conclusion that it would be better for Orion to die here than to witness what he's going to do next. He may even tell Orion as such, calling it a mercy. Then, he lets him fall.

Megatron rises as normal, and Orion is brought to Primus's core. There he hears whispers, contrasting Megatron's speech. Orion hears the Primes speaking to him, each murmuring softly and quietly showing him visions of times gone by between him and D-16, a final goodbye of sorts. Then, it ends with the Matrix bestowed, and Optimus Prime is born as a chorus of voices calls his name. He rises to the surface as Megatron starts shooting at Elita and B-127, Soundwave joining him along with Starscream who covers his back. More future Decepticons rally around him, helping him in his rampage while the cogless and Ratchet try to limit the crossfire. It all ends as Optimus Prime comes forth.

Their battle can then progress as normal, with Megatron being banished. Optimus can still be sorrowful, but something hardens in his gaze as he turns away from where Megatron fled. He had his moment to let go when he took the Matrix, and now he's ready for war. He gathers his allies, looking over the devastation and up toward the surface. Elita comforts him quietly with a smile and a hand on his shoulder. B-127 notes Optimus's new height and points out the people below, the cogless all watching in awe. Elita encourages him to speak, and Optimus does just that, rallying his people one more time with encouragement and a declaration that they must move onward, to reclaim their freedom and their world.

He raises the Matrix high, and energon again flows. The people are thrilled, and soon they each begin to step closer to the streams of energon. The cogless lean close, and their T-cogs are returned to them. The movie closes with Optimus's narration about how their battle is not yet over, and how it has merely begun. All the while, Optimus is shown getting his people in line, Elita standing proudly by his side as he begins to organize his troops. Ratchet smiles and pats him on the shoulder, Ironhide flexes and picks up a blaster, Jazz gleefully flutters his door wings. The people salute and cheer as Optimus passes. The scene then changes to Megatron with the High Guard, rebuilding their destroyed ship. Megatron welcomes new recruits from Iacon into his ranks.

Everything ends with the two leaders looking up toward the surface, ending with Optimus overlooking their world and seeing a Quintesson ship flying away as he gives his closing narration.

This is roughly how I would adjust the movie, minus all the itty bittie things that would have to be brought up with the animators and voice actors. But plot wise, these are my adjustments. It would lay the groundwork for future films and also establish character lore early. So yeah, enjoy my take.

Arguments Against My Critiques

(Q&A against Strawmen. More of a joke than anything else don't take it too seriously.)

The movie is aimed toward a younger audience. You shouldn't be so serious with your review.

The movie had Megatron quite literally tear a mech in half. On screen. No cuts. It also dealt with the slaughter of actual Primes and touched dark themes like slavery and the beginnings of an Orwellian society on Cybertron. Sure, it had jokes and gags aimed at younger audiences, but this film was created with so many Easter eggs and callbacks that I cannot find it in myself to believe the creators were aiming for a children's film. They made it for Transformers, a franchise forty years old. When messing with such an old franchise that has always touched delicate and serious themes throughout all its media, you have to consider old and new fans alike.

Thus, I feel no inclination to be nice in my assessment. This is a film that's trying to reach all Transformers fans, so I will assess it as a full and proper movie.

The studio only had 75 million dollars and a tight time limit for the film. Can't a few allowances for pacing issues be made?

No, no allowances cannot be made. A good piece of media should be able to stand on its own, and a well constructed film should be capable of cutting excess fat in order to keep the movie on track. Transformers One was trying to do the seemingly impossible by shoving an entire origin story in one film. While I think it was possible to have been done tastefully, as seen by the glorious scenes spread throughout the film, they failed to make the pacing make sense.

They had roughly and hour and forty minutes to make their story happen, and far too much of that time was spent on meaningless characters and scenes. If that time was reallocated, the film could have dealt with much of its pacing problems. It probably wouldn't fix everything considering the tight timeframe for such rich characters, but it was doable.

Additionally, 75 million is MORE than enough to make a quality film. I doubt funds were an issue here. Although they might be going forward.

Orion was in a state of shock and couldn't be expected to act perfectly considering the situation. And D-16 anger made perfect sense so there is no need to criticize them both so harshly.

I partially agree. I can't judge them too much because on their own, these traits of theirs are expected and in fact, good for their development. Unfortunately, due to the pacing, D-16's combustive rage and Orion's passiveness came off as rushed and somewhat childish on both Orion and D-16's side. I judge them harshly because their arcs feel like whiplash, or in Orion's case, unfinished. I'm willing to give D-16 a little room because his arc actually arced, it did its thing and finished in a convincing manner (disregarding the pacing). But Orion? Nah. I judge him and D-16 because they could have been so much more given TIME.

The plot wasn't that bad. The progression made sense on paper and each shift in the narrative led into the next scene without much trouble.

I'm sure it did! I really am! If I were writing a novel with this plot, it would make sense when blocked out! But the presentation of an idea is what defines it. Transformers One had a perfectly acceptable outline, I'm sure. But the pacing threw the entire thing into a blender and topped it with mustard and kale. Because of the pacing, the plot itself started to fall apart, especially with excess bloating in the form of unneeded scenes and characters. It's a shame since I'm certain that given enough time and proper progression, the jerky scene shifts could have been made spectacular.

The High Guard could have worked. They really could have. But they needed foreshadowing and time. The same goes for a lot of things in Transformers One.

Why are you so harsh with Elita-One? She finally got some spotlight and had a chance to shine!

A shiny turd is still a turd. Next question.

You can't expect every background character to have depth or for there to be a thousand cities for the cast to traverse.

True enough! But to that, all I can say is: Environmental factors.

I don't need to see Kaon, Tarn, Helex, Uraya, Polyhex, Rodion, or any of the other cities seen in various Transformers lore to know they exist and feel the world is bigger (And if they don't exist in TF One then it would be a great hint at the horrors inflicted by the Quints to state that there are no other cities anymore). All it would have taken was a bit of background lore and attention to detail to make me and other viewers feel like there's more to Cybertron than a cave, a field, and a city. A few posters on the walls, some background chatter from side characters, maybe even Bumblebee mimicking various accents from around Cybertron since he's meant to be comic relief. Heck, just show various flashes of bots in other cities being shooketh during the big reveal with Sentinel and suddenly the world feels so much more lived in.

And for characters? I don't need Soundwave's entire biography to feel he's rich. Look at Arachnid. I know next to nothing about her but she feels alive. All the side characters needed were important side roles and a few actions worthy of note. Think of TFP Soundwave who hardly ever centered but was always there. Always doing something to assist the main story. It really shouldn't be that hard to make a world feel alive. Just attention to detail.

Why does the voice actor for Orion/Optimus matter so much? What's the point in focusing so much on it?

It matters because there is a distinct change between Orion Pax and Optimus Prime. Frankly, you could have anyone be Orion because Orion is the origin. But when it comes time for him to grow, to become more? That's when its time to put on a warface and give Optimus Prime a voice that matches the name. Optimus Prime isn't just a name, it's a title, it's a long string of powerful characters each showcasing empathy and strength in equal measure. If Optimus's voice is not distinctive or powerful, his resonance as a character is seriously damaged. Now why don't I share this opinion for Megatron? Because Megatron doesn't have a frickin relic in his chest. Megatron is a voice for the people. Megatron is the embodiment of strife and anguish. His rage and his passion is what gives him distinction, not necessarily the commanding tone of his voice.

It's a difference in character that makes me care so much about the voices for Orion Pax and Optimus Prime so much.

Why bother with such a long review at all?

Because Transformers One is the first not-garbage to come out in over a decade. (No, I do not like Earthspark. That's a whole other animal and I don't think I'd have the willpower to actually watch the thing again for a review of this length.)

I want to give this film the respect it deserves by showing my every thought for it. I want to show people that despite all its good and bad features, its still something to think about and acknowledge. I don't want something this groundbreaking for our beloved franchise to go down the drain because people were too apathetic to care or too blinded by new content to use their brains and help develop better things going forward.

Final Note

(Best film ever? No. Great addition to the Transformers Franchise? Yes.)

Transformers One was a masterclass in setting a scene and establishing relationships. Everything in the first ten to fifteen minutes of film was brilliant in regards to setting up the world and our main characters. Even if I weren't a Transformers fan, I would care about the brotherhood between Orion and D-16, or at least understand it. The visuals were stunning but not too intrusive and the film was clearly made with love. The characters that were given screen time were fleshed out as much as they could be considering the constraints. And while a great many things were very out of place and made no sense logically, at least within the rapid fire time frame that is the film, the overall movie was enjoyable right up until the meeting with the High Guard, at which point things became a bit contrived.

The plot was whack considering the film's short run time. Some things were very janky. The Quintessons weren't shown nearly enough or given sufficient presence. But again, lots of this was just a side effect of not having enough time to get things rolling slowly and properly as they should have been. It was a kick back, binge on popcorn, and scream at Easter eggs type movie.

If you want something colorful to look at and a half decent set of characters to enjoy, go right on ahead and watch TF One. You certainly won't rot braincells like you would watching some of the Bay films, but I can't in good concious say that TF One is better than older things like Prime. It is a brilliant concept that needed more time. It needed probably a two and a half to three hour runtime to set up, to get the ball rolling in a meaningful manner, and to establish the broken friendships and rivalries in a far more intimate manner. The concepts are lovely, the scenes are well done, but its a pity that it was cut so short and so many things were shoved together when they could have shone on their own in the proper setting.

There was so much there, and yet so much missing. So many pieces that fit well and yet so much more that was cast aside altogether. It is an imperfect thing, but this movie isn't a bad introduction or addition to the Transformers franchise, not in the slightest. Its a new start, a chance to make things better for this fandom and its abysmal run of bad movie after bad movie developed in Bay explosion style topped with far too much emphasis on humanity.

I believe that while TF One isn't going to be my personal favorite, or even the next big thing for the time being, it sets a new standard. No longer can we be fed garbage, because now we've been given a chance to look at something better. Hopefully, TF One will set the groundwork and foundation for far better films and shows going forward, giving this fandom new life and redeeming our sullied name as the big explosion robot fanatics.

