#this is ‘the fire nation is feminist’ all over again

[f1ghtsoftly]

All The Women’s News You Missed Last Week 9/16/24-9/23/24:

Hi, this newsletter is late. On Thursday, September 19th, I was the victim of a crime and needed emergency medical care. I am currently recovering with family outside the city. This is the earliest I could get out this project. I appreciate your understanding at this time.

Male Violence/Femicide: 

US: Sean 'Diddy' Combs arrest live updates: Charged with sex trafficking and racketeering 

India: West Bengal Assembly in India passes bill mandating life in prison or death penalty for rape convictions

France: Shocking rape trial highlights the systematic struggles French sexual abuse victims face

Australia: Suspect in 1977 Melbourne cold case arrested in Italy

US: Several Mark Robinson campaign staffers quit as fallout over online posts continues

Italy: Italy holds a trial into the killing of a woman that sparked debate over femicide

US: Harvey Weinstein pleads not guilty to new sexual assault charge 

UK: Harrods' ex-owner Al Fayed raped, assaulted staff over decades, lawyers say 

Reproductive Rights in the USA/Special Focus:

A dramatic rise in pregnant women dying in Texas after abortion ban 

Abortion Bans Have Delayed Emergency Medical Care. In Georgia, Experts Say This Mother’s Death Was Preventable.

Federal judge temporarily blocks Tennessee’s ‘abortion trafficking’ law

‘She should be alive today’ — Harris spotlights woman’s death to blast abortion bans and Trump

Western nations were desperate for Korean babies. Now many adoptees believe they were stolen

Euphoric two years ago, US anti-abortion movement is now divided and worried as election nears

US Senate IVF bill fails after Republicans block it, despite Trump support

Transgender News/Gender Critical:

Australia: Australian woman's complaint at hostel backfires as manager fires back: 'This guest is lucky we didn't press charges on her'

Women’s Achievements: 

US: 2 Black women could make Senate history on Election Day

Sri Lanka: Sri Lanka has more women voters than men but no female presidential candidates

US: ‘Hidden Figures’ of the space race receive Congress’ highest honor at medal ceremony

MISC: 

Sweden: Sweden charges woman with genocide, crimes against humanity in Syria

Arts and Culture: 

Music Review: Katy Perry returns with the uninspired and forgettable ‘143'

Why does ‘The Babadook’ still haunt? Its director, Jennifer Kent, has some answers

JoJo was a teen sensation. At 33, she’s found her voice again

'Agatha All Along' crafts a witch coven community run by women

Demi Lovato’s ‘Child Star’ Is Now Streaming on Hulu and Disney+

As always, this is global and domestic news from a US perspective covering feminist issues and women in the news more generally. As of right now, I do not cover Women’s Sports. Published each Monday afternoon.

I am looking for better sources on women’s arts and culture outside of the English-speaking world, if you know of any-please be in touch.

[tragedykery]

fellas is it feminist for a country to consider bearing a child to continue the royal line the principal duty of said country’s house of queens, regardless of whether they want to or not? is it feminist to value women primarily for their ability to give birth? is a country feminist simply because it is ruled by women—which, mind you, is not because women are valued over men but rather because the royal line only ever bears daughters because of magic, because this is a fantasy novel—even though they’re treated/viewed like that?

[jaydenix]

20 years on, Sokka is still one of the best male role models in all of media

We need more young men written like him

What's there not to love about Sokka? As ATLA's resident comic relief guy, crazy shit that happens to him is always a good laugh. He's full of himself and overconfident which combined with a stellar voice acting performance by Jack DeSena makes for a very fun character. But one of the most intriguing things about him is his relationship with manhood.

Sokka begins the show very close-minded on the subject of gender, he believes he's just innately better than woman (especially Katara) because he is a man. At this point he thinks he's on top of the world and he knows everything. After all, he has been put in a great position of power in protecting his tribe after the men left to fight. For what his world currently is his quite on top of things, but his world is about to expand 100 times over.

Once Aang arrives he's tasked with coming along with him and and his sister to head to the North Pole, but early on they arrive on Kyoshi Island and meet the Kyoshi Warriors, this is what begins to break down his superiority complex where he challenges his later girlfriend Suki to a fight and she fucks up his shit. This causes him to unravel what he believes about gender, that he is better than women because he is a man. But his adventure with becoming a man has only just begun.

Throughout the rest of the show, we uncover more about Sokka having to be left behind by his father, he was just barely not old enough to go away to fight and that hurt him real bad, he feels his ability to fight made him a man, but this robbed right out from under him due to his age. Though having spent 2 years stuck without seeing his father and having spent several months out flying around on a bison taking on the Fire Nation, of course he becomes way stronger and way smarter perhaps not dissimilar to how he would've done if he was able to go off and fight 2 years prior. Eitherway, when he finally sees his father and the men of the Southern Water Tribe again at the end of book 2, he's understandably incredibly nervous because he's unsure of how they'll respond. He's left wondering whether they will see him as a man? And of course, they all do, they shake his hand and one of them is comparing heights as he's gotten a lot bigger, he's now an equal to them. They left him a boy, but they reunited with a man. And the classic moment where Hakoda says to him "aren't you listening? I said the rest of you men get ready for battle" like FUCK yeah man Hakoda doesn't even give a second thought here to his son's manhood he just knows his boy is all grown up I love him.

Now, you all know this, so why am I talking about it? Well, Sokka is such an incredibly positive representation of masculinity: his journey to manhood doesn't involve being better or putting down women or anyone for that matter. It even challenges him on this when he thinks thats what it involves. Being a man to him is knowing where you're needed the most, and he fulfils that by trying to bring about peace in the world and helping his friends and others. This is what masculinity should be.

It seems right now a lot of young men are being radicalised into far-right red-pill ideologies which promote masculinity as mistreatment of others. How on earth do we solve this issue to prevent men diving head first into the brazen misogyny of people like Andrew Tate? I don't know, but a lot of people are increasingly frustrated with hardships in this modern world and look for some kind of scapegoat. Now, don't get me wrong, it's really easy to not be a flaming misogynist, and the grievances that the MRA/manosphere lobby enjoy highlighting like idk men being more lonely supposedly? Or not being able to find "ideal" partners because of the woke anti-men feminism mob or whatever? Whereas feminists point to you know things like rape? And abortion restriction? And domestic violence? Real actual issues that affect millions of women all over the world every single day? Undoubtedly I think a lot of men need to do a bit more critical thinking. But perhaps a small part of solving this problem might just be more shows and movies and media portraying young men like Sokka who learn to embrace a non-toxic and healthy form of masculinity. Maybe this will help even just a few young boys not be pulled into these dangerous ideas as they have their own independent idea of how to be a man that was guided through well written and interesting characters. Though of course there's a lot more to it as well, this is just one thing I've thought of.

"One is not born, but becomes a woman" is a common quote thrown around in feminism, and to me Sokka is the perfect example of someone who wasn't born, but became a man through his own good actions.

👏 More 👏 Young 👏 Men 👏 Like 👏 Sokka 👏 Please 👏

[zvtara-was-never-canon]

At this point, I am legitimately convinced that most of the Zutara shippers that appear in your asks never watched the show and are just going by word-of-mouth by the distorted accounts of the fandom. Anyone who can confidently (stupidly) claim that Aang has never expressed empathy in the show when it is core to his very personality can't possibly be a fan.

I've seen lots of former zutara fans and people that still like the ship but are no longer on the "we were robbed of our endgame" train say that were extremely disappointed when rewatching the show because it made them see that their childhood memories of the ship and, more importantly, the way it is talked about by the zutara community at large is simply not at all accurate to the story.

Zutarians have absolutely created an echo-chamber in which they keep rewritting the show in their heads by watching the same clips over and over again, ignoring all context for said moments AND that they were only 5% of the show. That's why you have wildly inaccurate takes based on things that never happened.

Zuko and Katara constantly interacting/flirting, Mai thinking Zuko is into another girl, Katara being forced to do all the chores, Zuko totally wanting a simple life instead of being Fire Lord/Katara dreaming of being Fire Lady, Katara despising her own tribe and feeling some kind of connection to the Fire Nation, the South and Noth pole having the exact same (sexist) culture, the Fire Nation being a feminist utopia, Katara saying she thinks of Aang as her son/younger sibling (this one is extra funny since Katara herself responded to that with "I didn't say that")

That's why is so difficult to have a minimally logical conversation with them - they expect us to take a story that doesn't exist as canon, while thinking that we are crazy or misremembering the show when we say "What you're describing is wrong, here's what actually happened"

[haewangsong]

About this whole situation

i feel like the least you can do

is to just... not say you're going to keep enjoying the game.

Enjoy the game, no one can hold you accountable for that, but the moment you're posting on social media about the fact you're going to just ignore everything and support or say that project moon did their best you're just harming the artist they unfairly fired. I know it's hard. I know how devastating it is but at least,

the best thing you can do if you cannot bring yourself to stop playing- is to stay silent.

Also just for some context: (it gets kind of long but long story short. PJ Moon did not make this choice to protect the artist, but they did it because it is the easiest thing.)

Korean women that are angry are angry because this has happened before- in 2016, a VA that wore a t-shirt that was associated with feminism went under attack to the same group of DC incels claiming she's a feminist and should be fired for that.

What the company did- was to fire her, creating a whole whirlpool of situation that got other women targeted and fired. I'm pretty sure the VA here in question got blacklisted from the gaming company.

There are sources revealing that from 2016 to 2020, over 14 women got fired because of similar accusation, and I'm not even sure it counts freelancers that were just silently put off to work.

The National Human Rights Commission of Korea, for fucks sake, has made a testament on 2020 in how the censorship on feminism happening in the gaming industry is a hate crime.

So what Project Moon did here was, it was to do the easiest and most inhumane choice possible, which was to fire a female artist over a similar controversy, bringing the nightmare-ish situation that happened in 2016 back all over again. In 2023. That's why people are disappointed. That's why Korean women feel threatened by this situation. Saying that this was all to protect Vellmori is an insult to her, and to the other female workers who wrongly loose their jobs over situations like these.

The hilarious thing over this whole situation? Every single company that has fired their workers like that has fumbled over themselves! The company and the game that fired the VA got ultimately labeled as a feminist game and lost its male customers too- because they had to keep firing people the moment incels didn't like them, until they couldn't. So incels are saying the game went down because of feminism. Another game? The representative is on fire because to no one's (except for the incels) surprise they fired all of the workers in the project because the game wasn't making any money anymore- making these fired workers reveal the fact that they've been mistreated, overworked, and abused over years. That is two example of many! But what about the games that did the extremely brave and difficult decision to just ignore the incels and go on with their game?

They're fine. They're okay. They had their lows just when the incels attacked, but Korean chauvinist pigs are just so childish that either they decide that it isn't fun to dox people anymore, or comfort themselves saying that oh well, they aren't that feminist after all or, well it's too fun so I don't care it's feminist! This are the pigs PJ Moon cave in. There are games that are boring as hell from smaller companies that survived and are still surviving because their customers are loyal, because the customers know that at least they won't fire their workers over stupid reasonings, the bare minimum!

So just- stop saying you're going to support the game- at least please don't for a while. I can't stop you from playing, but this is something PJ Moon has to take on themselves or this will create the same nightmare-ish situation that happened in 2016 all over again. Don't enable them. Stop giving them the message this is okay. Stop saying it was to support Vellmori, because ruining a young artist's career by telling her she's fired in a phone call after 11pm is not protection. It will never be.

[survivalove]

https://www.tumblr.com/sokkastyles/723285064748859392/thinking-again-about-how-katara-is-portrayed-in what are your thoughts on this post ? ?

Ah yes episode 63848 of the atla fandom praising the fire nation’s racist and imperialist rhetoric as revolutionary.

Lol I’m not gonna do a full post on this cuz my mutual is about to, but I will say anyone trying to act that the fire nation depicting katara as the ‘hypersexual and overemotional brown girl that fell in love her oppressor’ is feminist or meta commentary on the series does NOT like katara at all 😭

Especially when the play is also used to demean both aang AND zuko’s masculinity, aang literally being portrayed by a woman that katara of course has no feelings for at all, and zuko’s dominance being understated when in reality, he’s been very hostile verbally and physically to her in the series: calling her a peasant (and her brother mind you), attacking her several times, tying her to a tree, stealing and refusing her to give back her most prized possession without getting something in return, turning on her in the caves…. I can go on.

The play leaves out most of this to make him look weak and passive yet reinstating that of course the “water tribe peasant” (zuko’s words not mine) couldn’t help but choose our handsome yet weak prince over the boy that is threatening our colonialist regime.

On that note, I’ll leave you with this meta I reblogged a while back about the imperialist narratives the writers use to depict fire nation propaganda and I’ll add my mutual’s meta when she makes it.

[aclaywrites]

How to fall in love via Deneuve Magazine Personal Ads Circa 1993

❖ Go to your mailbox and see that your latest issue of Deneuve magazine has been delivered. It’s in a plain brown envelope, but you still take it all the way inside the house before you open it.

❖ Take a moment to gaze at the cover and appreciate the fact that it’s named after Catherine Deneuve in honor of her sex scene from The Hunger which awakened us all.

❖ Flip past the first few pages of ads. Do I want to fax away for a brochure about the chance to go on a Kenyan photo safari with the world’s first out lesbian commedienne? What about the Olivia Thanksgiving cruise?

❖ Enjoy the Editor’s Column about how our new President Clinton has pledged to make real progress for the LGBT community. Bask in the warm glow of happiness knowing that the gay dark ages are finally coming to a close.

❖ Chuckle at Alison Bechdel’s ad for the Feminist Bookstore Network and wish you had one of those stores near you.