TF One is flawed, but its a start. It's a fledgling attempt to make something new and interesting in a show business that is dead set on killing creativity and squashing anything of quality in an attempt to press an ideology. It is the baby steps shown by people who care. People who want to see the movies they never got. I will not fault it or the creators for existing. It may not be Lord of the Rings, War for Cybertron, Transformers Prime, the comics, or other big names, but it is a hope for the future.

It's not a bad movie. It was simply born in a bad time.

With that said, I'd recommend watching it at least once, if only to get a glimpse of what we have gotten and to have hope for what we might get going forward. I certainly intend to fill in holes with fanfiction, but that's just part of fandom, is it not? Enjoy this new piece of media, but don't take it too seriously. It's flawed just like everything else, but can be taken for what gifts it brings.

"We could have built the future together."

"I'll build it myself, after I tear down everyone in my way."

[queenshelby]

Yes! Mr Murphy (Rewritten)

PART 26: THE ARTICLE

Pairing: Cillian Murphy x Reader

Warning: Lots of Angst, Age Gap, Teacher x Student, Pregnancy Loss, Infertility

After you picked up the paper and read through the short-winded article, you could not help but feel nauseous again.

Seeing Cillian kiss his assistant like this made you sick, and you quickly realised that you were not wrong when you got a bad vibe from Kit, making you uncomfortable.

You also wondered whether, during your short-lived relationship with Cillian, he engaged in anything intimate with her. That would not have surprised you, considering that Kit had always had it out for him.

Kit clearly loved the attention as Cillian was not the first actor she was dating and you were curious as to what made her an excellent personal assistant for him. Was she more than that, even when he was married to Danielle? You were unsure and you knew that you should not care.

He had ended it with you and yet, you felt appalled and disgusted by his actions.

Filled with pain medication making you not think relatively straight, you picked up your phone and sent Cillian a photo of the article you read with the note saying “I am disgusted, but not surprised”, immediately following which Cillian called you.

“What is that supposed to mean? You are disgusted, but not surprised?” he asked, seeing that the article had made you upset as, even now, on the phone with him, you were crying.

“It means that I was right. There was always something about her, but you brushed it off when I mentioned it” you told him in a teary voice, causing Cillian to sigh but not answer.

“Did you sleep with her?” you asked after his long silent pause, knowing this was none of your business.

“What does it matter?” Cillian asked almost defensively, causing you to take in a deep breath.

“I will just take this as a yes,” you told him before allowing yourself to curse loudly so that everyone in the room could hear you. “Fuck, Cillian. Why?” you asked but, again, knew that he did not owe you any explanation.

“Because I have been trying to get you out of my fucking head Y/N” Cillian explained with much emotion in his voice but, of course, this made no sense to you whatsoever.

“So, it is my fault that you slept with your assistant?” you chuckled in disbelief, resulting in Cillian backtracking.

“Listen Y/N, I don’t have to explain myself to you. I slept with Kit, yes, but none of this is any of your business. We are not together anymore” Cillian told you and you could not help but ask him whether he had slept with her in the past as well, namely when you were dating each other.

“Of course not. Why would you even ask that?” he wondered and, again, you stated that she had always shown an interest in him, which was something he clearly was too blind to see.

“Okay. Well, at least I know that you have moved on, so that is good for you” you then told Cillian with some sadness in your voice and he asked you again whether it was still all right for him to bring Nina in to see you to which, of course, you agreed.

“Yes, sure. Just, please don’t come in with her. I cannot see you right now because, if I do, I might say something wrong, which would not be fair to Nina. She doesn’t need to know about any of this” you explained to Cillian as tears continued to stream down your face.

“Say something wrong? Like what?” Cillian asked, oblivious to the fact that you were hurting.

“Fuck Cillian, two weeks ago you told me that you loved me. Then you take it all back because of my age. Now I am in the hospital and find out you fucked your PA. How do you think this makes me feel, huh?” you cried before telling him that you were still upset after what happened and that him sleeping with Kit was your final straw. There was no coming back from this and you told him you were hurt by his actions which made Cillian gasp for air.

“All right. I will wait outside. I am sorry” he barely managed to say which is when you hung up on him and he started to curse.

Dropping back into his seat, Cillian sighed as tears in the corner of his eyes began to build up again, this time from knowing how much he had indeed hurt you. It had been two weeks since you parted ways and he never expected to find himself in a situation where he could not cope.

He knew very well that, over the past two weeks, he had been acting destructively and this included the fact that he had slept with his assistant Kit which, if it were not for his heartache and pain, he would not have done.

He regretted it and now, his mistake was already haunting him as even his daughter and ex-wife had brought up the article this afternoon.

Explaining the situation to Nina was, of course, almost worse than explaining the situation to you, and what Cillian did not know was that his daughter had grown to like you much more than she should have.

She also knew much more than she should have and, seeing her father upset, did not bother her much as, in Nina’s mind, it served him right.

“Are you and Kit a thing now?” she asked, before revealing to him that she would not like him to date a woman like Kit who, to this date, had always been a throne in her mother’s eye.

“No, we are not a thing. We just fooled around and it was stupid. I made a mistake” Cillian admitted carefully, trying to gauge the situation. He did not want to upset his daughter and had to be mindful not to hurt her feelings.

“Well, I suppose you are old enough to make your own decisions and certainly not too old to make mistakes, so I guess that’s fair,” Nina said wisely, knowing that her father was feeling bad about what happened. It was evident from his voice and demur and this somehow concerned her.

“I think we are never too old to make mistakes, Nina. In fact, I made many in recent weeks” Cillian admitted, referring to the fact that he had hurt you.

“Was breaking up with my dance teacher one of them?” Nina asked, catching her father by surprise, and causing his chin to drop. He wondered how she knew and why she had not said anything about it previously.

“What are you talking about?” he thus asked, again gauging the situation and, in the end, Cillian was surprised to learn that Nina knew along, ever since he started dating you.

“Come on Dad. I am not stupid” Nina told him, chuckling.

“No, seriously Nina, what are you talking about?” Cillian asked, still pretending that there had been nothing between you and him.

“I found some of her clothes with mine about a week ago when granny visited. She thought they were mine, from the dance academy, but I explained to her that they were not and placed them back in Y/N’s locker when I got to class. I don’t think she ever noticed. Also, the necklace with the Beatles quote she is wearing? It had to be from you. Only you are so weirdly romantic that it hurts” Nina laughed and, just as she explained to her father how she came to know about his relationship with you, he cursed.

“Fuck” he said, causing Nina to break out in even more laughter than before.

“Watch your language, Dad!” she lectured him and he admitted to her that he had, indeed, recently broken up with you.

“Yeah, breaking up with your dance teacher is one of the stupid things I have done Nina” Cillian told his daughter and, of course, she had questions.

“Did you not like her anymore?” she asked, wondering why her father had broken up with you.

“No, I still liked her very much but she is a little too young for me, sweetheart. It was not going to work” Cillian told his daughter who simply shrug her shoulders, knowing that she had to stay out of her father’s love life.

“All right. That’s your choice Dad” she thus said. “I can still like her though, right?” Nina then wondered.

“Of course. She is a wonderful person and there is no reason for you not to like her. Despite, she is your dance teacher and you love dancing, so who am I to get in the way of what makes you happy, hmm?” Cillian reassured Nina before hugging her and, since she was no longer into this kind of parental affection, she pulled away and told him it was time to head to the hospital.

***

An hour later, Nina and Cillian arrived with two books for you to read and a box of chocolates.

Seeing how upset you were earlier, Cillian remained outside, by the door while Nina walked in to see you, glancing back at her father with confusion.

“Dad? Are you coming?” she asked, but Cillian shook his head, telling Nina that one person at the time was enough. According to him, you still needed some rest.

Nina, of course, did not believe his reasoning and wondered whether the separation between you and her father was not on so amicable terms.

This, of course, was the case but both you and Cillian shielded his daughter from your disagreements with each other. This was the right thing to do and, since you liked Nina a lot, it was not very difficult either.

With that in mind, you hugged Nina and thanked her again for pretty much saving your life that day which was something that embarrassed her.

Like her father though, she did not like attention and thus quickly changed the topic.

Thus, you talked about dancing for a while and engaged in some jokes about life and a book you had both read before it came to your mind that you were sent a video of Nina’s recent solo by one of the other dance teachers.

“Can I see?” Nina asked and, of course, you showed it to her, not only once but twice, and, still, she criticised herself whereas you thought she did fantastically.

“Can Dad come in and see it?” Nina eventually asked and, even though you did not want to be anywhere near Cillian, you agreed, simply for her sake.

“Yes, of course” you thus said, pretending to be unbothered by Cillian’s presence as Nina called him inside.

“Y/N has a video from the training on Thursday which one of the other dancers took,” she told her father who, cautiously, approached you.

“Yes, come and have a look,” you told him, making him feel more comfortable.  “I was still in action then and Nina did amazing with the solo. She is showing so much emotion on stage now” you explained to Cillian who appeared to be very proud of his daughter as he watched the video.

“Can you send this to me so I can share it with Danielle?” he even asked and, of course, you nodded.

“Sure” you said before Cillian thanked you and told Nina that it was time to go, which was something she did not want to do.  She wanted to stay a bit longer and engage in conversation with you but her father was adamant that he had to go home as he had a meeting at six o’clock.

“A meeting with your assistant isn’t a meeting, Dad. She can work around you. Just tell her to come later” Nina told her father, knowing that Kit was supposed to come around to discuss the upcoming release of Oppenheimer and his interview schedule.

“I am sure Kit and your father have a lot of important things to discuss” you couldn’t help but say sarcastically before telling Nina that, if it was all right with her parents, she could return the following day for another visit.

“Okay Y/N. Take care” Nina told you before giving you yet another hug and, with that, Cillian and her left to go home and meet with his assistant.

***

At around 6 o’clock, Kit arrived at Cillian’s apartment and, as usual, she was punctual and on time.

As soon as she entered though, she attempted to give Cillian a kiss who quickly pulled away. He told her that his daughter was staying with him, as she already knew, which meant he could not interact with her this way.

Kit, of course, was disappointed, and even though Nina saw Kit’s attempt to kiss her father, she did not say anything, but disappeared in her room, smashing the door shut behind her.

“She seems angry” Kit pointed out before, finally, taking her chances. She pressed her lips onto his in haste and, again, Cillian pulled away.

“Kit, stop. This is not going to work” he told her, to which she sighed with frustration.

“Why? Because we work together?” she assumed, but this was not his reason.

“No, because I am not over Y/N and I don’t think I will be for quite some time. I love her and she...never mind…” Cillian stammered causing Kit to become angry.

“She just what?” Kit asked, trying to contain her emotions while pretending not to care about Cillian’s words.

“She saw the article in the paper, about us and she did not take lightly to it” Cillian explained, causing Kit to laugh.

“So what? You are not together anymore!” Kit pointed out, but Cillian remained firm.

“Still. She just had a miscarriage and I honestly need some time to digest all of this. Nina likes her and I miss her” Cillian explained before regretting telling Kit about your matters which, at this point, he did not know she would be using to her advantage soon.

“Fine. I mean, it was and would always be just sex Cillian. I can get that from someone else” Kit chuckled, telling Cillian not to worry about it.

“So, we are good?” Cillian asked, wanting to ensure that Kit could still be working for him as she had been an excellent assistant thus far.

“Of course, we are good. Let’s forget anything ever happened, okay?” Kit told him before diving right into Cillian’s work schedule.

“Okay, grand” Cillian confirmed with a smile, and without knowing that, later that night, Kit would take it upon herself to send an email to your place of work, using a fake email address.

“Dear Mr Beasly

I am writing to you as it has come to my attention recently that one of your dance teachers has engaged in intimate relations with one of the parents who, to this date, is still married.

Her name is Y/N Y/LN and the parent she got involved in is Nina Murphy’s father. Now, considering Mr Murphy’s status, I believe that this could and would reflect poorly on your establishment if their affair was to become known, especially since, recently, the said Miss Y/LN had undergone a pregnancy termination.

My suggestion would be to have Miss Y/LN resign on a favorable redundancy package, which includes the signing of a nondisclosure agreement.

Your sincerely;

A Concerned Parent”

[stayatsam]

veilguard sits at a healthy 7.5/10 for me i think. i would’ve bumped it up to an 8 but the dialogue is… not very interesting if that makes sense.

i got to the scene where you meet mythal to take her essence and i found her dialogue extremely lacking in substance, there was nothing to write home about, no line stuck in my head.

which is a shame because flemeth in inquisition had such a fire to her voice when talking about mythal’s murder, talking to mythal in veilguard felt dull.

hit or miss on when dialogue is good. he’s an asshole but the first warden really struck home as an interesting character and one very satisfying to confront as a warden rook. every scene the first warden in i looked forward to arguing with him

davrin’s interactions have been my favorite as well so far but he also has an incredible voice actor that i’m biased toward anyway lol.

davrin’s lines are spoken with such passion, and while i wasn’t sure at first ive found that taash’s dialogue hits well too as a nonbinary character exploring their identity who is also voiced by a nb actor so they feel very genuine in those scenes

but overall the script is pretty meh, with talented VA’s here and there picking up the slack it’s made up for but only barely.

i wasn’t a huge on corypheus as an antagonist but his dialogue was excellent, the “i saw the throne of the gods and it was empty” i remember almost perfectly but im halfway through veilguard and can’t remember a single raw line from either of the elven gods or even solas

[roseharpermaxwell]

RWRB FirstPrince Parental Angst Recs

Ellen and Oscar's divorce, the loss of Arthur - my faves below are for when you need some angst.

sometimes when he looks at me (i know that he needs you) by MaryaDmitrievnaLikesSundays. NR, 1k. A letter left by Arthur Fox before his passing, addressed only to “Whoever takes care of Henry after I am gone.”

the moment i knew by @coffeecatsme. G, 1.9k. “No.” Alex’s response is shaky but quick. “I’m not blowing the candle without her.” He feels the pitiful look of his dad at the back of his neck but he doesn’t look up. If he moves at all, the spell will be broken, and Alex won’t be that kid crying at his birthday because his mom didn’t show up. 

Or, 5 times people he loves leave Alex alone on his birthday, and 1 time one doesn't.

bright, beautiful, bold by rizcriz. T, 2.2k. All these years, Henry’s sat in regret.

And his father.

He knew.

He drags in another shuddering breath, aching and wet and filled with something soft that he can’t quite place—something that eases that heavy burden on his chest. Something that unfurls from his gut and tugs on it, as it were held there by a string, and that string is currently fraying. As if every breath brings with it some semblance of relief.

Or, Arthur wrote Henry a letter for his wedding day.

Please Don’t Leave Me Alone by beckettbucket. G, 2.3k. When Henry and Alex have their first ever fight as a married couple Alex can’t help but spiral, thinking of his own parents and the fighting that led to their eventual divorce.

I've carried this song in my mind by @kiwiana-writes. T, 2.5k. Henry lays eyes on Alex Claremont-Diaz for the first time in Rio, and it sends such a shockwave of longing and terror into the universe that Arthur feels it.

Or, five times Arthur tries to get Alex and Henry together from beyond the grave, and one time two times his intervention isn’t needed.

eyes full of stars by Standinginmoonlight. G, 4.3k. On his seventh birthday, Arthur teaches Henry how to look for Orion.

Or: Henry Fox-Mountchristen-Windsor loses his father and spends the rest of his life looking for Orion.

Fragile and Composed by SatinBirds. T, 4.8k. If Alex and Henry had met before Arthur Fox died, would that have changed anything?

Never Truly Leave by @clottedcreamfudge. T, 5.3k. "We found something in Arthur's things," Catherine says, without any preamble. "I've never really... gone through his personal effects properly, until now. It's been rather too difficult for me to face." Alex nods.

"I found something for Henry, but it's... Well, it's actually for you."

never be so polite (you forget your power) by Standinginmoonlight. M, 6.3k. The one where Arthur Fox leaves letters for his children.

Alex blinks at her.

the little shop in Kensington by @stars-hollow-sewers. T, 5.5k. “No, it’s mum's turn! You read last night, and you don't do Strega Nona's voice right.”

As a professional actor, it stings, but he’s not wrong. Arthur steps aside and lets Cat take over for the night. He sits back and enjoys the view – two of the loves of his life, heads tilted together, giggling and bonding over their shared love of books.

He loves seeing Henry get lost in a story. Loves how he treasures his books, holds them like they’re precious.

Arthur Fox may darn his socks rather than buying new ones; he may wear his shoes until the soles fall off; he may prefer weekends in Wales over holidays in Mallorca. But now that Henry’s reading by himself, he’ll spare no expense to keep that smile on his face.

or, Arthur and Henry's after-hours book shop visits through the years

i see you (your whole heart) by @indomitable-love. T, 7.3k. ‘I think he’s excellent,’ Arthur says, picking up a knife from the pot of jam to spread over his toast. ‘It’s refreshing to see someone be so unapologetically themselves. I think we need more of that.’ He glances at Henry. ‘I think that everybody should be able to be exactly who they are, without shame.’

---

Five times Arthur tried to tell Henry he knew (and one time Henry told him).

(if I didn't know better) I'd think you were listening to me now by @theprinceandagcd. T, 7.9k. “What are we supposed to say?” he finally rasps, and Bea leans toward him until she can rest her head upon his shoulder.

Count to Ten & Breathe Real Deep by @sparklepocalypse. E, 8.1k. Someone clears their throat behind him, and he spins around, hands still gripping the hem of his shirt. “Sorry, hi, I – shit,” he stammers as he takes in Princess Beatrice’s friendly expression and her brother’s more taciturn one. “Sorry, shit. God, sorry. Uh, hello, um… Your, uh, Maj—”

“I think…” Her breath trembles. “I quite think he would like to hear about our lives and what we’ve been doing.”

----

Over the years, Henry visits his father's grave to tell him about what's going on in his life, from meeting devastatingly handsome Americans at the Olympics to taking his daughters to meet him and everything in-between.

“It’s Your Royal Highness, but please, no titles here,” Princess Beatrice graciously says, saving Alex from himself. “Call me Bea. It looks like we’re teammates! Hen, too.” She nudges her elbow into her brother’s ribs, and he nods wordlessly.

Alex tries to replicate his mom’s politician smile as well as he can. “It’s an honor,” he says, giving them the little bow drilled into his brain before he and his mom had departed for London, through repetitive How to avoid being deported by the English monarchy lessons. “I’m Alex Claremont-Diaz.”

(Or, Alex and Henry meet at a youth charity event as teens.)

5 Times Henry Hated New Year's + 1 Time He Didn't by @hgejfmw-hgejhsf. M, 9.1k. “This is my curse,” Henry mutters, and Pez laughs across from him.

“You can hardly be responsible for the weather.”

“So the glaring fact that every single New Year’s Eve on record in my life has been an utter disaster means absolutely nothing to you?”

“We’re going to make it, so no, it means nothing to me,” Pez says with cheerful optimism despite the constant fluttering of white beyond the plane windows.

OR

5 times throughout his life that Henry's New Year's countdown has been ruined, and 1 time that it isn't.

matchmaking from beyond the grave: a guide by arthur fox by softcinnamonroll. T, 12k. Funnily enough, Alex actually liked his quirky little gift. When he could, he used it to help the spirits who asked for his help, to complete their unfinished business and move on. Most of the time, it’s for spirits who never got to do something random like… go to a bar or something stupid like that. Nothing too serious or demanding of Alex’s time.

Until he met Arthur Fox.

[or; Alex can see the dead. Enter Arthur Fox who really thinks Alex should meet his son, Henry.]