❖ Keep up with the state of the lesbian nation via the letters to the editor. Aren’t the repressive laws being passed in Oregon and Colorado shocking? Goddess bless that Kentucky baby dyke having to dodge the KKK at her high school 🙁

❖ Read the wedding announcements and get all choked up, remembering why you’re here. Resist the urge to flip to the end and see if there’s anyone new from last month. Hope springs eternal!

❖ Oh, the 20th anniversary of Naiad Press! I love their stuff! Especially how all the covers look like they’re printed with ink that was on sale. I wonder if they have any more copies of that Lesbian Queries book from 1990???

❖ Audre Lorde sure is gonna give them hell at the march on Washington, eh?

❖ So many bookstores. So many books.

❖ An article about Safe Sex! Hell yes! Even though lesbians don’t get AIDS because we’re God’s chosen people, this will be fun to read about in theory! “After all, aren’t we told that lesbians and priests are in the lowest risk category?” lol people thought priests weren’t constantly having gay sex. Simpler times.

❖ An interview with Alison Bechdel! She’s so swoony.

❖ Articles about soap operas, speculation about Hilary Clinton, gossip about Madonna and Sandra Bernhard. And what about Whoopi Goldberg? And that Ellen lady? She’s been on Arsenio Hall acting all cagy about the men in her life. A list of women we wish were gay, including Joan Jett? Didn’t she sing Crimson and Clover without changing pronouns like waaaaay back in the 80s

❖ Music reviews: Sweet Honey in the Rock and Alix Dobkin! We’re almost to the ads…

❖ Labrys jewelry, freedom rings. C’mon, let’s get to the good stuff!

❖ Here we go! Classified ads– 30 words for $20! Queer personal finance, we buy used computers, a lesbian resort in New Hampshire.

❖ Personals at last! Is my woman here?

❖ Hey there’s that woman who has an ad every month expressing her ‘complete and sincere respect for’ women in military, fire, police, private security, corrections’. A gay male ad would say ‘Uniform fetish’ but apparently we’re too delicate.

❖ Bisexual boston babe ‘femalely handsome’ looking for someone who’s ‘nice to look at, not a feminist and not a bitch’. Next!

❖ Lonesome in Wyoming, Bisexual Bodybuilder, Softball is over, time to find someone warm for winter, Reubenesque Arkansas Buddhist…

❖ Find a girl who sounds promising– seems interesting and is not too far away. Spend a day or so composing a letter with a pen and piece of paper introducing yourself. If you don’t have a photo of yourself that you like, have a friend take one. Then finish the roll of film and bring it to the Fotomat and wait a day or so and then pick up the prints and hope you like one of them. Choose one anyway, and put it in the envelope with your letter.

❖ Get a stamp, hang it on the mailbox, never hear anything ever again.

❖ One month later, go to your mailbox and see that your copy of Deneuve has arrived.

[cielrouge]

YA SFF Books by Black Authors 

A Song Below Water by Bethany C. Morrow: About the strength of black sisterhood set in Portland, OR, best friends Tavi and Effie discover their true supernatural identity when Effie starts being haunted by demons from her past, and Tavia accidentally lets out her magical siren voice during a police stop.

A Chorus Rises (A Song Below Water #2) by Bethany C. Morrow: Teen influencer Naema Bradshaw is an Eloko, a person who’s gifted with a song that woos anyone who hears it. Everyone loves her — well, until she's cast as the awful person who exposed Tavia’s secret siren powers. When a new, flourishing segment of Naema’s online supporters start targeting black girls, however, Naema must discover the true purpose of her magical voice.

A Song of Wraiths and Ruin by Roseanne A. Brown: Inspired by West African folklore in which a grieving crown princess, Karina, and a desperate refugee, Malik, find themselves on a collision course to murder each other, despite their growing attraction.

Akata Witch by Nnedi Okorafor: Sunny Nwazue, an American-born albino child of Nigerian parents, moves with her family back to Nigeria, where she learns that she has latent magical powers which she and three similarly gifted friends use to catch a serial killer.

Akata Warrior (Akata Witch #2) by Nnedi Okorafor: Now stronger, feistier, and a bit older, Sunny Nwazue, along with her friends from the the Leopard Society, travel through worlds, both visible and invisible, to the mysterious town of Osisi, where they fight in a climactic battle to save humanity.

Bad Witch Burning by Jessica Lewis: For fans of Us and The Chilling Adventures of Sabrina comes a witchy story full of black girl magic as one girl’s dark ability to summon the dead offers her a chance at a new life, while revealing to her an even darker future.

Beasts Made of Night by Tochi Onyebuchi: After he eats the sin of a royal, Taj, a talented aki, or sin-eater who consumes the guilt of others whose transgressions are exorcised from them by powerful but corrupt Mages, is drawn into a plot to destroy the city, and he must fight to save the princess he loves and his own life.

Beasts of Prey by Ayana Gray: Two Black teenagers, talented Beastkeeper Koffi and warrior-in-training Ekon, must trek into a magical jungle to take down an ancient creature menacing the city of Lkossa, before they become the hunted.

The Belles by Dhonielle Clayton: In the opulent world of Orléans, where Beauty is a commodity only a few control, Belle Camellia Beauregard will learn the dark secrets behind her powers, and rise up to change the world. 

A Blade So Black by L.L. McKinney: A whimsical and butt-kicking Alice in Wonderland retelling featuring a black teen heroine who battles Nightmares in the dark and terrifying dream realm known as Wonderland. 

Bleeding Violet by Dia Reeves: 16-year-old Hanna reunites with her estranged mother in an East Texas town that is haunted with doors to dimensions of the dead and protected by demon hunters called Mortmaine.

Blood Like Magic by Liselle Sambury: Set in near-future Toronto in which, after failing to come into her powers, 16-year-old Black witch Voya Thomas must choose between losing her family’s magic forever or murdering her first love.

The Bones of Ruin by Sarah Raughley: Set in Victorian England, African tightrope walker Iris cannot die; but soon gets drafted in the fight-to-the-death tournament of freaks where she learns the terrible truth of who and what she really is.

The Cost of Knowing by Brittney Morris: A gripping, evocative novel about Black teen Alex Rufus, who has the power to see into the future, and whose life turns upside down when he foresees his younger brother’s imminent death.

Children of Blood and Bone by Tomi Adeyemi: 17-year-old Zélie and companions journey to a mythic island seeking a chance to bring back magic to the land of Orïsha, in a fantasy world infused with the textures of West Africa.

Children of Virtue and Vengeance (Legacy of Orïsha #2) by Tomi Adeyemi: After battling the impossible, Zélie and Amari have finally succeeded in bringing magic back to the land of Orïsha. But with civil war looming on the horizon, Zélie finds herself at a breaking point: she must discover a way to bring the kingdom together or watch as Orïsha tears itself apart.

Cinderella Is Dead by Kalynn Bayron: 16-year-old Sophia would much rather marry Erin, her childhood best friend, than parade in front of suitors. At the ball, Sophia flees, hiding in Cinderella’s mausoleum. There, she meets Constance, the last known descendant of Cinderella and her step sisters. Together they vow to bring down the king once and for all.

The Cost of Knowing by Brittney Morris: A gripping, evocative novel about Black teen Alex Rufus, who has the power to see into the future, and whose life turns upside down when he foresees his younger brother’s imminent death.

Crown of Thunder (Beasts Made of Night #2) by Tochi Onyebuchi: Taj has escaped Kos, but Queen Karima will go to any means necessary--including using the most deadly magic--to track him down. 

A Crown So Cursed (Nightmare Verse #3) by L.L. McKinney: Alice is ready to jump into battle when she learns that someone is building an army of Nightmares to attack the mortal world, before she learns of a personal connection to Wonderland.

Daughters of Jubilation by Kara Lee Corthron: In Jim Crow South, black teen Evalene Deschamps finds her place among a family of women gifted with magical abilities, known as jubilation - a gift passed down from generations of black women since the time of slavery.

Dread Nation by Justina Ireland: The Civil War is over, but mostly because the dead rose at Gettysburg—and then started rising everywhere else. Fighting the undead is a breeze for Jane McKenne, an Attendant, trained in both weaponry and etiquette to protect the well-to-do. But the fight for freedom? That’s a different story.

Deathless Divide (Dread Nation #2) by Justina Ireland: After the fall of Summerland, Jane McKeene hoped her life would get simpler. But nothing is easy when you’re a girl trained in putting down the restless dead, and a devastating loss on the road to Nicodermus has Jane questioning everything she thought she knew about surviving in 1880’s America.

A Dream So Dark (Nightmare Verse #2) by L.L. McKinney: Still reeling from her recent battle (and grounded until she graduates) Alice must cross the Veil to rescue her friends and stop the Black Knight once and for all in Wonderland.

Early Departures by Justin A. Reynolds: Jamal’s best friend Q is brought back to life after a freak accident … but they only have a short time together before he will die again.  How can Jamal fix his friendship without the truth?

Fate of Flames by Sarah Raughley:  Before they can save the world from the monstrous phantoms, four girls who have the power to control the classical elements: earth, air, fire, and water must first try to figure out how to work together. 

For All Time by Shanna Miles: Tamar and Fayard, two Black teens, are fated to repeat their love story across hundreds of lifetimes, from 14th-century Mali to the distant future, as they struggle to break the cycle.

The Gilded Ones by Namina Forna: Inspired by the culture of West Africa, a feminist fantasy debut traces the experiences of 16-year-old Deka, who is invited to leave her discriminatory village to join the emperor’s army of near-immortal women warriors.

The Good Luck Girls by Charlotte Nicole Davis: The country of Arketta calls them Good Luck Girls--they know their luck is anything but. Sold to a "welcome house" as children and branded with cursed markings. When Clementine accidentally kills a man, the girls risk a dangerous escape to find freedom, justice, and revenge.

Kingdom of Souls by Rena Barron: Set in a West African-inspired fantasy kingdom, Arrah comes from a long line of powerful witchdoctors, yet fails at magic. When Arrah trade years off her life for magic to stop the Demon King from destroying the world—that is if it doesn’t kill her first.

Legacy of Light (The Effgies #3) by Sarah Raughley: After Saul’s strike on Oslo—one seemingly led by Maia herself—the Effigies’ reputation is in shambles. Belle has gone rogue, Chae Rin and Lake have disappeared, and the Sect is being dismantled and replaced by a terrifying new world order helmed by Blackwell. If the Effigies can’t put the pieces together soon, there may not be much left of the world they’ve fought so desperately to save.

Legendborn by Tracy Deonn: In this King Arthur retelling, Black teen Bree Matthews infiltrates a secret society of powerful magic wielders to find out the truth behind her mother’s untimely death.

Mem by Bethany C. Morrow: In alternate reality Montreal (1925), a young woman’s personality is the result of a startling experimental procedure, leaving her to struggle with the question of who she really is.

Miles Morales, Spider-Man by Jason Reynolds: But Miles Morales accidentally discovers a villainous teacher's plan to turn good kids bad, he will need to come to terms with his own destiny as the new Spider-man. 

Oh My Gods by Alexandra Sheppard: Half-mortal teenager Helen Thomas goes to live with her father—who is Zeus, masquerading as a university professor—and must do her best to keep the family secret intact.

The Opposite of Always by Justin A. Reynolds: After falling for Kate, her unexpected death sends Jack back in time to the moment they first met, but he soon learns that his actions have consequences when someone else close to him dies.

Orleans by Sherri L. Smith: Set in a futuristic, hostile Orleans landscape, Fen de la Guerre must deliver her tribe leader's baby over the Wall into the Outer States before her blood becomes tainted with Delta Fever. 

Nubia: Real One by L.L. McKinney & Robyn Smith: When Nubia’s best friend, Quisha, is threatened by a boy who thinks he owns the town, Nubia will risk it all—her safety, her home, and her crush on that cute kid in English class—to become the hero society tells her she isn’t.

A Phoenix First Must Burn: 16 Stories of Black Girl Magic, Resistance, and Hope edited by Patrice Caldwell: Filled with stories of love and betrayal, strength and resistance, this collection contains an array of complex and true-to-life characters in which you cannot help but see yourself reflected. Witches and scientists, sisters and lovers, priestesses and rebels.

This Poison Heart by Kalynn Bayron: In this contemporary fantasy inspired by The Secret Garden, Black teen Briseis has a gift: she can grow plants with a single touch. Up against a centuries-old curse and the deadliest plant on earth, Bri must harness her gift to protect herself and her family, when a nefarious group comes after her in search of a rare and dangerous immortality elixir.

A Psalm of Storm and Silence (A Song of Wraiths and Ruin #2) by Roseanne A. Brown: As the fabric holding Sonande together begins to tear, Malik and Karina once again find themselves torn between their duties and their desires.

A Queen of Gilded Horns (A River of Royal Blood #2) by Amanda Joy: After learning the truth of her heritage, Eva is on the run with her sister Isa as her captive, but with the Queendom of Myre on the brink of revolution, Eva and Isa must make peace with each other to save their kingdom.

Raybearer by Jordan Ifueko: In a West African-inspired empire, Tarisai is raised by The Lady and sent to kill the Crown Prince once she gains his trust. Tarisai won’t stand by and become someone’s pawn—but is she strong enough to choose a different path for herself?

Redemptor (Raybearer #2) by Jordan Ifueko: For the first time, an Empress Redemptor sits on Aritsar's throne. To appease the sinister spirits of the dead, Tarisai must now anoint a council of her own, coming into her full power as a Raybearer.

The Ravens by Danielle Page & Kass Morgan: The sisters of Kappu Rho Nu share a secret: they’re a coven of witches. For Vivi Deveraux, being one of Kappa Rho Nu’s Ravens means getting a chance to redefine herself. For Scarlett Winters, a bonafide Raven and daughter of a legacy Raven. When Vivi and Scarlett are paired as big and little for initiation, they find themselves sinking into the sinister world of blood oaths and betrayals.