God Save the Blessed American President Mom by @zipadeea. T, 31k. ["June stopped by at lunch; she showed me a delightful channel called Hallmark, which repeats the same story every hour after they swap one round of white, straight, small-town conventionally beautiful actors for another. It was entertaining.”

“June and I used to play a drinking game with those. Take a shot every time someone goes ice skating, sledding, or leaves the big city for their tiny hometown.”

“Good lord, you must’ve been sloshed in the first ten minutes.”]

***

On December 4, 2021, an attempt is made on President Ellen Claremont's life.

Alex gets shot instead.

The Cost of Anything by clottedcreamfudge. E, 50k. "You’d give anything to have him back, wouldn’t you?”

“That can’t be a surprise,” Henry says ruefully, trying to pull himself from the brink of something a little darker than maudlin. Perhaps he should switch to water after all.

“‘Anything’ can encompass rather a lot,” Taylor says reasonably, and Henry sighs deeply, pulling his drink a little closer to him on top of the bar.

“Yes,” he agrees, “and yet.”

“And yet.”

Henry misses his father; of course he does. He'll always miss his father, because that's what you do when someone you love leaves you. He's grown accustomed to the feeling of missing Arthur Fox and, while he'd give anything to bring him back, it's possible he hadn't considered the implications of such a vague thought.

After all, it's never going to happen.

I only tag an author once per post, but I'm still figuring out firstprince author handles. If you see one I may not know or find a broken link, please give me a heads up!

Master List of RWRB FirstPrince Recs

Master List of Recommendations

[heathersproship]

I WENT AND SAW MEAN GIRLS YESTERDAY

Went in with low expectations, but hoping to like it. Listened to some of the soundtrack a few days ago and wasn’t exactly impressed. But I didn’t blame the rearrangements—not entirely. Some of it was questionable, but maybe it’d be like with NPMD where I’d like it more when I had the visuals to go with it (I vastly prefer The Summoning live, and also High School is Killing Me, rather than the studio audio). And for the most part, I was right! I had a nice time.

See below the cut for my thoughts on the songs, other details, and some Janis analysis.

First Things First

We started off strong with the garage setup and Cautionary Tale. The vertical screen on a horizontal one doesn’t bother me, so I love the whole bit with the phone, and Janis plays guitar!

What Ifs was a song I didn’t listen to beforehand, and I understood most of it til Cady got to school. Then I had no idea what she was saying, either because the music was too loud or she was singing too softly, or both.

Meet the Plastics (though really it’s just Meet Regina) was good. Loved the lights flickering and Regina’s hypnotic voice like a siren luring the unsuspecting Cady in. Or an anglerfish.

Stupid With Love was actually not that bad... in the first half. Once we were out of the classroom, it fell off for me. I suppose they were going for a dreamy walking-on-air cloud nine “too in your own little world to notice the world around you” vibe, especially at the very end, but Angourie’s soft vocals didn’t do it for me. I expected a burst of energy since they’re outside and have the freedom to move and be loud with it.

Apex Predator was beautiful visually. Musically, I’m still not sure what to make of Damian singing Cady’s lines when they were about Janis. It’s strange. Couldn’t even have her think them? Record Angourie in a booth to get a feel for how big she can go, play it over a few shots of Cady’s face or the scene in front of them, Cady looking at Janis as she secretly compares Janis and Regina while Janis and Damian are warning her about Regina? No?

The build-up to What’s Wrong With Me was good—love the usage of the music box—though the song itself was a bit awkward. It’s sad all the same though, and that’s the point.

Sexy was good. Blink and you’ll miss the Easter egg.

Someone Gets Hurt was visually stunning. My one gripe is that Aaron has ONE line. Just one. And he doesn’t even sing it because the actor just doesn’t sing (did they hire him for his looks? The fact that he was in TSITP, which I haven’t seen? Why hire someone who doesn’t/can’t sing... for a musical??). Couldn’t they get someone to dub him? It’s just one line. Was that too much to ask? Disguise Damian’s voice if you have to. Giving it to Regina was certainly a choice they made.

Revenge Party was a fucking banger. It’s so fun and hella camp, and I love that they reinstated one of the OG verses (two if you recognize the piñata line from another verse). Also like how the “yes, bitch!” line was also back, unlike in the Broadway recording, though I don’t think that exchange needed to happen twice. I love Janis just loudly popping up with “And ugly crying!” during the bit with the sprinklers like girl shut up you’ll blow your cover! But then there was also that weirdass decision to have it go handheld when Cady goes to get the candy cane. Did not like that, what the hell was that?

Damian singing the iCarly theme in French lmao okay sure.

Someone Gets Hurt Reprise was just as good as the original, I love it. My only nitpick is the wording. “Obsessed” rather than “in love with” though that might have something to do with the doll.

World Burn was epic. Except... okay. Regina waltzed right into school with the Burn Book in hand. What if someone saw her? And then her just deliberately dropping and leaving it on the floor. And people really walked past it before someone finally picked it up? Really? The payoff is excellent, just the setup was... questionable.

Now that I’ve seen it, I definitely like this version of I’d Rather Be Me a lot more than I did before. Especially how it ends. (Though Barrett is still bae.) There’s possibly an allusion to the music video with the running in the halls and going about the school. But my God, Auli’i fucking did that! And again, very glad they kept the curse in the OST.

If that was a reprise of Stupid with Love... here’s an idea: just stop. The horse is already dead.

I See Stars was? Fine? Tbh I don’t really remember it. Probably because the girl who doesn’t go there takes over halfway though. Way to pull your weight, Cady. Angourie did well for some things, but singing really isn’t her strong suit. Again, why hire actors who don’t have the range for a musical?

Other things:

I love that Janis does embroidery here. It just fits.

Did not like the sanitization. How can this be Mean Girls without one mention of “social suicide”? You can keep the bouncing boobs thing and blatantly asking if Cady wants to have sex with Jason, but the band geeks are “corny-horny” and not “sexually active”?

Heyy Ashley Park!

Cady scaring the shit out of Janis and Damian will never not be funny. They were even watching the same scene of the same movie!

I was really hoping to get a flashback of Regina and Janis, with Janis actually burning the doll, rather than Damian acting it out with the toys. Or at the very least, a shot of Regina’s backpack on fire (that would’ve been a great teaser image). So we can get an idea of what Janis was like before, if she went along with the fashion rules like “pink on Wednesdays” or if she was always a little off-beat and Regina pushed her further into it. Maybe even see if she was the queen bee as some people believe was the case back in the day.

Love the bit with music people in the tree and Janis telling them to stop lmao. I love when they do things like that.

Analysis:

So one of the main differences between this Janis and her predecessors is that once this Janis gets to a certain point, she’s satisfied and actually wants to stop so she and her friends can just enjoy their time together rather than asking Cady to take a single night off before, presumably, letting it go on longer. This makes the party betrayal hurt worse when Cady says she wants one more lunch with the Plastics, as it looks like she made the active choice to trade up rather than just forgetting about Janis and Damian in her attempt to ensnare Aaron. Janis’ satisfaction also makes her singing IRBM more justified than in the musical because the movie took away a crucial aspect of her character which made her a Mean Girl to begin with: her anger.

This iteration of Janis just doesn’t have the same level of pure rage that drives her the way Regina does—rage which made them two sides of the same coin—because in this version, Janis is actually gay. The whole conflict in the original was Regina labeling Janis as something she wasn’t, and 2004 being a more homophobic time in history was how it was able to fly. In the 2018 musical, when that was no longer the case, they had to add in another layer with Regina pretending the issue was that Janis couldn’t accept she wasn’t one of the six people invited to her birthday party, before revealing the real issue was the same as the first: Regina pushing a label onto Janis (though Barrett says she played Janis as a lesbian, this was not explicitly confirmed nor acknowledged within the show itself, and is therefore no more canon than Regina being queer because Renee Rapp says so, closeted or not). With Janis being canonically queer here, this takes all the power out of Regina labeling her a lesbian in the first place because yes, yes she is, and? Rather than the problem being about the label, now the problem became Janis’ reaction to the bullying that ensued.

While she had to leave school due to how bad the bullying was in all versions previously (frozen out in the original—according to Regina she dropped out; and having “space dyke” Sharpied on her locker in the musical—according to Damian her parents pulled her out) this is the only time we know of where she retaliated. By burning the plush (and also Regina’s backpack) with a Bunsen burner. Her own actions resulted in her getting kicked out rather than being forced out by circumstances beyond her control, and the choice to do it this way shows that a) while what happened to her was more insidious, she’s also slightly less of a victim than her predecessors, and b) she knows better than anyone actions have consequences—a line of dialogue explicitly absent in the movie’s opening number. She was content to stop where they were at, quit while they’re ahead, because her desire for revenge was satiated and she was ready to move on. Have lunch with Cady and hang out like they always meant to. She’s no longer a Mean Girl. While there was an injustice done upon her, she’s not so scarred by it she’s letting her rage get the better of her to the point it spirals out of control. She was ready and willing to stop. But Cady wasn’t.

And I don’t know how to feel about that.

I think that’s it.

[the-everqueen]

I saw your post about the Sandman season 2 casting and I hope it's ok to ask what your dream cast for the Endless siblings would be? (also any other characters in the show! I know there will be a lot of new faces this season)

oh this is a delightful ask - i have a whole "alt face cast" tag that currently largely serves a human Matthew (Assad Zaman) but i love thinking through casting as someone who literally wrote a dissertation on diverse/colorblind/nontraditional casting in theater. that's definitely influencing a lot of my choices here - i tried to go with West End actors where possible, but i didn't limit myself to the UK. i also, uh. just picked all nonwhite actors because why not!

Destiny: to be clear i do like Adrian Lester as a choice! i feel like Chiwetel Ejiofor has similar gravitas as an actor, but i'd like to see Giles Terera in the role (he played Burr on Hamilton West End, and i think that shows an ability to balance Destiny's solemnness with dry, understated humor). Lemuel Knights would also be fun to watch take on the oldest Endless sibling.

Death: Kirby is obviously !!! we love Kirby. Vidya Makan feels like she has a similar older sister / responsible-but-kind vibe. Olivia Washington (currently starring in the West End's production of "Slave Play") would absolutely be able to portray Death on the other side of having hated her function (i'd LOVE to see a subtle take on Death as someone who has clawed back a sense of personal fulfillment in work that really takes a toll on her).

Dream: remember how Riz Ahmed voiced the Corinthian in the Audible Sandman? remember Riz Ahmed doing all those Shakespeare monologues? yeah.

Desire: Alex Newell! they won a Tony for best actor in a musical and they were one of the first nonbinary actors to be nominated for the award! (they're an excellent singer and also...i think it would be special to have a fat person play Desire.)

Despair: Kaguya. Minami Gessel. Patricia Fa'asua.

Destruction: okay so my ideal would be Toshiro Mifune. i understand that's impossible because Mifune is no longer alive. in which case...Rahul Kohli, or Beulah Koale (these are two entirely different approaches to Destruction - Kohli i could see as the sort of secretive, quiet man who's close to his sister Despair, while Koale i could see as the person who gets into painting after ditching his function and who likes talking to Barnabas).

Delirium: i had a silly but persistent hope that we'd get Bailey Bass as Del. (that scene in the 2022 iwtv where she's talking about her new life as a vampire gives the kind of unhinged/dangerous/sad vibes i get from Delirium as someone who used to be Delight and is now...fragmented.) alternative (but equally good) choices included Stephanie Hsu, Ruibo Qian, Priya Kansara, and (after seeing dead boy detectives) Yuyu Kitamura.

[skoople]

astronaut food

i've been meaning to outline the eating habits of the main wolf 359 characters. specifically, what do they eat and drink, what do they enjoy, what are their kitchen sins, how do they eat, and why. this is going to be a combination of canon, implications, and my personal read on them. let's get right into it:

DR. ALEXANDER HILBERT

his view on eating is utilitarian to the point of reddit-ness, and he'll often go without meals to get something done or to prove a point (see: Succulent Rat-Killing Tar, What's Up Doc). his palate is a very "get what you can out of whatever you can" approach without considering much in the way of taste or texture (seaweed coffee is his invention). HOWEVER! hilbert has one prized treat that is his achilles heel/autism samefood: Pecan Pie (see: Mission Mishaps Cold Turkey). i think it's got a unique texture, and a comforting smell that meshes with his suppressed desire for family and safety well.

kitchen sin: he regards the human need and desire for food as both frivolous and an unfortunate necessity.

LIEUTENANT RENÉE MINKOWSKI

she definitely enjoys fruit, or she wouldn't've cryogenically sealed a Braeburn apple (which are excellent for baking or dehydrating, btw) and brought it to space (see: What's Up Doc). she's also a planning type, and i think an efficient and tasty meal that involves the preparation and presentation of a fancy yogurt bowl is a favorite of hers and a dietary staple. minkowski is highly conscious of table manners, although that slacks a bit on the hephaestus, because she's eating across the table from hilbert and eiffel, for god's sake. still, clean and organized is her food philosophy. she owns possibly the only tupperware collection on the planet that includes every matching lid. the wine has almost no canon basis, and is mostly just a nod to voice actor Emma Shierr-Ziarko's own love and knowledge of wines.

kitchen sin: she thinks a clif bar counts as a real dinner if it's a weeknight.

CAPTAIN ISABEL LOVELACE

lovelace's favorite food is appetizers for the whole table, a team pizza party, a big awesome-smelling potluck, or anything meant to be shared. for her, eating is a casual and (more importantly) a communal activity. the social engagement from a loud brunch will nourish her just as much as the food does. besides that, i think she likes chocolate with nuts in it (e.g. snickers, chocolate covered almonds, rocky road ice cream, etc), but one of her favorite desserts is probably a strawberry milkshake. maybe it's a way to make up for all the protein shakes and high-efficiency smoothies (that taste like wet cement) she has to chug on account of the intense way she lives and works.

kitchen sin: she is a vulture if anyone else is cooking or eating. "you gonna eat that?" and picking off searing hot pans and baking sheets. she's really just curious but she never asks until its already burning her mouth.

COLONEL WARREN KEPLER

ok, the drink is a given. it's even on his official wolf 359 store merchandise. he likes the feel of it in his hand. but what does kepler eat? when does he eat? in private, obviously. his job is an exercise in restraint and perception, and he is his job (see: A Matter of Perspective). monsters under the bed don't need to eat, and they certainly won't be that vulnerable in front of a superior. but he's still a person, so i struggled a lot trying to figure out what he would crave. fish tacos, biscuits and gravy, and a loaded chicago hot dog were all floated, but the only meal i could picture kepler ordering where anyone could see him was lamb with mint sauce. it's expensive, recognizable, difficult to cook exactly right, and almost bloody.

kitchen sin: he will go out of his way to make you feel bad about what you're eating no matter what it actually is. he doesn't even have to say anything, he'll just glance at you or shift his posture slightly.

DANIEL JACOBI

this is a guy who loves to snack (see: Time To Kill. pringles: popped). he likes crunchy, salty snacks a lot, but it's more about the activity than the taste. that doesn't stop him from ritualistically complaining (see: Mission Mishaps No Complaints). he takes his time eating, but he doesn't pay much attention to it, which is why the longevity of a slushy is a favorite of his. jacobi lives off road snacks, but will find a way to complain about the points of a michelin star. he just likes bitching! the stinky cheese (see: Need To Know) pictured is a baked Camembert, because it's my post and i get to pick the cheese. Camembert is one of my personal favorites, but it can be fairly pricy and is a pain to clean up, which doesn't matter to jacobi (goddard company credit card please!)

kitchen sin: he spends an excruciatingly long time on any meal to the point where, if he had his way, they'd bleed into each other by taking an average of one bite every 15 minutes.

DR. ALANA MAXWELL

the drink pictured is a rockstar energy, but whatever legal(ish) stimulants can get inside her body the most effectively is maxwell's favorite. she eats a lot of takeout (see: Mission Mishaps Happy Holidays) because it's quick when she forgets to eat all day and it's tasty and she has the pay grade for it. she grew up in a tiny nowhere town that was in all likelihood at least partially a food desert, and her family dinner table warranted a restraining order, so i think in her adult life she tries to get as far away from that as possible. this often manifests in trying all the outlandishly spicy things she can get her greasy mitts on, because she is both inquisitive and masochistic. fuego takis are pictured because theyre a staple snack that jacobi will buy for her if she promises to share (she's lying and will eat the whole bag)

kitchen sin: she allows the nearly-empty cans, bottles, bowls, and bags to sit out and fester. once every 2 weeks she sets a timer and rushes through dumping it all into a giant black trash bag so that she doesn't get an infestation of ants again.

OFFICER DOUGLAS F. EIFFEL

and the "F" stands for food! eiffel definitely spends the most time talking about food. he's hungry! since his eating habits are so prominent in the show, i figured a compilation of his food and drink moments in canon would work a little bit better than my own personal extrapolation. excerpts from Limbo and Boléro were omitted.

kitchen sin: while some people might argue that pineapple on pizza belongs in this spot, i am not so judgemental. i just want him to eat from dishes that aren't visibly dirty.

HERA

[insert byte joke]

kitchen sin: she doesn't have a mouth.

[greekmythcomix]

Fantasy Odyssey cast

I’m working on the choose-your-own-path Odyssey book/game today, and I thought a good way of trying to write a bit faster (and stop being distracted by the fact that I have a day off from the world to do with as I like and I’m spending it stuck to the computer) would be to visualise the characters as actors I like. Or at least work out whom I have been visualising all this time. I’ll add to this list as I write other sections.

NB: I live in the UK, was a child in the 90s, and like comedies and dramas, so these are probably going to end up all British and aren’t necessarily going to be very exciting choices! Please feel free to make your own suggestions.

PS: I know there’s a film coming out with Ralph Fiennes as Odysseus and Juliette Binoche as Penelope coming out in a year or so, but that casting is just too serious for me (and Binoche is forever Antigone to me after using her NT run to teach the play for coursework, so…)

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

Odysseus:

Michael Sheen

Odysseus is complicated. Apparently he looks like a country boob, but has a voice that commands all and speaks words like falling snowflakes. He can lie at a second’s notice, but is also loyal and magnetic enough for his wife to have wanted to wait for him all this time. The role needs Sheen: the sheer *range* of the man, who can be sweet *and* prickly inside one sentence. His Nero is terrifying yet also somehow vulnerable. He also looks excellently the part - stocky, sturdy, with a woolly beard and hair (perfect streak of weathered white through the front). He’d be captivating.

Telemachus:

Alex Lawther

I’m a bit sick of portrayals of Telemachus making him a total one-note whinge bag (you know which portrayal I mean in particular) and in the text he’s angry yet well-behaved and does a lot of growing up. He’s been brought up by only his clever mother and her loyal servants/enslaved people so he should be a little soft but sharp around the edges (the suitors are almost all the same age as him give or take a handful of years), and he also takes after his father - Homer really paints that comparison on thick - so he should be clever too.

That’s Lawther in a nutshell.

And, if you look at photos of a younger Michael Sheen, there’s a lot of similarity there, so that works too. (And they’ve both played Hamlet, so that would be fun to talk about)

Menelaus

Brendan Gleeson/ Brian Gleeson

The film Troy rather ruined this one, as Brendan Gleeson played Menelaus rather perfectly for me. Only I’m imagining he gets a lot nicer once he gets Helen back. However, he's rather aged out of the part, but his son Brian is almost old enough to play him (yes, nepotism). In Frank of Ireland he’s a lil bit daft and that’s how I’m seeing Menelaus in Book 4, all memories and wrapped around his wife’s littlest finger.

Helen

Right now, possibly Emilia Clarke, but I’m not certain (see below)

Helen is a confident trickster. She’s effectively been abused her whole life, treated as a prize and a sexual object since childhood, can’t trust anyone, and is now leaning into it (see Book 3). But all she wants is stability. It’s probably a choice a little influenced by Clarke’s former roles, but her apple-cheeked visage and winning smile suggest she can get herself out of trouble by getting men to fight eachother for the privilege.