Rebel Sisters (War Girls #2) by Tochi Onyebuchi: Though they are working toward common goals of helping those who suffered, Ify and Uzo are worlds apart. But when a mysterious virus breaks out among the children in the Space Colonies, their paths collide.

Reaper of Souls (Kingdom of Souls #2) by Rena Barron: After so many years yearning for the gift of magic, Arrah has the one thing she’s always wanted—at a terrible price. But the Demon King’s shadow looms closer than she thinks. And as Arrah struggles to unravel her connection to him, defeating him begins to seem more and more impossible.

A River of Royal Blood by Amanda Joy: A North African-inspired feminist fantasy in which two sisters, Eva and Isa must compete in a magical duel to the death for the right to inherit the queendom of Myre.  

Slice of Cherry by Dia Reeves: In Portero, Texas, teens Kit and Fancy Cordelle, daughters of the infamous Bonesaw Killer, bring two boys with similar tendencies to a world of endless possibilities they have discovered behind a mysterious door.

Siege of Shadows (The Effigies #2) by Sarah Raughley:  After Saul reappears with an army of soldiers with Effigy-like abilities, threatening to unleash the monstrous Phantoms, e-year-old Maia and the other Effigies hope to defeat him by discovering the source of their power over the four classical elements, but they are betrayed by the Sect and bogged down by questions about the previous Fire Effigy's murder.

The Sisters of Reckoning (The Good Luck Girls #2) by Charlotte Nicole Davis: The blockbuster sequel to an alternate Old West-set commercial fantasy adventure.

The Sound of Stars by Alechia Dow: Set in the near-future, in which a captive teen human and a young alien leader—bonded by their love of forbidden books and music—embark on a desperate road trip as they attempt to overturn alien rule and save humankind. 

War Girls by Tochi Onyebuchi: Set in a futuristic, Black Panther-inspired Nigeria, sisters Onyii and Ify, separated by a devastating civil war, must fight their way back to each other against all odds.

Vessel by Sarah Beth Durst: When the goddess Bayla fails to take over Liyana's body, Liyana's people abandon her in the desert to find a more worthy vessel, but she soon meets Korbyn, who says the souls of seven deities have been stolen and he needs Liyana's help to find them.

The Weight of Stars by K. Ancrum: After a horrific accident brings loners Ryann and Alexandria together, Ryann learns that Alexandria's mother is an astronaut who volunteered for a one-way trip to the edge of the solar system.

White Smoke by Tiffany D. Jackson: Black teen Marigold and her blended family move into a newly renovated, picture-perfect home in a dilapidated Midwestern city, and are haunted by what she thinks are ghosts, but might be far worse.

Wings of Ebony by J. Elle: Black teen Rue, from a poor neighborhood who, after learning she is half-human, half-goddess, must embrace both sides of her heritage to unlock her magic and destroy the racist gods poisoning her neighborhood with violence, drugs, and crime.

Witches Steeped in Gold by Ciannon Thomas: In this Jamaican-inspired fantasy debut, two witches from enemy castes—one seeking power, and one seeking revenge—will stop at nothing to overthrow the witch queen, even if it means forming an alliance with each other and unleashing chaos on their island nation.

Within These Wicked Walls by Lauren Blackwood: An Ethiopian-inspired Jane Eyre retelling in which an unlicensed debtera, or exorcist, Andromeda, is hired to rid a castle of its dangerous curses, only to fall in love with Magnus Rochester, a boy whose life hangs in the balance.

Yesterday Is History by Kosoko Jackson: Black teen Andre Cobb undergoes a liver transplant and as a side effect winds up slipping through time from present-day Boston to 1969 NYC on the eve of the Stonewall riots, delivering a story that is part romance, part gay history, and part time-travel drama, exploring how far we have and haven't come. 

[sokkagatekeeper]

hey, so, if zukka were to happen in a canon compliant universe how do you think it would unfold??

nour has talked about one problem that may arise for them when they're still getting together: that zuko is so much more emotionally open than sokka, and how to could cause misunderstands between them. and that's compounded by the fact that sokka refuses to believe that people are into him, regardless of how open they are about it. (god. it's a good thing suki, yue, and zuko are all so open.)

but beyond that, i don't think that them getting together would be a very long or dramatic process. zuko is has too much bravery/impulsiveness and too much of a propensity for oversharing to pine after sokka for years without telling him imo. but moreover, i think that romance is just. a natural progression of their friendship. their romance isn't cosmically significant, it's just two guys who are in love. what even is romance, anyway? gay people being close enough friends is kind of inherently gay. what was i saying.

so, their relationship by the end of canon is “good friends with some sort of homoeroticism going on”. i don't think that they were doing anything inherently romantic during the canon timeline; things happened too quickly and they were too stressed during the final episodes to worry about forming new romantic relationships, but they had some sort of tension. tension that i think other people (namely suki and toph) would've picked up on (more than they picked up on it themselves tbh), but had the sense not to bring up until the war was over.

when things are starting to settle after the war ends, everyone has different things they need to do. sokka decides to travel the world (after visiting gran-gran and the swt, of course), and suki wants to return to kyoshi island to help rebuild and to be with her sisters again. sokka freaks out a bit about what this means for the future of their relationship, and suki's like, “dude, chill. let's just do long distance. we can still write to each other, and see each other whenever we can. plus, we don't have to be exclusive. i think seeing other people would take pressure off our relationship.” (suki may or may not have a crush on ty lee at this point. shhh don't tell anyone. she's right anyway, so.) and sokka's like “oh. yeah. great idea suki i love you so much.” and it goes like this because there is nothing inherently wrong with sokka and suki’s relationship in canon and to claim otherwise or break them up for no reason would probably be an erasure and dismissal of suki (solid, strong female character in a healthy relationship) in favor of two men getting together which is not very cool or feminist. but also this is fandom we don't come here to do activism so like. add long as you aren't demonizing or completely disregarding suki it's whatever. where was i.

on one of sokka's next visits to the fire nation, he and zuko are spending time together, probably talking about some nerd shit like books or something. and they get into some convoluted argument about it—something neither of them actually have that strong of an opinion on, but they find it so fun to debate anyway. for some reason. nerds. and zuko starts laughing and. oh hmm that's new . and also kind of not? hmmmm sokka needs to think about this more......

as soon as he gets a chance, sokka visits toph to explain the situation. toph responds that, well, if sokka likes zuko then he should be with zuko. and sokka's like, “but?? i don't want anything to change between us.” and toph responds, “why does it have to? look, you guys have obviously always had some gay shit going on” (“what???”) “nothing really has to change if you add, like, kissing or whatever to your relationship. not unless you want it to.” and sokka, mostly reassured says, “ok but... what if he doesn't like me.” and toph says, “sokka, you're the smartest person i know. how you don't see that zuko's been at least somewhat in love with you since you got back from the boiling rock is absolutely beyond me.” and sokka's like “oh.... haha..... yeah.......” but internally he's freaking out. (really????? all this time????????)

the next time zuko and sokka see each other, they're able to pick up where they left off (they always are. neurodivergent legends). sokka doesn't say anything immediately. how is he supposed to go about this again? well, they go out to a play. they get their own booth to sit in (being fire lord does have some upsides), which serves them well, because they spend most of the time talking shit about the play. zuko gets way too heated about bad theatre, which is kind of adorable, actually? and then zuko is smiling and he's like. really pretty. which has always been the case; zuko being pretty is simply a fact of life, it's been true ever since they became friends, which. hmm. in retrospect maybe sokka should've realized things earlier.

regardless. as they're leaving, sokka looks at zuko, and zuko looks at sokka, and there's no one else around, and it's just. oh. sokka should say something. what, though? what if he says the wrong thing and messes everything up. what if toph was wrong. what if—

“sokka,” zuko says, and everything feels so charged. “can i kiss you?” it takes sokka a second to register that this is actually happening, zuko actually wants this, before he nods, and zuko kisses him. #happy ending

mostly though there’s not one specific way we believe would unfold, and however the story goes the most important thing is that the events feel true to their dynamic and individual personalities. sokka and zuko as characters both contain multitudes, and their respective traits could potentially collide in a thousand different ways and thus their ultimate inevitable get-together could go a thousand different ways. sidenote i also enjoy the implications of this post.

[thanksjro]

Bayverse: Treating These Movies with More Dignity than They Deserve or Contain, Because I’m a Goddamned Professional - Part One

TRANSFORMERS (2007) - UNCOMFORTABLE SEXUAL TENSION BETWEEN TEENAGERS THAT I DIDN’T NEED TO SEE

So.

This is a little different than what I usually do.

Clearly.

God, how did we even get here?

Oh, I remember.

The date was September 17th, 2020, and I was in a stream with nine or ten other people watching the first Bayverse Transformers movie. Why we were watching it doesn’t particularly matter- sometimes you just gotta watch garbage so you can refresh your palate for the good stuff, I suppose. Also, a couple of folks wanted to make goo-goo eyes at Blackout’s rotors.

...It’s not my thing, but I’m glad they’ve got something to make the journey worth taking.

I made some sort of comment about only using my brain for this blog’s content, and someone (you know who you are :)) suggested that I take a proper look at the film. Being who I am, I immediately latched onto this idea, despite it being technically outside of what I write about.

And then I quintuple-downed, because winners don’t quit.

Good to know that my BA in Film Production wasn’t a complete waste of time.

Fun fact, I broke my television trying to watch Transformers for this. I think the universe was trying to stop me, by making me perform surgery on electronics, and also aggravating my carpal tunnel.

This movie came out when I was 13, and it was the first Transformers thing I saw after Cybertron. Yes, the anime one. No, not the one that’s objectively terrible.

Anyway.

How did I feel about Transformers when I saw it the first time? Well… it was okay. I liked the robots. I thought Mikaela was pretty, not that I knew what that meant back then. I watched it a few times, if only because my oldest younger brother kept renting it at Blockbuster. It was fun.

Now I’m older, and wiser, and know feminist theory, so my opinion is less “this exists” and more “blind, murderous rage”.

Our film opens up with some claptrap about the Cube™, a MacGuffin of ultimate power that allows the Transformers to create worlds in their image and populate them. Which means this is how they reproduce.

It always comes back to baby-making, doesn’t it?

The narration goes on about how the Cube™ is very powerful, and some folks wanted it for good, and others for evil. The criteria for being “good” and “evil” isn’t established, and I’m not exactly sure how one would define such a thing, when all the Cube™ does is create life, but, well, we’ve only just begun. Maybe we’ll get some answers later on.

Haha, I doubt it.

So, the Cube™ is the catalyst for our 4 million year war this continuity, and that sucker was lost in the shuffle a while back. This is a problem, because, again, the Cube™ is how the Transformers reproduce. Now everyone’s in a mad scramble to find the thing so their species doesn’t die out.

Three guesses as to where it ended up, and the first two don’t count.

Smashcut to the shit nobody cares about- the humans. We see an Osprey fly over the Qatar desert, carrying a buttload of American soldiers. We get a taste of some good old-fashioned xenophobia, as several soldiers mock a guy for not speaking English and loving his mother’s cooking, going full “funny haha gibberish language” on him. We’re two and a half minutes into the film, and I already want to stab something.

Ed Sheeran breaks into the conversation, I guess because he was feeling left out, revealing that he is the New Yorker stereotype of the film, for some reason. The fellas ask their captain, Lennox, what he’s looking forward to most about getting home from their tour, and he reveals himself to be a family man. While he’s been away, his wife had a baby, who he hasn’t so much as held yet. His men respond by mocking him.

For loving his child.

We’re three minutes into the film, and the toxic masculinity might actually make me have an aneurysm.

The Ospreys land, the lads disembark, and we get a snapshot of what downtime during deployment looks like to Bay. There are a lot of kiddie swimming pools involved. Two men play basketball. We watch multiple men take outdoor showers. A young Qatari boy brings Lennox a camelback water pack with a smile on his face. This lets me know that he’s a prop and not a character in this film. I can’t wait to see how many horrors he’ll be put through to simulate pathos.

We get a shot of a helicopter flying over the desert, one that the US military doesn’t recognize as their own. They send a couple of planes to check it out, and said planes get their shop wrecked. The helicopter is revealed to be the same ‘copter that was shot down several months prior. That’s… not good. Ghost helicopter?

No. Not at all, actually.

Lennox gets on a video chat with his wife and daughter, who is wearing one of the most ridiculous baby outfits I’ve seen in a hot minute. And I used to work in childcare, so I’ve seen a good amount of those. The writing implies that normal bodily functions are unladylike and therefore undesirable… in an infant… and that’s when all hell breaks loose, thankfully saving me from more of Bay trying to make me give a shit about these characters.

The helicopter lands, we get a shot of the mustachioed pilot, who glitches (gasp), and the line “have your crew step out or we will kill you” is uttered. Not even trying to hide the nationalism, are you?

This film hit theaters in 2007, when the xenophobia from 9/11 was still heavy in the air of the general populace, so things like this were more tolerated, and in fact approved of. Of course, it’s not like America has really improved on that subject, or ever really had a point where we weren’t terrible about it, since we live in a world where the military-entertainment complex exists.

See, the Department of Defense and a good chunk of American entertainment industries have a little deal going, and have for the last few decades, and it goes like this: The DoD will allow the use of their vehicles, personnel, and bases, or the likenesses of such, for free, in exchange for their operations being shown in a positive/morally justified light. This is why you never see the armed forces portrayed in a way that makes them out as anything less than heroes- nobody would be able to afford the sets/likenesses without the DoD’s aid. This is also why you see straight-up advertisements for the military branches on televison, in cinemas, and online, and why both the Army and Navy have flirted with having Twitch channels.