EDIT: wait wait wait... let's go left-field and get Natasia Demetriou. Her Helen would be manipulative, dismissive, sometimes incredibly sweet and naive but only on the surface. She'll dope you to make sure you don't ruin a good time. She's in charge. Oh yes.

Penelope

Nina Sosanya/Olivia Colman

Our Penelope is so sassy, totally on it (Odysseus-in-disguise praises her as a ‘king’, the highest era-appropriate compliment on her rule he can give), but willing to make way for her son. She’s clever, no-nonsense, totally in love but also a realist. I couldn’t pick between these two brilliant actors so I’m picking bits of them: Sosanya’s needliness and Colman’s ability to dismiss you kindly and both of their wit.

Athene

Ruth Wilson

Calculating, sexy, kind of ruthless. Enough said.

Diomedes

Kayvan Novak

He’s not in it for long, though there’s potential for plenty of flashbacks. Diomedes is pretty serious, businesslike, a bit meat-headed, deadly as a sword between your ribs, and while Novak is a lot funnier than that I think he could pull off the character without being unlikeable.

Antinous and Eurymachus

Timothee Chalamet and… TBD

Ok so technically Chalamet is a teensy bit younger than Lawther rather than older, but it’s within tolerance. I think he could pull off older and haughtier, full of insouciance knowing how much he’s worth compared to the rest of them, and properly intimidating and manipulative. The murder plot the suitors attempt against Telemachus becomes a bit of a dark peer prank, with Chalamet as the leader of a group of obnoxious rich boys who only have one impediment between them as suitors and one of them as king, and I can see a face-off between Chalamet-Antinous and Lawther-Telemachus with Ruth Wilson’s delighted Athene bobbing between them.

Eurylochus and Polites

Simon Farnaby and Jim Howick (Ghosts, Horrible Histories)

Obviously these two need bigger roles than in the original text, so they pop up in the alternate storylines. Eurylochus is smarmy and annoying, and Polites is an adorable yes-man. At one point Odysseus wonders whether or not he should actually cut Eurylochus’ head off, and I can see Farnaby and Sheen facing off in my head. And there have to be some comedic characters in here to relieve the tension.

More like 20 years, amirite?

Eumaeus

Not sure yet. Eumaeus is such an important and underrated character, earnest and loyal to the last, but with the bearing of a prince (as he once was before becoming enslaved). I’m fluctuating between Idris Elba, Riz Ahmed and David Tennant, which is a bit mad, but I’m getting back to writing this bit soon and I may have a better idea after they’ve sat down for an interminable amount of time to eat roast piglet. But, now I've seen Good Omens 2, maybe just Michael Tennant with heart-eyes for Odysseus is pretty accurate.

I am desperate to get Matt Berry in here somewhere. I think he’s going to be Medon the herald, who has covered himself in an ox-hide and is hiding under a chair during the suitor-slaughter. BUT WOULDN'T HE BE BRILLIANT AS AGAMEMNON???

Proteus, god of the Sea

Proteus is both king of Memphis in mythology, but also a sea-god (like Nereus) who shepherds seals and cannot lie. I've made them different characters, but I think they could pull off being played by the same actor. Proteus of the sea is a shape-changer, changing into a lion, snake, water and fire (!), but is often thought of as being half-man-half-seasnake.

Hello Sir Derek Jacobi, I love you but am also very cross with you right now, be a seasnake-seal-shepherd.

I’ll edit this post when I think of more.

[froggos-are-superior]

Best lines of every death note song and why:

Where is the Justice?

[Light]

What good is law that can’t

Punish those who break it?!

I love this line mainly because of the pure emotion in his voice when he sings it. He sounds so exasperated and tired. Justice was clearly a sore spot for him long before he picked up the Death Note.

They’re Only Human

[Ryuk, Rem]

They don’t see

Who they are is who they’ll always be

This line is great because of how the lyrics are the same but Ryuk and Rem each give them completely different meanings. Ryuk says it as a jest, a mockery of sorts. Rem says it with fascination and maybe a bit of pity. They can share the same beliefs and still view humanity differently.

Change the World

[Light]

But what would happen if it's true?

Imagine all that I could do

Light just picked up the Note and he was already yearning to be the one that made change himself. It makes you wonder how his career in law enforcement would have gone without the Death Note's interference.

Hurricane

[Light]

I am the God of a brave new world

Much better than the last!

well that escalated quickly.

Kira!

[Ryuk]

You think you’re making changes

But the only thing you can change is your name

This is such an underrated line because it's true. No matter how much someone prods at the system, it never seems to do much. I guess it's more like Light stabs the system as opposed to prodding it, but with the same effect. Humanity doesn't change easily.

I'm Ready

[Misa]

And the world may be cold

And the world may be cruel

But this world is all that I've got

I forget sometimes that Misa isn't just a Light Yagami fangirl. She actually truly believes in the systems that Light is trying to implement. She wants to change the world for the better just as much as he does.

We All Need a Hero

[Sayu]

When I get afraid, and all hope is gone

I reach for your hand and I belong

Cause someone like you, who's scared but won't run

Is standing his ground for everyone

These lines are painful for a couple reasons. The most obvious being that she's saying that Kira should be more like her brother, who is actually Kira. The hope and admiration on her face are enough to induce tears. The other reason being that those lyrics actually pertain to Kira for many, not just Light. So many different possible perspectives.

The Game Begins

[L]

The chase is on, the die is cast

I sift a thousand pixels

Until I chase you down at last...

The game begins!

I think this just reinforces the fact that L sees his competition with Kira as an interesting game to play. He sounds entertained.

There are Lines

[Soichiro]

You don't load a gun

[Light]

You don't

[Soichiro, Light]

Close your eyes and shoot!

This is interesting because Light skips that first line entirely and only butts in for the last portion. It's symbolic of the fact that Light disagrees with Soichiro for the first part. His father says don't kill anyone period and Light says don't shoot blindly. kill with purpose.

Secrets and Lies

[L, Light]

The line is quickly blurring between what's right and what is not

I don't care who gets hurt now

As long as I get one more shot!

This is my favorite line in the entire musical. It captures their dynamic perfectly. Neither of them care about anyone but each other and winning their game at this point.

Mortals and Fools

[Rem]

Try as I will, I just don't understand it

Love is for mortals and fools

tHeSe wOrDs wiLL nOt cOme bAcK tO hAuNt mE lAtEr tHiS wEeK

Stalemate

[L]

Just like two actors on a stage

Go through the motions that we both rehearse

Our little new atomic age

Eyeball to eyeball

We'll see who blinks first!

A staring contest is an excellent metaphor for their game of cat and mouse. It's a contest where the slightest upset of any kind can affect the outcome and victor, and it requires you to be completely concentrated on your opponent.

I'll Only Love You More

[Misa]

My restless life is worth so much more

Because of you worth living for

If I find you maybe love me too

I'll only love you more

These lyrics tend to remind me just how much of Misa's will to live is comprised of Light. It certainly explains her actions after his death.

The Way Things Are

[L]

Always only believed what was

Right in front of me

What I could see

Shinigami are real because

It's the only way

The only way

I have no fancy explanation for this one, it just reminds me of the scene where he hears the word shinigami and falls over screaming. Never ceases to make me cackle.

Mortals and Fools (Reprise)

[Rem]

Love makes you break all the--

[Ryuk] (spoken)

Rem

Don't break the rules

The reprise was hauntingly beautiful in which Rem takes up Misa's old lines and sings them, as she finally understands what Misa meant. I also appreciate the little bit of care for Rem that Ryuk shows here. A warning of sorts.

Honor Bound

[Soichiro]

Timelines and coincidences can't replace hard facts

But if what I'm seeing, bends as light refracts

Am I blinded to what my son lacks?

Can we appreciate the Light puns please.

Playing His Game

[L, Light]

I’ll catch him when

I look through his eyes

See what he sees

And then improvise

Until I can learn what puts him at ease

I’ll walk in his shoes

As long as it takes

There is absolutely no heterosexual explanation for this level of obsession.

Borrowed Time

[Misa]

I'm cheating death with every breath

And every song and every sigh

With every day that I don't die

Is borrowed time!

These lines are just so beautiful to me. She sings about how death does not matter to her because she's only alive now on account of Gelus's sacrifice. The vigor she sings with here is also so wonderful.

When Love Comes

[Rem]

When love comes, it takes you by surprise

You see things through someone else's eyes

Rem finally understands love. Also that last line reminds me of a certain line in Playing His Game 🤨

The Way It Ends

[L]

I've seen through you right from the start!

[Light]

I've simply let you play your part!

[L]

You'll never ever get away!

[Light]

Don't you see that you will die today?

I love how even at the end, they're both trying to prove themselves to one another. They're trying to show that they won, that they're the better man/person/detective. That last line of Light's kinda shut L up tho 💀

[ridley-was-a-cat]

Summer 2024 Anime Roundup

Anime of the Season - Yatagarasu: The Raven Does Not Choose Its Master

I added this to my list of spring shows to check out purely for the key visual they released before the season started. It showed four women in beautifully styled kimonos standing on a large stone staircase, and the vibes just screamed "period drama for grownups", which happens to be one of my favorite foods.

While my read on the serious tone was on target, rather than a straight period drama, it's actually a fantasy series set in the royal court of a society of yatagarasu - a mythical three-legged raven from folklore that can take human form - that's in the midst of a succession struggle, with the four noble houses all sending a prospective bride to the capital for the crown prince to choose from. Joining the would-be consorts is a large cast of characters with a wide variety of interests and loyalties, from factions favoring the crown prince's older brother, to a scheming empress, and a clever teenage boy who'd just like to do his job and get back to his family outside the capital. The first two thirds of the series craft one of the best executed mystery plots that I've seen in an anime, with an incredibly satisfying conclusion at the end of a meticulous setup that made just about every detail count. While the resolution to the mystery in the last seven episodes lacked a bit of the punch the first one had, the setting details it revealed along the way made me wish for a sequel or an English translation of the source novels to get even more of this story.

This would have made its way into the top of the season on the strength of the story alone, but the production quality takes it to the top of the year. The art is nothing short of incredible, with gorgeous painted backgrounds, distinctive character designs, and beautiful Heian era-styled kimonos in vibrant colors. On top of the sparkling visuals, the soundtrack is rich and moody, the opening and ending are unskippable, and the voice cast is full of talented actors. It was the sort of series that comes around once a decade at most, and my pick for the best of the season couldn't have been easier. 9/10

First Runner-Up – Makeine: Too Many Losing Heroines!

Before the season began, I saw the premise of nothingburger boy collecting a trio of girls rejected by their crushes, I looked at those goofy bows on the girls' uniforms, and I took a pretty hard pass on this. Everyone's praise got to me by the end of the season, though, and I ended up checking it out and getting completely charmed by it. The kids are all pretty lovable, and the production is top notch, with fantastic character animation and excellent voice acting performances. 8/10

Second Runner-Up – The Elusive Samurai

Centered on the lone survivor of the coup that took down the Hojo clan and set up the Ashikaga shogunate to rule in their place, this shounen action series tells the lightly embellished story of his journey to take back what was taken from him. The balance of slapstick comedy and grisly violence walks the line between purposeful and disorienting, but the art and animation are spectacular, and there isn't a single boring character in the large cast. 8/10

Senpai is an Otokonoko - You don't often get stories like this in anime, where a girl confesses to her senpai she thinks is a girl, then still wants to go out after finding out they're actually a cross-dressing boy, forming a love triangle with another boy who also has a crush on him, and have it treated seriously like a proper coming of age romance instead of a big joke. The jarring chibi animated scenes, and the way it handles a couple of the issues it introduces, keeps this from being as good of a series as it could've been. The upcoming movie sequel may resolve some of these problems, though. 8/10

My Hero Academia S7 - The struggle between the heroes and the league of villains runs towards its climax in this penultimate season, and like much of the series leading up to this point, it's a bit of a mixed bag. At the highest points you get turbo-tsundere Bakugo putting his life on the line for Deku, and the emotional climax for the Todoroki family's struggles, while the lows include a poorly executed storyline centered on a persecuted minority turning violent, and a frustrating decision to make the one fight between two girls be about feelings and crushing on the same boy. I'm still looking forward to the final season next year. 7/10

Pseudo Harem - A girl joins the theater club at school, where she goofs around with a senpai by acting out the different archetypal characters of harem romance, and it's somehow one of the sweetest, most genuine romance series I've seen. It takes a couple episodes to settle into its groove, and the transitions between sketches could be a little jarring, but the couple's chemistry is fantastic, and their relationship steadily progresses up through a perfectly charming and satisfying ending. 7/10

Mayonaka Punch - P.A. Works original anime series like to take a group of clumsy but earnest girls with a dream, and put them in a situation. In this original series, the girls are vampires, the dream is to earn a million subscribers on (not)YouTube, and the situation is avoiding homelessness. The characters come in different shades of girl failure, the stunts are amusingly familiar to anyone who watches YouTube, and the comedy comes with a generous helping of heartwarming friendship moments. A fun ride that stops just short of great. 7/10

The Magical Girl and the Evil Lieutenant Used to Be Archenemies - It was a little hard sometimes to watch this knowing that the mangaka passed away while she was writing this. The characters were so charming, the chemistry between the leads was so electric, the art was so beautiful, and the story hook was so catchy, that it hurts to know we'll never get any more of it because a talented woman left us far too soon. I'm thankful that we got such a beautifully produced series for her final work. 7/10

The Fable - As consistently entertaining as this dark comedy about a legendary hitman trying to live a normal life was, and as fantastic as the voice actor performances were, any recommendation for this show needs a big asterisk for the visuals, which combined poor animation with characters that frequently went off-model. The large cast of rogues, and the deathly absurd situations they got into, had me interested enough to watch week after week despite the production flaws. 7/10

Shoshimin: How to Become Ordinary - I wasn't sure what to think about this high school set mystery series at first. The cases were extremely mundane, the production was oddly ambitious, and the characters were a little hard to relate to. Over the series run, however, the characters showed their true nature, and the Holmes and Moriarty vibe came through loud and clear. I look forward to the second cour next year. 7/10

Dungeon People - A lone adventurer gets a big surprise when her fight with a monster breaks through the dungeon wall, revealing a woman's bedroom on the other side, and leading to a new job as that woman's assistant, managing the day to day minutiae of the dungeon. Setting a cozy slice of life series in a monster packed dungeon shouldn't work, but the two main characters had a fun dynamic, and the monsters and humans in and around the dungeon had enough variety and personality to pull it off somehow. 7/10

Twilight Out of Focus - Set in a boys high school with a dorm, this anthology BL series follows three separate couples in the school's film-making club, and like most anthology series, the vibe and enjoyment varies a bit from story to story. The roommate friends-to-lovers first couple was merely ok, the enemies-to-lovers second couple was a step up, and the opposites-attract third couple was straight up great fun. Taken altogether, it's a solid entry in the genre, and a rare romance series that includes sex scenes. 7/10

Days with My Stepsister - Based on the series' title, I assumed this would be a trashy romcom full of light novel cliches, but it turned out to be a nicely directed, low-key drama about two teenagers who happen to become step-siblings. It does a remarkable job of capturing the awkwardness of suddenly living with strangers and calling them family, and the changing relationship between the two was just messy enough to be interesting without being melodramatic. It was a little slow at times, and there's one weird scene between them early on, but it was generally a solid romantic drama on the grounded side. 7/10

The Ossan Newbie Adventurer, Trained to Death by the Most Powerful Party, Became Invincible - For a one-note comedy that's basically two tournament arcs stapled together, this was a surprisingly fun action-comedy series in the style of the manly action shows of the 80s and 90s, where men talked it out with their fists. There were a few characters whose main job seemed to be having breasts, but the main character was such a great guy, and everything happening around him was so over the top and silly, that I can't really complain. 7/10

VTuber Legend: How I Went Viral after Forgetting to Turn Off My Stream - Knowing approximately nothing about VTubers myself, I can't speak to how well this series does or doesn't capture the streaming scene, but being an outsider did not stop me from laughing at the cast of eccentric streamers and their nonsense. From the main character forgetting to end her stream before cracking a cold one and drunkenly visiting her fellow streamers, to a dramatic game of Among Us, to copious amounts of sexual harassment (affectionate), it had something to make me chuckle every week. 7/10

Quality Assurance in Another World - Without spoiling the premise, which is genuinely surprising when it's revealed early on, this series takes a couple of popular isekai and isekai-adjacent sub-genres, and makes a fresh and clever story out of them. The production won't win any awards, and the story cuts off abruptly at the end with no announcement for a second season, but the setting nailed the feel of buggy video games, and the characters were a lot of fun to watch as they navigated a freaky situation. 7/10

Sakuna: Of Rice and Ruin - Adapted from a video game, this follows a lazy young goddess who has her peaceful days of lying around in the lofty realm interrupted by a group of humans who wander in and cause an incident that gets them all sent off to a demon-infested island as punishment. I enjoyed watching the characters learn how to cultivate rice over the course of the early episodes, and there were some nice twists and character developments in the second half, but the human characters could be pretty annoying, and the monster fighting action lacked excitement. 7/10

That Time I Got Reincarnated as a Slime S3 - After spending the first half of the season bogged down in meetings, the second half gathered most of the enormous cast together for a low-stakes festival arc. A few episodes of action between the two halves offered some excitement, but the season as a whole felt pretty subdued. It feels a bit like the anime doesn't know what kind of show it wants to be, and is now bouncing between dialogue-heavy drama, action-adventure, or slice of life, and it's not equally good at all three genres. 7/10

A Journey Through Another World: Raising Kids While Adventuring - We're drowning in paint-by-numbers isekai every season, and I'm part of the problem, since I usually pick one of them as a potato chip watch. This season's selection features a man accidentally isekaied by a clumsy god, who finds a pair of young overpowered kids and takes them with him on his adventure. Vapid, but cozy. 6/10

Alya Sometimes Hides Her Feelings in Russian - I very much was not the target audience for this romantic comedy about a Russian-Japanese girl and a boy who doesn't tell her he understands what she's saying when she talks about him in Russian, but it was kinda fun by the halfway point with the full cast of girls, so I stuck around. A decision I regretted once the school election plot fired up and the story got tedious, with too much telling and not enough showing. 6/10

Wistoria: Wand and Sword - Since I enjoy the writer's other series, I figured I'd enjoy this as well, but week after week, it kept tricking me into thinking it'd turned a corner and become good, then suck just as hard as ever. It has an insufferable protagonist with the idiotic character motivation of chasing after a girl over a promise made as children, a dreadful case of Proper Noun worldbuilding vomit, and a painfully derivative setting, but it was nicely animated I guess. 5/10

[beheworthy]

extraction 2 was so good! tyler i love youuuuu!!!!

it's better than the first one and the first one was great. chris' performance was excellent.

bring on the 3rd one.

~~spoiler free~~

- tyler's guilt that he wasn't a good father to his babyboy was done really well. i got emotional when he's forced to voice it out.

- the oner is INSANE! it's impossible how they did all that. it's literally impossible!!!!

- chris moves between hardcore action and emotional stuff so seamlessly. he's perfect! he should do more serious films 😌

- this isn't a knack on other actors but everyone looks like they're actors performing a choreographed fight scene while chris looks so natural. we know he rehearsed these moves for 5 months yet it looks like he's coming up with them on the spot. that is beyond exceptional from him!

- loved nik and yaz. tyler's dynamic with both of them is so good.

- love the deep love, understanding, and friendship nik and tyler have without it being romantic. if it develops in later films, it'd be on a solid foundation so we'll understand. if it doesn't, that's cool too.