It’s all a ploy to get you to join the military, kids. It’s propaganda.

But enough about that, it’s time for our first transformation sequence!

We get a lot of moving parts with this, since it’s realistic CGI in a live-action movie, and it still holds up. It’s hard to tell what’s actually happening, but it, if nothing else, feels alien, surreal, and horrific to behold. They even included the original sound effect in the cacophony, which is nice.

Our ghost helicopter reveals itself to be a Transformer, not that we get that terminology at any point in this film. This specifically is Blackout, a Decepticon. The soldiers start firing on him the moment he starts transforming, then are surprised when the thing they started shooting with several guns retaliates. This is the point where everything ever in this military base explodes, brilliantly and repeatedly, because it wouldn’t be a Bay film without it. There’s a lot of shouting and bright lights, and I’m positively certain that a great deal of people died during this fight.

It’s just a shame that I don’t care.

Blackout rips the top off of a building like it’s a tin of anchovies, and then snags all the hard drives he can, downloading everything. This is a problem, but it seems like nobody was prepared for a giant alien robot hack-attack, because in order to shut down the power to the servers, you need to be able to unlock the breaker box, and no one seems to have the key. They solve the problem with a fire ax.

Lennox is leading the Qatari boy through the base towards safety. I should mention that it’s night now, and several hours seem to have passed since the Ospreys landed, so I don’t know why this kid is still here. He’s got, like, a house and family to go home to.

We get some more tank-throwing action, Sergeant Epps almost gets flattened under Blackout’s foot, then the movie decides it’s going to try to make things more interesting by having each shot cut flash, for whatever reason.

Someone shoots Blackout with a rocket launcher, I think, and this is the point where he throws his tiny little man off his back to go do his job. Yes, Blackout’s got a baby, and that baby is Scorponok, his symbiotic pal who likes to dig into the ground and be a sneaky little bastard.

Blackout blows up a ton more military equipment and personnel, and then it’s time for another smashcut.

Now we’re in high school, just like all those dreams I’ve had where I’ve forgotten my homework. This is where we meet Sam Witwicky, our main character, and also the stand-in for our target demographic. He’s insufferable, and I don’t like him. Mikaela Banes, our love interest, is also present in this scene, but we don’t get to know about her character for, like, another 20 minutes, because who gives a shit about women, right? They’re just props, right?

Right???

RIGHT??????????

RIGH-

Sam is presenting on his great-great-grandfather, Archibald Witwicky, for his family genealogy report, in front of a class containing maybe three actors who are age appropriate.

I know child labor laws are a good thing, and that hiring adults to play teenagers is just the lay of the land, but I swear some of these students look like they’re old enough to be on their second mortgage and third kid.

Anyway.

Archibald Witwicky was an explorer, one of the first to traverse the Arctic circle, and apparently his crew was made up of folks from 2007, because I swear the clothing for a few of these dudes isn’t period-appropriate. We get a seamen joke, because of course we do, and a sextant joke, because of course we do. Sam is also hawking all this crap he’s brought in for the presentation, because he is a little bastard who has no idea what his peers would want to buy, or really how to relate to them at all. He’s selling these “priceless” artifacts so he can get a car. Mikaela finds this charming, for some fucking reason. Also, her boyfriend is weirdly stroking her shoulder blade with his knuckles the whole time this is happening, and I hate it.

Archibald Witwicky went mad after his expedition, talking about an “ice man” so often that his family ended up locking him in a mental asylum, likely to be forgotten about. Which is sad. But we won’t be getting into the medical mistreatment of the mentally ill in Bayverse, now will we? That’s just Too Deep™.

Sam’s teacher didn’t very much appreciate having his class be turned into an episode of Antiques Roadshow, but still gives Sam an “A” on the project, despite it being a very poor report that lasted all of two minutes. I suspect the teacher has tenure, and therefore no longer gives a shit about academic integrity. This “A” means that Sam’s father will buy him a car.

Which is nice, I suppose, if I gave a damn.

Sam’s father, Ron, picks up his son in a car he probably bought at the crux of his midlife crisis, in a green that reminds me of a school gymnasium floor, then plays a prank on his child by pretending to pull into the Porsche dealership. Sam isn’t getting a Porsche, which is good, because he doesn’t deserve one. As Sam gripes to his father, a yellow Camaro drives by oh so conspicuously. Wonder what’s up with that.

Instead of the Porshe dealership, they head over to the used car lot, which is being run by Bobby Bolivia, who spends his time yelling at his employees and wanting to murder his mother. Sam is incredibly ungrateful about the fact that his dad is helping him get a car, even though it’s his FIRST car, and nobody gets a nice one the first go around. Or, at least, they shouldn’t, given the statistics about accidents with young drivers.

“No sacrifice, no victory” is uttered by Ron, which is the family motto, or so he claims. Archibald Witwicky said the same thing when he had multiple people dying trying to get to the Arctic Circle, so there’s precedence for the phrase, but we’ll see how it holds up throughout the film.

Bobby Bolivia shows Sam and Ron the cars he has for sale, and Sam is immediately drawn to the yellow Camaro in the lot, though there’s a small problem- it’s too expensive for what he and his father agreed to. Also, nobody knows where the hell it came from, so paperwork might be an issue. When Bobby tries to show Sam the yellow Beetle they have right down the line, everything explodes, because this is a Bay film, and fuck the original material this movie was based on. Bobby lets them have the Camaro for a lower price, suddenly fearful of whatever strange powers have just visited his place of business. “The car picks the driver” is suddenly more than a bullshit line to spout off in order to sell cars, and I’m certain that’s shaken the poor man.

Over in Washington, D.C., the Secretary of Defense prepares to address just what the hell happened in Qatar, lamenting on how young the audience he’s going to be speaking to is. In particular, he’s referring to the two dweebs and the hot chick sitting in one of the rows. All the women in this movie who aren’t someone’s mom are made up to be very pretty. And not even in a realistic way. But we’ll get to that in a bit.

So, the military network was hacked. That’s bad. Nobody knows who did it. That’s also bad. The only lead the US has is a soundbite, which is the signal that hacked the network.

Everyone here at the briefing is going to be helping to figure this mess out. This is great, if you like looking at Rachael Taylor for a few seconds at a time, and can compartmentalize hard enough to make that worth the effort of watching this godforsaken film.

Back at the Witwicky household, we meet Mojo, a chihuahua with a cast that doesn’t seem like it’s actually doing anything. I wish he was the main character instead of Sam.

Sam arrives home from the dealership, and says “alright, Mojo, I’ve got the car. Now I need the girl.”

As if ownership of a person is something to aspire to.

As if women are property to be owned.

As if women aren’t people, but rather commodities.

We’re 17.5 minutes into this film.

We’re introduced to Judy, Sam’s mother. She’s shrill, and annoying. This is by design, because none of the women in this film are actually people, but rather archetypes to bounce off of the male characters.

Sam and his father have a moment of what some might consider banter, then Sam gets huffy with his mom over gender roles for the dog. I, for one, think Mojo looks positively dashing in his bedazzled collar, and to hell with whatever Sam says to the contrary.

Sam drives off to go be a misogynist, with the promise to be back by 11PM.

Over in Qatar, the soldiers and that little boy are running from the attack on their base, as Lennox’s wife watches a public announcement on the matter back at home. The Secretary of Defense lets us know that we’re at DEFCON Delta at this point. Lennox Jr. cries, and all I can think about is how they probably pinched that baby to make that happen. They pinched a baby for Transformers (2007).

The soldiers in Qatar talk about shit they have no idea about, Sergeant Epps going on about somehow having been able to see a forcefield around Blackout through his super special binoculars. I don’t know how, or why, he knows this. I don’t know anything anymore.

Ed Sheeran has his doubts about this whole thing, and Lennox is also present in the scene, because I guess he’s important. Through a bit of dramatic irony, Fig- the guy everyone was making fun of for being bilingual at the start of the film- says that this probably isn’t over, as the shape of Scorponok shifts through the sand just beyond them.

Epps is having a minor crisis over the fact that Blackout saw him, but we don’t have time for that, because we’ve got to get to cover. The lads decide to head to the little Qatari boy’s house. Again, I wonder why he was at the base at all, considering that it seems like they’ve been traveling for a good portion of the day.

Back with Sam, he’s picked up his friend Miles, and together they’re going to a lake party. Are they invited to this party? Yes, but also no. It’s public property though, so it should be fine. As they park, Sam notices that Mikaela is here, which is great for him.

Mikaela’s boyfriend, Trent- whose name I had to look up- is a massive tool, and starts pestering the two boys for daring to exist in his airspace. Miles climbs a tree. I’m glad he’s having fun, at least. Sam makes a joke at the expense of people with brain injuries, and this for some reason? Warrants a shot of Mikaela making the blank “pretty girl” face? In response?

Mikaela saves Sam from becoming a wet stain on the grass, which is very kind of her, and more than Sam really deserves. Trent, his boys, and Mikaela start to head off for another party, to get away from Sam and his tree-loving friend. Mikaela offers to drive, and Trent says that she can’t handle his truck, because she’s a ~girl~. This causes Mikaela to ditch him, and start walking home.

The script knows enough about misogyny to know that this would be a nice “take that”. Michael Bay, however, likely fails to see why everything he did with said script involving this character is a goddamned problem.

Because Mikaela, bless her heart, has a lot of problems.

Let’s start with the outfit: a croptop, a jean skirt that BARELY covers her ass, and a pair of wedge heels that are at least four inches tall. On a character that is, at oldest, freshly 18.

Look, I’m all about self-expression and the freedom to choose how you dress for yourself and yourself alone, but this clearly isn’t that. This is a character, not a person, whose wardrobe was designed for the straight male gaze. She’s wearing fucking STRAP HEELS to the lake. This is about oogling. This is about reducing a whole-ass person to the same status as a piece of meat. In fact, who was on wardrobe for this? I’d like to have a few words with-

A woman? Okay, well, what else has she worked on?

You can’t be fucking serious.

ANYWAY.

Miles just called Mikaela an “evil jock concubine.” I don’t like Miles anymore.

As Mikaela walks down the road, strutting hard enough that I’ve got sympathy pains in my hips, the radio in the Camaro turns on, playing “Drive” by the Cars, and giving Sam a hell of an idea; he’s gonna drive Mikaela home, so she doesn’t have to walk the 10 miles to her house. Why he knows how far she lives from the lake isn’t addressed.

Sam kicks Miles out of the car and goes to give Mikaela a ride, which she accepts after a bit of self-deliberation, and also him making an ass of himself. The shot here is framed with Sam like he’s a normal-ass person, and Mikaela from her breasts to the top of her waist. Because of COURSE it is.

She hops in the car and then goes off about her taste in hot guys. Which is weird, and out of left field. Sam is about as confused as I am, then continues to make a fool of himself. This is his nature as a person. Mikaela has no idea who Sam is, even though they’ve gone to the same school for the last 10 years and have multiple classes together. And the fact that she was staring him down all through his genealogy presentation. And at the lake.

This movie isn’t very well thought out, I feel.

It’s at this point the the Camaro turns the key on itself and starts to sputter out and die, as “Sexual Healing” by Marvin Gaye pops on the radio.

I don’t like how this car is trying to get Sam laid.

I don’t like how this car is trying to get Sam laid with a girl who didn’t even know his name five minutes ago.

I don’t like how this car knows what sex is.

The Camaro breaks down on a cliff, and Mikaela hops out to work on the engine, and also to get the hell away from Sam’s sputtering.

As Mikaela admires the sweet engine in this Camaro, showing off her knowledge of cars, we get several shots of her from her breasts to her thighs, while Sam is treated like an actual person. Don’t bother trying to play it off as an artistic choice, Bay, this is blatant horndogging. This adds to NOTHING, other than my ire.

Sam says more stupid shit, and Mikaela, who must be the nicest fucking person in the world, just tells him to fire up the engine so she can try to sort out the problem. Then he asks why she goes for jackasses like Trent, and she decides that she’s hit her limit for today, opting to walk the rest of the way home. Good on you, Mikaela. Don’t take Sam’s bullshit.

Sam, realizing that he’s put his foot in his mouth for the 80th time today, pleads with his Camaro to do him a solid and work, and this actually works out for him. Great. Sam, victorious, once again offers Mikaela a ride, which she, once again, takes.

He drops her off without further incident, and she thanks him for listening. Even though they didn’t really talk that much. I dunno, maybe they had a super deep conversation offscreen. Mikaela asks Sam if he thinks she’s shallow, because clearly all women need approval from the men around them, and Sam says that there’s more to her than meets the eye.

Which made me groan aloud.

Anyway, she gets inside without a problem, and Sam professes his love for his new Camaro for allowing him to talk to a girl. Or at least talk at her.

Back in Washington, D.C., at the Pentagon National Military Command Center, we’re making weirdly racist calls on who hacked the military.

Up with Air Force One, a conspicuous boombox transforms into a robot, and then runs off to hack shit. The President of the United States requests some snack cakes. A flight attendant goes down to storage to retrieve said snack cakes, and finds that boombox in the elevator with her. Considering this is Air Force One, you’d perhaps expect her to immediately be suspicious of such a thing, but this is Bayverse, and we don’t think here.

The flight attendant brings the boombox down with her and places it on the counter as she goes to get the presidential snack cakes. The boombox immediately disappears. Now, you’d perhaps expect her to immediately be suspicious of such a thing, but this is Bayverse-

The flight attendant opens up the snack cake package, for some reason, and drops the cake on the floor. She then proceeds to eat it, and then act shocked when it tastes like floor. There’s a robot in her fucking line of sight, and you’d perhaps expect her to immediately be suspicious of such a thing-

She leaves to go feed the President floor cakes, and our little robot friend gets to work stealing government secrets. He, if nothing else, looks pretty cool doing it. He’s a very pointy lad.