- tyler and the little girl have my heart ❤️ (him repeatedly whispering to her in her language that she'll be okay 😭)

- 'i couldn't f-g fix it' 😭😭😭😭

- i just love how much of a coward he is (his words). doing what he did to his son, his wife. he hurts nik as well. he doesn't admit about his son. he's just... like THAT. it's such a human flaw. I LOVE HIM.

- when tyler tries to reach and pick the hammer in the climax, I had to pause and laugh for a minute 🙈

[joju-but-trek]

Star Trek: Prodigy Season 2, Episode 1: Into the Breach, Part 1

Somehow, Robert Beltran has returned.

I didn't know that Netflix released Prodigy until about an hour ago, but I'm glad they did. For people who missed the entire saga, two years ago Paramount released season 1 of an excellent Star Trek series called Prodigy. The pitch was that it was a group of (mostly) kids from the far side of the galaxy escaping slavery to come to the Federation, and it was excellent. The characters were compelling, the stories were fun, and it was pitched as an entry to the franchise for kids. Also, the animation looks vaguely like the Clone Wars style. I was in. And then on top of that it's also a follow-up to Voyager, my favorite Star Trek show that I really need to finish writing my reviews for season 1 of.

Anyway, Paramount killed it and wiped it from streaming. After months of fan and crew campaigning, Netflix picked it up and agreed to release the already finished second season. It came out yesterday as a single 20-episode drop, and I've decided to watch it and keep up my reviews of it. I think I want to space out my reviews a bit so I can focus on the individual episodes, so that's how this will start. I would like to do an episode a day, but I don't trust myself to keep to that, so there will probably be some gaps.

So, episode 1. Is it a good premiere? Short answer, mostly. 8/10.

I haven't seen season 1 since I first watched the show, so I'm a bit out of the loop. This episode did a good job of reminding me who the characters were and why I liked them, but it did throw a few curveballs for character arcs that I'm not sure I love. I'm happy with how they handled Zero, Rok, and Jankum, but I think Dal needs a bit more expansion. He's the protagonist so he'll definitely get it, but for a first episode it's a weird place to leave him. Basically, the season starts with the kids in training (I *think* they're all kids, Zero's either a million years old or ten and I can't tell), and they're all adapting more or less OK to formal Starfleet life. Except Dal. Dal doesn't want to actually do any studying and just wants to be a spaceship captain who goes on adventures and shoots things. It's a pretty simple arc, but it's also a kids' show.

I do like the dynamic of all the other main characters wanting to be part of Starfleet and it putting strain on their friendgroup while Dal just wants to do what he wants to do, and the running gag that he refuses to read Temporal Mechanics 101 is a fun joke and a plot element. I'm torn because I kind of want more from the show than that, but also there's only so much you can do in 22 minutes and still expect kids to follow and I recognize that.

In terms of Voyager follow-up, Janeway has a secret mission! That's fun! I like the way her new bridge officers look in the animation style, especially the Andorian I can't name. That species just looks good in this definitely-not-Clone Wars render. Also, I like Andorians. Sue me.

The Doctor is also back! The Doctor is one of my favorite Star Trek characters ever, and I'll explain why if/when I do a thing about Voyager. I'm glad he's back. It feels like they struggled a bit with using Robert Picardo as a voice actor - it just feels a little stilted - but I've also only seen the first episode. I'm not sure why he's on the mission in-universe, but I'll give it time.

The Voyager-A is ostensibly studying a wormhole but secretly rescuing Chakotay, which is a good way to keep the threads from season 1 going and also giving the crew some conflict with Admiral Janeway. In season 1, they got pretty attached to Hologram Janeway, and not having the same relationship with the human version is going to be a fun dynamic to play out. I know they made this a while ago, but I am very curious how much they knew about Robert Beltran (Chakotay's actor) and his feelings about COVID vaccines at the time (he doesn't like them).

Two timeline things that are interesting to nerds - Voyager-A and the mention of the Romulan evacuation. I was halfway through an extended paragraph about the timeline of Voyager-A being here and what that means for the Lore before I realized what I'd done, so I'll make that a separate post. The Romulan evacuation comment is just interesting because that's a plot point from the Abrams Star Trek reboot that puts the events of this show way closer to Voyager than I thought they were, so it has not been that long for Janeway, Chakotay, and the Doctor. I wonder if this will come up, or if I'm overthinking it. If I had to guess, it's probably the latter.

[skinnylove584]

I finally got around to watching the 2023 Little Mermaid. Here are my thoughts that nobody asked for...

What I liked:

- Under the Sea and Kiss the Girl were the absolute best parts of the movie.

- Ariel helping Max swim was adorable

- The whole shipwreck sequence was phenomenal

- I thought the CGI ultimately was beautiful the under the sea shots were mostly stunning

- The castle is exactly how I envisioned it

- The addition of Eric's trinket room was a lovely addition and added depth

- Plot hole and context filled (Ursula's relation to Ariel, her voice, etc.)

-Halle did an excellent job not only with her singing but with her facial expressions and playing naive

- Jodi Benson's cameo

What I disliked:

- Scuttlebutt, I'm sorry that was awful and felt super out of place

- Eric's solo song, this had nothing to do with the actors vocal capabilities and everything to do with how poorly the lyrics flowed. It could have been such a great addition.

-King Triton's anger when he destroyed everything lacked true feeling overall he was too stone cold

- THE COSTUMES! Most of them looked so cheap and poorly made. I would have loved to have seen more dresses on Ariel as well as a nicer scarf for her hair.

- The hat tbh it just reminded me of a fedora and it took me out of it. (Though I do note Eric's affection to the hat because of Ariel was sweet)

- Putting Ariel back in the ratty dress instead of the silver one BIG mistake HUGE

- While I overall liked Vanessa, her actress fell victim to a poorly made dress and poorly styled hair

- This is just nit picking but the ever so slight tweaks to the music weren't my favorite it was the most tiny changes that threw me. I guess I'm just used to the original. Doesn't mean they were bad just wasn't what I hoped for.

- While I could appreciate the full circle moment of Ariel steering the ship like Eric, I gotta say I missed him killing Ursula. Ariel is brave and adventurous in her own right I didn't feel like Eric killing Ursula in the original took away from that BUT I could still appreciate it in this version.

-Tbh Ursla was kinda meh in this and I found her scenes kinda disorienting. Her CGI monster at the end was also very meh BUT the crazy water and chaos were not.

Overall I thought it was a good movie not bad not great. Out of all the live action remakes not my favorite but not the worst. To be honest, when Disney first started putting out live actions with Cinderella and Maleficent, they set the bar high. Even films like Pirates of the Caribbean were absolutely stunning. So when they announced this I expected the same attention to detail and I didn't feel like it delivered. I'd like to see these live action movies meet the same standards of quality as Pirates of the Caribbean. It just felt cheap which is a harsh word but that's what I can best describe it. I will say periodically through the movie they hit the target but as soon as they would hit it they would lose it. I was constantly being pulled in and out of the fantasy of it.

I give it a 6/10 a good movie glad I watched it but probably won't watch it again.

[algernoninwonderland]

OMFG AERTI FIC !!!!!!!!!!!!!!!!!!!!!!!!!!!!!! (i know nothing about the franchise) im going to be confused but !!!! im so excited to read it :D!!!

Aaaah! I hope you’ll enjoy it! It’s one of these ideas I’ve had for years, before the Remake games were announced, even!

I would say that you need a bit of familiarity with the original game and the Remake game, but fortunately for you, they’re both very good and there are plenty of Let’s Plays for both. I’m going to ramble about all of that for a bit here.

Final Fantasy VII (1997) is kind of an old game now, it’s kind of all over the place, very weird and dated and clunky in a variety of ways, but it’s also still good, a very important game, and it got re-released on basically everything. I’d recommend Dansg08’s walkthrough series here? He’s a completionist but he labels his videos so that it’s easier to just skip the grinding bits. There is some degree of dramatic psychosexual yaoi to FFVII.

Final Fantasy VII Remake (2020) and the upcoming FFVII Rebirth (2024) are partly remakes of the original, but also sort of a sequel? It’s a series of games that is very much aware of the legacy of the original and isn’t trying to just have FFVII (1997) with updated graphics. It’s also a kind of meta conversation about the nature of remakes… Kind of what the Rebuild of Evangelion movies are to the original NGE, except if it was good instead of embarrassingly dogshit. FFVII Remake is a phenomenal game. Materwelonz (I just love her stuff!!) has a great FFVIIR Let’s Play series. She hasn’t played the original game, but she’s very good at picking up on details. If you plan on reading my fic and won’t play the game, I’d recommend going up to chapter 8 of FFVIIR. FFVIIR (2020) This is where most of the Aerti stuff is at, and it’s great, these two interact so much! Also, there’s dramatic psychosexual yaoi.

And then you’ve got everything else FFVII, which is varying degrees of “good but unnecessary” to “obvious cash grab dogshit”

Crisis Core is a PSP game that got a recent remaster (as in, same game with updated graphics). It’s a prequel to FFVII (1997). It’s very flawed but I have a lot of fondness for it, there’s one song from the soundtrack that makes me curl up in a ball and cry every time I hear it, it’s physically painful. It’s almost a good game, the FMVs are great, and there’s some excellent dramatic psychosexual yaoi in there, also Gackt is here for some reason. Materwelonz did a good Let’s Play, but I really like the original voice actor for the main character, and unfortunately he got recast for the remaster.

Advent Children is a movie that is kind of a sequel to FFVII (1997) and it’s kind of bad in many ways, it mangles everybody’s characterization to some degree, it looks dated, as do most CGI animated movies of the 2000s… It’s mostly bad but it also has a couple of really iconic scenes that were in so many AMVs back in the mid 2000s to early 2010s. It also has some degree of psychosexual yaoi to it.

Everything else is, imho, not worth engaging it. There’s a third person shooter game for the PS2 that is basically Shadow the Hedgehog and a bunch of mobile games and stories and most of it is stupid and dumb and bad and unnecessary, and most of that barely contains any kind of yaoi whatsoever which makes it instantly worthless.

I guess that is it!