Back at the Pentagon, Maddie- Rachael Taylor’s character- can hear the hacking. This sends everyone into a panic, because, well, that shouldn’t be happening. The hacking noise is a direct match to the one from Qatar, so that’s obviously a problem.

Back on Air Force One, our little robot friend is looking for “Project Iceman”, which he very quickly finds, and downloads everything they’ve got on it, and also plants a virus. The process seems to be… doing things to him. It’s weird. This movie is weird.

The Pentagon cuts all the system hardlines, stopping the process, but it’s too late- he got what he wanted, just about. Two security personnel come into the room, and the robot kills them both with some spinning blade disc nonsense. Air Force One is forced to land for the safety of everyone on-board. More security detail comes in to deal with the little bastard, but he transforms into a boombox and sits on a shelf to avoid suspicion. Now, you’d perhaps expect-

With the plane grounded, our robot is able to walk his little ass over to a cop car. And when I say walk, I do mean walk; this fucker is in multiple folks’ line of sight and nobody notices a thing. When he enters the car, he’s greeted by the mustachioed driver- the same driver who was operating the helicopter at the beginning of the film. This mustache man is a holographic avatar, one that’s being used by all the Decepticons.

We get our first real taste of Cybertronian language, as our robot- it’s Frenzy, his name is Frenzy- lets everyone know that he’s found a clue to the location of the AllSpark, and, through the power of the internet, knows where to find the guy who’s gonna give them what they need.

Three guesses to who it is, and the first two don’t count.

Back at the Witwicky household, Sam’s car does a runner in the middle of the night. Sam, horrified that his property is being stolen, pursues on a bike, screaming at his dad to call the cops. Sam also calls the cops, as he tears through the neighborhood.

The Camaro breaks into an abandoned building, Sam follows, and we finally get a shot of our audience appeal character. Sam watches in disbelief as a giant yellow space robot shines a beacon into the sky, then makes a video on his flip phone recording the experience. He apologizes to his parents for owning pornographic magazines, and goes to face his probable demise.

However, death does not come from above, instead manifesting itself as two of the strongest junkyard dogs in the known universe, who break their brick-inlaid chains to get at this little dip of a man. Sam is chased through the yard, climbing on top of a couple precarious oil drums, even though there’s a ladder, like, right there. The Camaro rolls in, scaring off the dogs, and Sam bolts, throwing the keys to his ride at his ride. When he gets outside, the cops have arrived, and immediately arrest him.

Back with the US government, the Secretary of State is having a conversation about all the bullshit that just went down with Air Force One. He and his fellow cishet old white men discuss their options, until Maddie comes in to set them straight on some of the facts. They act all indignant about it, because women can’t be smart, right?

Right???

RIGHT??????????

RIGH-

Anyway, we get a weird little deflection of Maddie’s role in everything, because a woman is nothing without the men around her, then she brings up the point that the bullshit that happened on Air Force One went down in just a few seconds, which isn’t something that anyone can actually do. She brings up quantum mechanics, which everyone blows off as nonsense- not that I wouldn’t as well- and theorizes on a DNA-based computer, which is technically a thing, if not trapped in the realm of speculation. It’s at this point that the Secretary of Defense tells her to come back when she can back these wild claims up, and isn’t just clearly spitballing.

And then he snaps his fingers at her, and any point he might have had leaves my brain so I have more room for being enraged.

Back with Sam, we’re at the police station talking to the cops. His dad is here, and Sam is trying to explain that his car is a dude. Even though he took at a video (one that was likely crap, given how quickly he spun his phone around to show off what he was seeing) the cops, understandably, don’t believe him. Then one of them, not so understandably, starts… threatening Sam? With his sidearm? And daring him to try something? This isn’t any sort of statement on the corruption of American law enforcement, it’s just bizarre.

Back in Qatar, our soldier buddies have found a telephone line, and are going to try to use it to get in contact with the rest of the world. It’s just too bad that Scorponok’s decided to make an entrance, and knock said telephone line the hell down. Ed Sheeran has next to no reaction to this, despite it happening maybe ten feet behind him. Fig speaks Spanish, and Ed Sheeran makes a point to be an asshole about it.

Scorponok is about to stab Lennox with his very pointy tail, when Epps notices- finally, someone with peripheral vision- and starts shooting. Then everyone starts shooting, kicking up enough sand to blind themselves, as Scorponok scuttles away, buries himself, then reappears behind Ed Sheeran.

Ed Sheeran does not survive this experience.

The others bolt, not wanting the same to happen to them, and for the fourth time I wonder just why the hell this young boy was at the base in the first place.

Off in the distance, the community of a nearby town wonders just what the shit is going on out in the desert. Our soldiers run into the town, and everyone gets their guns and start firing on Scorponok, who retaliates, because why the hell wouldn’t he?

Lennox demands that the young boy take him to his father, and proceeds to borrow his phone. As shit goes down outside, we have a sort-of gag where Lennox is trying to contact the Pentagon, while a telemarketer tries to get him to buy a phone package. In order for this call to go through, he’s going to need a credit card. This is where the well-known “pocket” scene comes from, as Lennox searches Epps’ pants for his wallet as he fires on Scorponok. It’s probably the best-written thing in this whole film.

With the credit card acquired, Lennox finally gets through to the Pentagon, and tosses Epps the phone so he can talk. Maybe he’s got anxiety about speaking on the phone, I dunno.

Scorponok shows off his disregard for historical architecture, blowing up several buildings, and the US government just watches this all go down. One of the actors in this scene looks like my dad, and it trips me up every time he’s on screen. Anyway, now the Pentagon knows about the giant space robots running around in Qatar. They send over some air support about it. All this manages to do is piss Scorponok off.

So they try it again.

This time it works, sort of.

At the very least, he’s left now.

Tail fell off, though.

Also, Fig’s been grievously wounded. The others, for once, don’t make fun of his native language while they help him hold his blood inside his body.

Back at the Pentagon, Maddie’s looking to prove that the bullshit that’s been going on is of the sci-fi variety, and in order to do that, she’s going to need a little outside help. She takes the information from the Pentagon, slaps it into an SD card, hides that shit in her blush compact, and then runs out the door to Glenn Whitmann’s house. Or, rather, his grandma’s house.

Glenn is a hacker, and shouldn’t be seeing anything that Maddie’s brought him, but everyone knows that confidentiality is for nerds, so whatever.

Back at the Pentagon, Maddie’s immediately been caught. It’s almost like slapping the military network onto an SD card maybe wasn’t such a hot idea. But what do I know?

Glenn takes a look at the soundbite and figures out that there’s a code embedded in the thing in about two seconds. Good to know our tax dollars are being well-spent on the US military, that some dude in his jammies can figure this shit out faster than a whole team of analysts. They figure out that “Project Iceman” is involved with this somehow, and also the existence of Sector Seven. It’s at this point that the FBI busts in. Good. I kind of want Maddie to go to jail for this, because she was about as stupid as she could be handling the situation.

Glenn’s cousin goes through a closed glass door- don’t worry, it’s tempered- and there’s a weird cut before that exact same shot continues, and he’s tackled into the pool. There was no reason for that to have happened, but here we are.

Back with Sam, we’re treated to him in his boxers, shooting basketballs in his room. He goes into the kitchen, where Mojo is standing on a stool. It’s a very tall stool, the sort you sit on, and he’s just… there. I don’t know how he got there. There’s no one else in the room besides Sam, and I know he didn’t put him there.

Clearly this must mean Mojo is God, and being on that stool is his divine will. I will be approaching the rest of the franchise with this in mind, because it’s clearly the only answer.

Our merciful Lord Mojo jumps up on the kitchen counter and begins growling at something through the window. Sam looks out… the opposite window… to find that his Camaro has returned to him, and is less than thrilled about it, to put it lightly. He drops a jug of milk- luckily it was mostly empty, given the sound it makes when it hits the floor- and gives his buddy Miles a call. You remember Miles, don’t you? If you don’t, it’s fine, because he reestablishes his quirkiness with a single shot, as he sits in a swimsuit and bathes his huge-ass dog in a kiddie pool, and answers the phone with a headset he just happened to be wearing. He must get a lot of calls during Dog Washing Hours.


After giving us one of the most intense voice cracks I’ve ever heard, Sam books it out of his house, hopping on a bike to escape his murderous Camaro. He’s not seen the thing commit any murders, mind you, but he seems pretty convinced that it would do the job, given half a chance. Also, this isn’t the bike he rode the night before; that one is likely being chewed on by those strong-ass junkyard dogs. No, for some reason, the Witwickys have a pastel pink girl’s bike, with the fun little handle tassels and the basket and everything. As far as I can tell, Sam is an only child, and if you think Bay’s going to allow for a teenage boy to have the vulnerability to own a pink bike, you’ve not been paying attention for the last 48.5 minutes.

The Camaro gives chase, rolling after Sam on his bike at a brisk 7 MPH down the friggin’ sidewalk, one of the only scenes in this travesty of a film to actually get me to crack a smile. Sam races through town until city planning puts a stop to him, through the magic of using chunks of cement to decorate the mulch around their trees. He crashes his bike, faceplants into the concrete in front of Mikaela, and promptly dies, thus ending the film.

No, he doesn’t die. I just told a fib. I’m sorry.

Instead, he does a flip and lands on his back, likely receiving a concussion, in front of Mikaela and her friends. Her friends laugh, because everyone hates Sam, as they should, and Mikaela says that what he just did was “really awesome.” Don’t try to be nice, Mikaela, this is Sam we’re talking about; you could stick the dude in the freezer overnight and he still wouldn’t be even remotely cool.

Sam gets back to the whole “running away from a car” deal, and Mikaela decides that this is the sort of thing she’d like to do with her day, so she ditches her friends in the middle of their scheduled Burger King™ time to go see what the hell Sam’s on about.

As Sam is chased by the Camaro who is being chased by Mikaela on her motorized scooter, a cop becomes involved, tearing through the streets to join this ridiculous game of tag. Now, we’ve seen two different flavor of cop so far- the mustachioed avatar cop car that picked up Frenzy from the airport, and the dude who threatened a teenage boy with a gun after accusing him of being under the influence of drugs. Either way, I don’t think this is going to turn out well for Sam.

Sam’s cornered himself under one of those really wide bridges where people can park their cars, which wasn’t terribly smart, but it’s Sam, so this is about par for the course. The Camaro manages to miss him, but the cop car does not. Sam is actually pretty cool with the cops being here, as if they could do anything about “Satan’s Camaro.” I guess he didn’t see the decal on the side of this car that says “to punish and enslave…”

Sam attempts to approach the car for help, and gets clotheslined by a car door for his troubles. He hits his head on the pavement, certainly exasperating the brain injury he received not ten minutes ago. Still, he continues to try to talk to the holographic avatar through the windshield, revealing that the bike he’s been riding is his mother’s. Mystery solved, I suppose.

The cop car doesn’t much appreciate being slapped on the hood, and begins to rev violently at Sam, threatening to run him over several times. Then it explodes into being a robot. Sam, who’s seen a lot of really weird shit in the last 24 hours, nopes out of the situation. It’s at this point that I realize he’s wearing a shirt for the band the Strokes. I don’t know why that stuck out to me, but it did. Guess my brain needed something to latch onto during all this.

Sam is running as fast as his little legs allow, as our newest robot friend takes up a leisurely jog to keep pace. Then he kicks Sam. He kicks Sam’s body like the football. This, of course, instantly turns Sam into a bag of jelly and kills him, thus ending the film.

No, he doesn’t die. I just told another fib. I’m sorry.

Sam somehow survives being punted by a giant metal leg and lands in the windshield of a car that doesn’t turn into a robot. Then he gets yelled at by the cop car. This is Barricade, a member of the Decepticons, and Sam’s got something he wants. Or, should I say “LadiesMan217” has something he wants.

LadiesMan217 is Sam’s Ebay username. This is both stupid because no teenage boy existing beyond the year 1985 would have ever called himself that, and also because it’s just stupid.

Barricade wants the glasses Sam presented for his genealogy report, and he wants them NOW. Seeing as the thing he wants is for sale, and nobody had been bidding on it, one would wonder why Barricade and his associates didn’t just try to purchase them like upstanding citizens. Perhaps Decepticons don’t understand the concept of money, or perhaps they don’t have a stable address to have the glasses shipped to. Or perhaps nobody considered that angle when the script was being put together. Who can say?

Sam gets back to running away from Barricade, we see where Mikaela got to, and the two of them collide. Sam rips Mikaela off of her scooter, and they both fall to the ground. Mikaela, who did not buckle the clasp on her helmet, asks Sam what his fucking problem is. Then his problem shows up, and they take a very long time to get up so they can run. So long, in fact, that the Camaro has to swing in to save them. After much pleading from Sam, Mikaela gets inside Satan’s Camaro, and the two of them are whisked away to safety. Barricade pursues, and then the butt rock starts.

There’s a lot of screaming and yelling, the Camaro busts through a window and several shelves in an abandoned building, there’s some drifting, and then suddenly it’s nighttime. Barricade somehow got in front of the Camaro, and is circling like a shark. The Camaro locks the two teenagers inside itself, though I suppose they could climb out through the still-open windows if they really wanted to. The Camaro cuts the engine off, then cuts it back on and bolts for the exit, and this somehow tricks Barricade long enough for them to get past.

The Camaro dumps Mikaela and Sam out one of the doors and then transforms into that yellow space robot we saw a bit ago. It’s Bumblebee! Nearly an hour in, and we finally get a proper look at the little bastard. I guess that’s what happens when you spend the first 20-something minutes on being xenophobic and appealing to the focus groups that think it’s fine sexualize high schoolers.

Bumblebee- no, he’s not introduced himself yet, but I just can’t keep calling him “the Camaro” anymore- comes out of his transformation ready to square the fuck up. Barricade throws himself at Bumblebee, they roll around on the ground for a bit, then things start sparking and exploding, because this is a Michael Bay film. Frenzy jumps out and starts chasing down Mikaela and Sam, while Bumblebee and Barricade murder death punch each other. Frenzy manages to grab Sam by the ankles, drag him to the ground, and rip his pants off. Not sure how that happened, considering he’s still got his shoes on.

While Sam’s busy being chased by a sentient pile of safety pins, Mikaela’s taken it upon herself to be proactive about her survival, and is raiding a nearby building for power tools. She sprints out holding an electric jig saw and saves Sam by decapitating Frenzy. If you know anything about Transformers, then you know this doesn’t actually kill Frenzy, but good on her for being a badass. Why couldn’t Mikaela be our main character again? Oh, right, because she’s a ~girl~.

Sam punts Frenzy’s head, like, 50 yards, which seems like something he shouldn’t be able to do, given that he’s a massive weenie, but there you are. With that out of the way, Sam takes Mikaela’s hand and they run off to go watch the giant robot fight. The bottom of Frenzy’s head turns into a spider and he crawls his way over to Mikaela’s purse. He’s gonna steal her gum, the fiend!

Mikaela and Sam have, unfortunately, missed the giant robot fight, which means that we, as the audience, have also missed the giant robot fight. Which is unbelievably stupid, seeing as everyone who has ever watched this movie came for the GIANT GODDAMN ROBOTS.

Mikaela asks just who the hell the yellow robot is, I guess because she’s finally had a second to process what the hell’s going on. Sam claims that he’s a super-advanced robot, “probably from Japan.” Whether or not this is a reference to the Japanese origins of the original toy line isn’t clear, though somehow I think it’s more xenophobia. Sam also makes the claim that if Bumblebee had intended to hurt them, he would have done it by now. This is quite the jump from a few hours ago, when he was calling the poor guy “Satan’s Camaro.”

Sam finally, finally asks Bumblebee what his deal is, and we get our first taste of the Bayverse Bumblebee Gimmick. The Gimmick here is that, due to an injury to his vocal processing, Bumblebee cannot communicate through traditional means, i.e. speech. Because of this, he instead strings together sentences by flicking through the radio frequencies and choosing key words. This can lead to some interesting audio design, like describing his fellow Autobots to “rain down like visitors form heaven, Hallelujah!” because a radio sermon fit what he was trying to say best.

This gimmick is one that has been used in other pieces of Transformers media, at least in part. Bumblebee is unable to speak traditionally in Transformers: Prime, and instead communicates in beeps and clicks that his teammates can understand, but not so much the humans, save for Raf. In Bumblebee (2018), the idea was used whole-cloth, with the injury resulting in his inability to speak happening on-camera within the first 10 minutes of the movie, and the idea of “expressing oneself through music” being introduced by his human companion Charlie Watson.

All in all, I rather like the idea going on here; it’s an interesting part of his character that opens up for a lot of interesting and creative moments.

It’s just too bad it was introduced in fucking Bayverse.

But yeah, anyway, the other Autobots are coming to Earth. Shit’s gonna be lit.

Bumblebee turns back into a Camaro, and Sam uses the power of FOMO to get Mikaela to go in the car with him. We get a shot of Barricade fucking dying on the side of the road. Frenzy murders Mikaela’s phone, and then steals its identity, including the little bejeweled heart stickers. Good thing Mikaela remembered to go get her purse, otherwise he probably would have felt very silly doing that.

Mikaela refuses to sit in the driver’s seat, seeing as she now knows Sam’s car is sentient, and sort of feels weird about this whole thing. Sam suggests that she sit in his lap instead, as the camera angles to give us a peek at the cup of Mikaela’s bra. When asked why the hell she should do such a thing, Sam says it’s a concern about her safety, given that the middle console of the car does not have a seatbelt. Sam either fails to recognize that seatbelts going over two layered bodies won’t save either of them in the event of a crash, or he’s just trying to make an excuse to have a pretty girl in his lap.

Given what movie this is, I’m going to guess it’s the latter.

Mikaela has a similar line of thought, but scoots over anyway, saying that the seatbelt line was a “smooth move”. It wasn’t, but if I picked apart every single bad line Sam had in this film, I’d be here all day.

Mikaela questions Bumblebee’s taste in alt-mode, which offends him to the point of dumping both her and Sam out in the street and driving away. He returns, moments later, as a sleek new Camaro, that I’m sure some car aficionados would call “sexy.”

Bumblebee’s alt-mode is a 2009 Chevrolet Camaro, of which there were none during the time of filming. It was put together for this movie in roughly five weeks. Sam is blown away by the fact that he now owns a car that does not currently exist in his universe. Mikaela is impressed, or at least she would be, if women were allowed to show that emotion in a non-horny way in a Bay film.

Judy doesn’t count.

As Bumblebee breaks into yet another restricted area, we get a shot of the Earth from orbit, as several objects rocket towards the planet. Sam and Mikaela watch the Autobots burn up in the atmosphere, and Mikaela tries to hold Sam’s hand as they do, and it’s at this point that I have to address how much I hate these two’s dynamic.

I don’t give a single solitary shit about this romance, because A) it’s poorly written, B) Mikaela could do infinitely better than Sam, C) I dislike Sam so very much, D) Mikaela, who is a way more interesting character, got placed on friggin’ love interest duty because ~girl~, and E) it’s useless padding to try and make me care about what’s happening here, and I just DON’T. I do NOT care about whether these two get together or not.

We see the Autobots crash-land, three out of four of them causing massive amounts of property damage and possibly killing at least one person. Their stasis pods crack open, and they each climb out, completely naked and in desperate need of clothing to hide their shame. With a quick scan of nearby vehicles, they’re once again decent to be seen in public.

Bumblebee drives the kids out to what I can only assume is the warehouse district he sent that beacon out in, as our collection of good guys finally come together at long last. A massive Peterbilt semi-truck stops directly in front of Mikaela and Sam.

We’re over an hour into this film, and we’re just now getting to the quintessential Transformer, Optimus Prime himself.

In the original cartoon, Optimus’s alt-mode was what’s known as a cabover truck, one where the cab- where the driver sits- is seated directly over the engine. These were popular during the days when maximum truck-lengths were much shorter than they are currently. This is why when you look at height charts for Optimus over various continuities, his G1 cartoon counterpart much shorter than his other iterations.

Modern trucks are longer, and don’t need the cab to sit on top of the engine to save on space. The designers chose to use a Peterbilt to make sure that Optimus would have an imposing stature when compared to his fellow Autobots.

Because heaven forbid we not have heightism come into play in this film.

Our Autobots transform, and say what you will about these bastards being visually incomprehensible, the transformations themselves are cool as hell. My personal favorite is Jazz’s, where he does a cool windmill into his root mode.

Optimus crouches like he’s looking at a cool bug on the sidewalk and addresses Sam by name. He doesn’t even acknowledge Mikaela, which I find to be a bit rude, but whatever. He then introduces himself as the leader of the Autobots.

Peter Cullen is back as the voice for Optimus Prime, sounding wonderful as always. He almost wasn’t brought on for this project, because Michael Bay didn’t want him. If the fans hadn’t thrown a hissyfit, who knows who we would have gotten to be our space dad for the next hour and a half?

This is actually an issue that’s recurred several times in the last few years, and not just with Cullen; Frank Welker, the voice of Megatron, as well as many other Transformers, has been refused roles within Transformers properties. In general, this is because both Cullen and Welker are union actors, and Hasbro would prefer to hire sound-alikes than pay more money for the originals. This isn’t to shame the non-union actors, goodness no, just to merely point out less-than-fantastic business practices.

I realize there have been a lot of tangents, but you have to understand that I am suffering as I do this.

Optimus then introduces his team- there’s Jazz, whose first line is “What’s crackin’ little bitches?”, Ironhide, who incorrectly quotes Dirty Harry, and Ratchet, who calls out just how obnoxiously horny Sam’s character is. We also finally get Bumblebee’s name.

Mikaela asks the very good question of why the fuck the Autobots are here on Earth. Optimus explains that the AllSpark is here, and they’ve got to get to it before Megatron does. He then goes on to explain who Megatron is, stating that he “betrayed” the Cybertronian empire.

No, how exactly he did that isn’t addressed. We’ll just have to take Optimus’s word, I suppose.

If you’ve sussed out by this point the the AllSpark and the Cube™ are the same thing, congrats! You win. Megatron followed the AllSpark to Earth, where he promptly was neutralized by the cold of the Arctic circle. This was 110 years prior to the events of this film, and where Archibald Witwicky came in to the story.

When the expedition was happening, Archibald fell through the ice during a collapse, and ended up finding Megatron’s frozen body in an ice cave. He went poking around on this strange metal giant, and ended up activating Megatron’s navigation systems, which imprinted the coordinates of the AllSpark onto Archibald’s glasses.

Don’t ask how that works, it just does.

So, the Autobots need the glasses, so they can find the AllSpark before the Decepticons do, so those guys don’t use it to build an army out of Earth’s machines, which will destroy humanity.

Sounds simple enough, let’s go get that vision correction device!

Back with the military dudes, everyone’s taking a gander at the tail that Scorponok left behind. They theorize that the metal that makes up these giant murder-robots reacts to extreme heat, but elaboration on that point will have to wait, because the tail has begun to flail. They quickly strap it down, then call the military to let them know to strap anti-tank guns onto anything that’s going to be approaching any giant robots.

Meanwhile, in an interrogation room, Maddie and Glen have been left to sweat a bit. Glen takes to stress-eating, while framing it as a psychological tactic to subconsciously prove his innocence to the FBI.

This is a fat joke, with the added nasty layer of Glen being a black man about to be interrogated by one of the most intimidating white cops I’ve seen in a hot minute.

Glen immediately folds, pinning all the blame on Maddie, and claiming that he’s been a perfect angel his whole life. We get some weird purity culture out of him, before Maddie lets the FBI know that she needs to talk to the Secretary of Defense, NOW.

Over at the Witwicky household, Sam’s parents are watching the news, trying to find out what all those loud crashes were about. Optimus Prime drives down their residential street, the rest of the gang in tow, then they all park to wait for Sam to go get the glasses.

For about 20 seconds.

Sam has to physically hold the door shut to prevent his father from coming out and seeing several very tall robots from outer space tip-toeing around his freshly-landscaped yard, I guess because they got antsy. Optimus plods around on the grass and breaks a fountain, and our benevolent god Mojo comes out of the house, assuredly to smite the leader of the Autobots.

Mikaela runs onto the scene, and Sam chastises her for not controlling the robots who didn’t even acknowledge her existence, outside of pointing out Sam was sexually attracted to her.

Mojo pees on Ironhide’s foot, which prompts Ironhide to threaten to shoot the creature. This is why Ironhide isn’t getting into heaven. Sam, one of Mojo’s chosen few, claims that the mortal shell of his god is seen as a beloved pet by many humans. Sam runs into the house, before Mojo can incur his divine wrath on the Autobots.

While Sam goes to get the glasses, the Autobots decide to do a little peeping on the house, watching his parents watch TV. Sam tears his room apart trying to find the glasses, and Optimus thinks that it would be helpful if he brought Mikaela up to help look. It’s at this point that I realize that Sam has an utterly bizarre fish tank.

I mean, legitimately, what the fuck is this? No filter, no plants, might not even have any rocks on the bottom. Is this a comically oversized bong Sam threw a couple fish into? What the fuck.

Mikaela starts looking for the glasses, running into what is likely a box of porn mags, then they both look out the window to find that the Autobots have decided to hide in plain sight by transforming... in the middle of Sam’s backyard. Amazing work, gentlemen.

Sam finally convinces the Autobots to go sit in the alley and wait, only for Ratchet to run into a power line and trip into a greenhouse. The resulting impact is interpreted as an earthquake. Judy does not have the reaction one might expect from someone who’s lived in California for at least ten years.

Ratchet’s fine, by the way.

The power cuts out, and Ron goes up to check on his son, because he’s at least a halfway-decent father. Ratchet’s shining a light to aid in the search for the glasses. Sam’s parents notice this bright light, and bang on Sam’s door to see what’s up.

Sam quickly hides Mikaela and then attempts to salvage the situation, answering the door and trying to control the narrative. Unfortunately, Ron is far too inquisitive for Sam to do this, and then Judy asks if Sam was masturbating.

Judy, is privacy just not a thing to you? Because if not, it really ought to be.

She keeps going with it too, trying to come up with code words, until another one of the Autobots trips and causes Ron to panic again, climbing into Sam’s ancient claw-foot bathtub to protect himself. He looks out the window to check on his beloved yard, lamenting that the earthquake tore it up.

Ironhide is strongly considering killing Sam’s parents. Optimus tells him that they don’t harm humans, and also begins to wonder if he made a mistake bringing this guy along.

Back in Sam’s room, it’s becoming increasingly obvious that Sam is an absolutely terrible liar, and Mikaela reveals herself, if only to prevent Judy from trying to talk about self-pleasure again. Of course, now she gets to be subjected to both of Sam’s parents objectifying her, so this might be a lose-lose situation.

Sam is reminded that his backpack is in the kitchen, just in time for the government to show up at his house. Mikaela makes a comment about Judy being nice. I suppose on a surface level, yes, being told that you’re gorgeous by someone’s mom is nice. I do have to question the context that compliment took place in, however.

Sam’s about to hand the glasses over to the Autobots, when someone rings the doorbell. It’s Sector Seven, and they’re here to talk to Sam about his stolen car being part of an issue involving national security. Ron and Judy are more concerned about their yard being torn up, Judy yelling that they “need to get their hands off [her] bush.”

We still have another hour of this movie.

The agent leading this mission asks Sam to come with him for questioning, which his parents are very much against. Mojo also voices his displeasure, but it would seem that Agent Simmons is not a follower of the Tenets of Mojo. Sam gets geigered, and his readings are high enough for Sector Seven to take him and everyone in this house into custody.

As Sam and Mikaela are riding in the back of the car, Simmons brings up Sam’s Ebay account, and also the phone video he took of Bumblebee earlier in the week. Mikaela is rather unimpressed with Sam at the moment, probably because he’s gotten her arrested. She still tries to help him out though, because she really is just the nicest fucking person on the planet.

Alas, the combined efforts of these two teenagers isn’t enough to fool the long arm of the law, especially when it’s a branch of said law that deals with extraterrestrial activity. Simmons threatens to lock up these literal children for life if they don’t start talking. Mikaela isn’t taking the bait, so he goes after her father’s parole hearing instead.

Yep! As it turns out, Mikaela and her father stole cars to get by, and she’s got the record to back that claim up. Simmons calls her a criminal, then says that criminals are hot. Mikaela looks like she’s about to cry, and I don’t blame her in the slightest.

Optimus, I suppose because his dad senses were tingling, takes the opportunity to place his leg in the road for the car to run into, then grabs said car like an unruly cat and lifts it until the roof rips off due to stress. The agents in the other cars pile out and point their guns at the giant space robot. The rest of the Autobots quickly relieve them of their weapons.

Optimus notes that Simmons doesn’t seem surprised that a bunch of giant robots just took all his guys’ guns, and demands that he exit the vehicle, posthaste. Simmons obliges, after a bit more prodding. Mikaela undoes Sam’s handcuffs, and he gets fucking pissy about it, as if this girl he’s had a grand total of three (awkward) conversations with should have told him something as personal as “hey, so my dad’s in jail and I’ve been to juvenile detention.”

Luckily, she doesn’t let him get away with it, calling him out as the spoiled, self-centered, privileged little shithead that he is.

Of course, we don’t get any sort of real acknowledgement from Sam, having to move on with the plot. Perhaps, if we hadn’t spent the last hour and 20 minutes faffing about on drivel, we could have had Sam get an actual moment of self-reflection, and potentially even character growth. However, this is Bayverse, and everyone knows that personal accountability is for fucking sissies.

Mikaela and Sam ask several questions, but get no answers from Agent Simmons. And then Bumblebee pees on him.

I hate that I had to write that. I hate it very much.

Anyway, I don’t know why that had to happen, but it did, and I’m nothing if not thorough.

Optimus tells Bumblebee to cut it out, and with that the Sector Seven agents are cuffs and left on the side of the road. Mikaela orders Simmons to strip, as punishment for threatening her father, then cuffs him to a street lamp.

...Yes, that does sound like a bizarre sexual fantasy, doesn’t it?

Unfortunately for our teen heroes, they forgot to confiscate everyone’s phones, and Sector Seven knows what’s up, thanks to the power of speakerphone. More cars and a couple of helicopters show up basically immediately, and the Autobots decide it’s time to dip.

But not before Ironhide fires off a pulsewave into the ground that causes a five-car pileup.

Optimus, I suppose because he knows he chose a ridiculously flashy alt-mode that is in no way practical, just picks the kids up in and places them on his shoulder like a couple of parakeets, then takes up a leisurely jog to get away from the eyes in the sky. He runs through the city, racking up what is likely millions in property damage, as the helicopters pursue. He passes by a “Legalize LA” billboard, which feels odd to see, given what movie this is.

The ‘copters somehow manage to lose Optimus, despite him being relatively slow, and having a notable radiation level that they’ve been using to track him. He hides inside the scaffolding of a bridge, only for Mikaela and Sam to slip off of his polished body to their deaths, thus ending the film.

No, they don’t die. I just told another fib. I’m sorry.

Bumblebee snatches them up just before they hit the ground, the impact of his metal body catching them at 75 mph, killing them instantly and ending the film.

Nope, that doesn’t happen either.

Mikaela and Sam are fine, some-fucking-how, but Sam’s dropped the MacGuffin glasses. The helicopters swing back around, having noticed the sound of a car crashing into the ground and the screams of two whole adolescents. They break out a fucking harpoon gun and fire on our kid appeal character.

Repeatedly.

They wrap up Bumblebee in a series of cables, as he screams like a moose. Mikaela and Sam are held at gunpoint by what is honestly far too many dudes, and are then arrested for the second time in ten minutes. Bumblebee is smoked... because he’s a bee? Sam, not liking this one bit, finds the strength in his weenie body to push a cop off of himself, run at one of the dudes with the smoke guns, throw him to the ground, and then start smoking him. He’s immediately tackled, but points for trying.

Sam and Mikaela are placed back into custody, and the rest of the Autobots regroup with Optimus to see what the plan is. Optimus says that they can’t save Bumblebee without hurting humans, so I guess Bumblebee is just a POW now. Well, at least they got the glasses. That’s cool.

Back at the Pentagon, things are getting dicey, as the other world powers are starting to suspect that something’s up. The Secretary of Defense is approached by a man with a mustache and a briefcase. He’s from Sector Seven, but the Secretary gives not a fuck about mysterious organizations. All the computers in the room suddenly go down, the virus from earlier working its magic- only this time, the blackout is global.

Mr. Mustache opens his briefcase, while explaining that Sector Seven is something known as a “special access” sector of the government, which is why nobody’s ever heard of it; it’s beyond top secret. Commissioned by President Herbert Hoover 80 years prior, it deals with alien life.

When the Beagle 2 spacecraft was lost on the way to Mars in 2003, the mission was declared a failure. This was a lie. The Beagle 2 recorded several seconds of Mars before being crushed to death by a Transformer. This tidbit is pretty funny, given that the Beagle 2 was rediscovered on Mars in 2014, seven years after this film released. Not a terribly mysterious death anymore, is it?

Comparing the footage from Mars to the footage from Qatar has Sector Seven thinking that these are the same species. Which they are. God, it’d be so fucked up if there were two species of giant robots in this film.

Mr. Mustache theorizes that because the Transformers now know that they can be harmed by human weaponry, they’re being proactive about their safety and shutting down all forms of communication technology with that virus that keeps popping up. It’s only a matter of time before the shit hits the fan for humanity.

Mr. Secretary tells his guys to try going analog with comms, breaking out the short-wave radios, to tell their ships to return home.

Over at an Air Force base, Lennox and the gang have landed, only to be scooped up by a bunch of dudes in suits.

Back with Maddie and Glen, the two of them have fallen asleep in the interrogation room, Maddie still wearing her friggin’ four inch pumps as her legs are propped up on the table, crossed in a way that seems rather uncomfortable. Glen gets to sleep like a normal human being, with his head resting on his forearms. Why this place doesn’t have a holding cell for these situations is beyond me.

Mr. Secretary comes in to bring Maddie on as his advisor. Glen can come too, I guess, considering he’s the one who actually figured out the sound file virus.

We get a little military glorification, and then it’s revealed that Mikaela and Sam, as well as Maddie and Glen, are aboard this helicopter. Their paths cross at last. Our heroes are transported to the Hoover Dam, where Bumblebee is also. They are still smoking him.

Meanwhile, the Autobots are figuring out where to go, with the power of Archibald’s glasses. Ratchet, who I guess is omnipotent, senses that the Decepticons have also figured out the location, and that this is going to be a race against the clock. And I mean, he’s right, but the phrasing is a bit odd.

Jazz wants to know when they’re going to save Bumblebee. Optimus says that they aren’t, and that Bumblebee’s sacrifice is noble, and that he would want the Autobots to leave him and complete the mission. As this is said, we get another shot of Bumblebee getting smoked and trapped in a lab. Yep, this is totally what he would want. He absolutely signed up for this, giving himself up to the government and not at all fighting like mad to not be captured.

I don’t think Bayverse Optimus actually knows what martyrdom is, which is bizarre, given that it’s a major trait in a lot of other iterations of the character.

Ironhide isn’t even sure why they’re bothering to save humanity, given that humans are violent and awful, his point being hammered home as Bumblebee is tortured for scientific reasons. Ironhide seems to have forgotten that Cybertron has been at war for literally millions of years. Optimus has faith in humanity, however, stating that we’re “young”.

And then he says that he’s going to end his own race, by destroying the Cube™, which is how they reproduce, because that’s the only way to end the war.

Which is arguably one of the most hardcore fictional applications of eugenics ever conceived.

Being advocated for by Optimus Goddamn Prime.

We still have another 50 minutes of this movie.

Optimus then proves that he does, in fact, know what self-sacrifice is, stating that, if all else fails, he’ll shove the AllSpark into his spark, which will destroy them both. He’s pretty chill about it, too.

Up on top of the Hoover Dam, Frenzy has fallen out of Mikaela’s bag.

Mr. Secretary is also at the Hoover Dam now, as is Lennox’s team. Oh, and Agent Simmons, who is thankfully wearing pants. He offers to buy Sam a coffee, as repartitions for threatening his family, arresting him, and being a complete creep to a teenage girl. Sam gives not a fuck about caramel macchiatos with extra foam and chocolate drizzle, however. He only cares about his car.

Mr. Mustache, who is also here, needs Sam to spill the beans on all these friggin’ giant robots that are running around. This is where Sam realizes he has the upper hand for once, and he starts making demands. One such demand is having Mikaela’s record scrubbed clean, which is an actually very nice thing for him to have done for her. We’ll see if his intent comes to fruition. For now, it’s time to talk about Bumblebee.

We get a shot of all these folks heading into the secret base hidden inside the Hoover Dam, and it’s at this point that I notice that Maddie’s shirt is basically see-through.

Inside the Dam, we see that Sector Seven′s been keeping Megatron this entire time, keeping him neutralized with cryo-stasis since 1935. Cryopreservation was invented in the 50′s. This isn’t a nitpick, I just thought it was a neat little fact.

Megatron being on Earth has resulted in most modern technology. This sort of plot point always bothers me, because it takes away agency from the entire human race. We didn’t use our own ingenuity and work ethic to advance society, we plagiarized from a more advanced species. I dunno, it just rubs me the wrong way.

We get the part of the movie where info is hashed out, so that everyone is on the same page, Sam spouting off Autobot propaganda. We can forgive him for this,considering he’s 16, and no one is immune to propaganda, especially when they have zero way of doing their own research to form their own opinion with.

Sector Seven also has the AllSpark, kept in the room next to Megatron’s, like the chumps they will soon find themselves to be. It’s about ten stories tall and the reason the Hoover Dam exists. With so much concrete suppressing its alien energies, surely no one will ever find it!

Except for Frenzy, who came in through a mouse hole. Whoopsie-doodle!

The AllSpark zaps the nasty little man, restoring his body with its weird MacGuffin powers. Frenzy tells all his coworkers that he found what they were looking for, and everyone starts heading over.

Maddie asks Mr. Mustache what exactly he means by “energies”, perhaps worried that this whole thing has been some elaborate ploy to get her to invest in magic healing stones. Mr. Mustache brings everyone into a testing chamber, since the best way to explain how the AllSpark works is through a demonstration.

There’s a big fish tank in the middle of this testing chamber, in which Agent Simmons places a donated device from the crowd- Glen’s Nokia phone, specifically. Simmons makes a geologically-confused comment. When this is pointed out by Maddie, Mr. Secretary hushes her, simply saying that Simmons is a strange man. The tank is locked down, and then the show starts.

Cube™ energies are shot into the tank, and the phone explodes into life, transforming into a gorilla-shaped gremlin creature. Happy birthday, little dude!

Little dude starts shooting at the tank walls, cracking the glass until Simmons pulls the trigger and ends it. Happy deathday, little dude!

The Decepticons are making tracks towards the Hoover Dam, but Starscream- yeah, he’s in this now, don’t worry about it- arrives first, because he is a very fast jet. He transforms, showing off his ridiculous Dorito body, and fires on the base’s generators. The resulting explosions can be heard all the way down in the testing chamber, and Mr. Mustache calls upstairs to see what’s up. Looks like Megatron may be getting warmed up, seeing as his ice bath has been cut off. Lennox asks if there’s an arms room in Sector Seven, which sort of feels like asking a bakery if they have any flour.

Frenzy has entered the room that houses the controls for the cryo-stasis and set that whole system to “no, thank you”.

Mr. Mustache runs through the base, screaming for everyone to get to the Megatron chamber. Off in the distance, the Autobots approach. Could probably used some fliers on your team, huh Optimus?

Back with Frenzy, he’s decided to just straight-up raise Megatron’s core temperature directly. Hope he doesn’t do it too fast; rewarming hypothermia victims recklessly can do some serious damage.

Outside of the base, Lennox and the boys are loading up with weaponry, along with what’s the entirety of Sector Seven′s cannon-fodder department. Oh, and all the main cast. Yep, just got a couple of teenagers chillin’ in the munitions room.

Sam wants Simmons to take him to his car- he hasn’t used Bumblebee’s name in a hot minute, not sure what’s up with that- even though Simmons is currently busy loading a very large gun. Simmons doesn’t want to do that, because he’s got no idea if what Sam mentioned earlier is even true, and he doesn’t want to pin the fate of humanity on a single Camaro. Lennox takes this opportunity to tackle Simmons, despite likely not knowing that Bumblebee is one of the “good guys”. A Sector Seven guy very much doesn’t like that, and points a gun at Lennox, which prompts all of his guys to also start threatening folks with guns.

Mr. Mustache walks in on the scene, but doesn’t do anything, since he isn’t armed and knows better than to tangle with someone who’s packing. Simmons tries to intimidate Lennox, because he must have missed the day of boot camp where they tell you that guns kill people. Lennox is fully committed to shooting this dude in the lungs before Mr. Secretary suggests he give the people what they want, before things get ugly.

Simmons takes everyone to the robot torture department of Sector Seven, where they are still smoking Bumblebee. Geez, you’d think they’d have something in place for if they ever came across another giant robot after Megatron, but I guess not. The gang gets everyone to stop smoking Bumblebee, which allows him to stop moose-screaming and strongly consider murdering everyone involved with his forced captivity. Unfortunately, revenge with have to wait, as we’ve still got to deal with the AllSpark, and the fact that the Decepticons are here.

They take Bumblebee to the AllSpark, where he makes direct contact the thing, causing the AllSpark to transform, compacting itself down into a far more reasonable size that Bumblebee can carry in one hand. It doesn’t seem to weigh more than a grown adult, if his body language is saying anything. I’d make a joke about the conservation of mass being ignored, but since this is Transformers, I can’t really say much. Conservation of mass doesn’t exist for this franchise.

Bumblebee would really like to get this show on the road, and Lennox agrees, quickly formulating a plan to get away from Megatron and taking the AllSpark to Mission City, which is relatively close to their current location, so that they can hide it there.

Lennox, I know this plan is a first draft, and we don’t have a ton of time for revisions, but the whole point of building a whole-ass dam around the Cube™ was because it was very difficult to hide, given its magical MacGuffin powers. Regardless of this flaw, Mr. Secretary agrees. Lennox also asks that the Air Force be involved in this, I guess because the U.S. military wanted more screentime.

Of course, that whole “global blackout” thing is still going on, so we’re going to have to get creative with how we’re going to contact the Air Force. Mr. Secretary and Simmons make a break for the WWII-era radio Sector Seven has, while Lennox and the boys head out to shoot things, and Mikaela and Sam hop into Bumblebee with the Cube™.

This is about the point that Megatron wakes up. The first thing he does is introduce himself, which I thought was very polite of him. Then he breaks out his flail and starts bashing shit around. Not so polite, that.

Over with Bumblebee, we’re shown that the AllSpark, all-powerful object that can create life and is the whole reason this conflict is even happening, is just chillin’ in the back seat by itself. It’s not even buckled up.

Megatron escapes the base, and it’s actually super easy. He just transforms, goes through the tunnel, and he’s free. I feel like we could have at least attempted some security measures for in case the cryo-stasis failed, given that we’ve had this dude in containment for the last 70-something years, but okay.

Starscream comes over to say hi to his boss, not that Megatron gives a shit. He just wants to know where that fucking Cube™ is. When Starscream tells him that the humans have it, Megatron makes a comment about how Starscream has failed him yet again. This is their first interaction in this movie, and Starscream’s been in the story for a grand total of five minutes at this point. I know that this is a reference to their dynamic in just about every installment of the franchise up to this point, but it doesn’t feel earned in the slightest. Even if it’s going to be expanded upon in future sequels, this is a shit-tier way to set their (awful) relationship up.

Not that anyone should ever bank on getting a sequel anyway, but that’s a discussion for another time.

Megatron tells Starscream to retrieve the AllSpark, and then we cut over to the radio plotline. The radio, which is so cobweb-covered I feel like Sector Seven needs to have a serious discussion with their custodial staff, has its nobs and buttons fiddled with by Simmons until it crackles to life. But where are the microphones? Everyone starts looking for the mics, as Simmons pushes Glen into the seat, I guess because hacking modern computers and using Depression-era radio tech are similar enough.

Maddie asks Glen if he can hotwire a 90′s-era computer to transmit a tone through the radio, so that they can send a Morse code message to the Air Force. Which sounds ridiculous to me, but I don’t know enough about radios or computers to know if that sort of thing would be possible. Maybe it’s fine. Or maybe it’s Hollywood bullshit. Who knows?

Back over with Bumblebee, we get a bunch of car commercial shots, of both him and the other Autobots. Aww, the gang’s back together again! Nobody tell Bumblebee that Optimus was completely cool with leaving him to his fate.

Optimus and the gang whip around to join the convoy, and everyone makes their way towards Mission City.

Back at the radio subplot, someone’s bangin’ on the door, trying to get in. The others try to block the intruder, while Glen does his hacking stuff. Mr. Secretary breaks a case and pulls out a gun that’s about as old as he is.

Glen gets the computer working, and Mr. Secretary gives him the Super Secret Military Codewords™ to use to talk to the Air Force. While he does that, Simmons finds a flamethrower and starts burning Frenzy as he attempts to enter the room. The Air Force receives the message for an air strike. Oh, goody.

Over with the convoy, it appears that the Autobots and Lennox’s boys are being pursued by the Decepticons. It’s difficult to tell, seeing as the cameras have gone full Bay-mode, but I’m guessing that’s what’s up. One of the Decepticons flips over a minivan, likely killing a family of five. another causes a multi-car pileup.

Bonecrusher transforms, then Optimus transforms. Bonecrusher iceskates across the highway, slamming into a bus so hard it just straight-up explodes. He is on fire. He tackles Optimus, and they proceed to fall off the side of the raised highway they’re on. Then they beat the shit out of each other, until Optimus decapitates Bonecrusher with his arm-sword.

Yeah, space dad is a little intense in the Bayverse.

Back at Sector Seven, Frenzy’s decided to leave the door alone, and instead is crawling through the ventilation shaft. Mr. Secretary and Simmons fire off shots into the duct above them, as if bullets would do anything against this nasty little pile of needles.

Frenzy bursts through the bottom of the duct and crash-lands into a glass case, taking cover behind a pillar and fires on the humans on the other side of the room. While this shootout is happening, Glen receives a response from the Air Force, just in time for Frenzy to accidentally decapitate himself with one of his own spinning blades of death. This time, he does not survive losing his head.

The Air Force will be sending fighter planes to Mission City, and to establish this, we get several shots of what some might call “military porn.”

Over in the city, the convoy has arrived. Lennox hands several short-wave radios over to Epps, telling him to use them to direct the Air Force when they arrive, so they can take the AllSpark... somewhere, I guess. Above, an F-22 zooms across the sky. It is not one of the Air Force’s F-22s.

Ironhide recognizes Starscream, and gets ready to throw down. Bumblebee grabs a nearby Furby truck and hoists it up to use as a shield. This marginally works, as the missile that hits the truck doesn’t immediately kill him, though it probably did all those Furbies inside.

The resulting explosion throws all the humans around, Mikaela getting weird heaven lighting as she lies unconscious on the pavement. Sam gets it too, though, so I suppose I can’t complain too much about this particular shot. They touch hands. I really wish that I could take this moment of vulnerability as being anything other than an attempt to set up a romance between these two teens who have known each other for maybe half a week. This movie has so starved me of genuine human interaction I'm jumping at the smallest of scraps.

Bumblebee actually didn’t get out of that missile-strike unscathed, his legs having been blown off. All those Furbies died for nothing. Tragic. Sam asks Bumblebee if he’s alright, and immediately tells him to get up. Sam then remembers that Bumblebee’s legs are off, so he yells for Ratchet.

Over with Lennox and Epps, they’ve realized that the plane they saw wasn’t one of theirs. Which, you know, has already been established, but points for getting caught up, fellas. Sam is crying and still telling Bumblebee to get up. Bumblebee is dragging himself across the pavement and whimpering. It’s awful. Where the fuck is Ratchet? This is basically the only reason he’s in this film, and he’s nowhere to be found.

The actual Air Force calls on the radio, asking for their location. Brawl, who is a tank, starts firing on Lennox’s gang. Jazz and Ratchet race through the city streets. How they were separated from the rest of the team is anyone’s guess.

Sam takes a little sit on the pavement to be with Bumblebee, while Mikaela decides to problem-solve and heads for a nearby tow truck. Bumblebee hands Sam the Cube™ because, as the designated protagonist, it’s his job to handle it in the climax of the film.

Ironhide is shot at several times by Brawl, narrowly avoiding being hit each time. This, of course, means that the people he drives by in this shot are almost assuredly dead, since they’re right next to the explosions. He transforms and does a flip, as the film goes slow-mo on a shot of a woman in a low-cut dress watching him flip. She screams. Ironhide screams. I scream, though probably for a different reason.

Jazz jumps on Brawl, managing to kick off a couple pieces of kibble before Brawl grabs him and throws him into the side of a building. Ironhide, Optimus, and Ratchet descend on Brawl, and so does Lennox’s team, Brawl losing a hand and getting thrown into his own building as a result.

Mikaela breaks into the tow truck and starts to hotwire that shit. Wow, a relevant back story that culminates in her being able to save the day, thus completing her arc and staying on-theme for her character. Why isn’t Mikaela the protagonist again?

Oh, right, because ~girl~.

Megatron lands in a nearby alleyway, and Ratchet, knowing this dude is bad news, tells everyone to head for the hills. Jazz isn’t fast enough, however, and gets shot for his troubles.

Mikaela drives the truck over to Sam, who is still sitting there with the Cube™, and tells him to get his ass in gear.

Jazz gets taken to the top of a nearby building and is ripped in two by Megatron, who acts like a bird of prey the whole sequence. Down on the ground, Brawl is starting to get back up from his smackdown. Blackout appears on a nearby skyscraper. Things are looking grim for humanity.

Mikaela and Sam hook Bumblebee up to the tow line as Lennox approaches them. Sam has left the AllSpark out of his line of sight, like a fool. Despite seeing this, Lennox still gives him the flare to let the military know where to pick up the AllSpark. Doesn’t even acknowledge Mikaela. He tells Sam to head for the white building with statues on top of it and set the flare on top of the roof. Lennox can’t leave his men, because he’s the head of his operation. Why he can’t send literally anyone else who isn’t a 16 year-old boy isn’t made clear.

Sam really doesn’t want to do this, probably because he’s a child, but Lennox has recruited him to the military against his will, so he must. Lennox then attempts to make Mikaela leave for her own good, but she tells him to fuck off, because she’s gonna save Bumblebee. Clearly, this is a win for feminism.

Epps radios the choppers coming from the Air Force to let them know they’ll be picking up a package from a teenager, thus locking Sam into the job. Ironhide and Ratchet vow to protect Sam from the Decepticons on his way to the pickup point. Not one single person has pointed out how fucked up this is.

Sam starts to run off, when Mikaela stops him to let him know that she’s glad she got in the car with him roughly an hour ago. They don’t kiss goodbye, which, honestly? Good. This fucking movie hasn’t earned that. Sam for sure hasn’t earned that, even if he did clear her juvie record. No word on that having actually been done, by the way. Sam never got confirmation, and I feel like he’s not really the type to follow up on things.

Brawl fires off some shots and makes things explode. Ratchet and Ironhide provide cover fire as Sam sprints down the road. Yep, they’re making this idiot WALK to the pickup point. Sure hope the elevators are working today, otherwise this is going to take forever.

Sam carries the AllSpark like a football, and in a better movie, this would have been foreshadowed by Sam having actually been a football player prior to the events of the film, perhaps removed from the team for some character flaw he’s since grown from/accepted. However, this is Bayverse, and well, men don’t have to justify their existence in the story with things like themes and having even an ounce of thought put into their character.

Back with Mikaela, Lennox has refused to learn her name, calling her “girl” as he screams at her to get Bumblebee hooked up to the tow truck. Which she was already doing when he got here. Lennox, dude, you’ve got a daughter now, you’re super extra not allowed to treat women like this.

Optimus Prime pulls through an alleyway and crashes into a pile of garbage. I can forgive him being late, seeing as he is a big rig, and probably had to take the long way into town so he didn’t get stuck in too-low tunnels. Don’t worry about how we briefly saw him during the Brawl take-down. This is his for real entrance into the climax.

He whips around and transforms, ready to throw the fuck down. Megatron spots him from his perch and descends.

Y’know.

Like a vast, predatory bird.

Megatron shoots at Optimus in his alt-mode, and Optimus catches him like a frisbee. Unfortunately for Optimus, it would appear that the horsepower on a Cybertronian flightcraft is hella intense, and he’s carried away. The two of them crash through an office building, then roll around in the streets punching each other in the face, debating the worth of humanity as they do so. Wish I actually gave a shit about either of these people, but alas! The film spent most of its runtime objectifying women and insulting minorities. I know nothing about Optimus, and even less about Megatron.

Megatron transforms his arms into a laser gun, and Optimus does the same. They shoot at each other. Optimus gets thrown into a building, then lands on the sidewalk below, definitely crushing a dude underneath him, but I guess we didn’t check that the shot was clear for where the CGI was gonna go, so he’s fine.

Sam’s still running through the streets, while Blackout murders, like, so many people behind him. Starscream lands in front of Sam, running into roughly 30 cars as he skids to a halt. Ratchet and Ironhide fire on him, as Sam takes a breather behind a car. Starscream transforms and blasts off. He was here for about 15 seconds. Sam begins running again.

Megatron is now following Sam, because he wants that Cube™. Sam is hit by a car- not an evil one, just a regular car- and trips. The impact makes the AllSpark activate, which grants several machines in the vicinity the gift of life, including the car full of bitchy women that just hit Sam, who are upset that hitting a human being might have scratched the paint.

I get it, you hate women, can we PLEASE stop beating this dead horse?

Sam finally gets to the pickup building, which turns out to be abandoned and fenced off. Good thing the gate was open, otherwise things could get really complicated. He heads inside, Megatron crashing through a floor-to-ceiling window shortly behind him. Megatron makes the claim that he can smell where Sam is. I’m going to choose to believe that he isn’t lying here, since Ratchet did something similar earlier.

Sam finds the stairs, and Megatron calls him a slur.

He doesn’t, really, but the voice modulation certainly makes it sound that way.

While this is happening, Mikaela is driving the tow truck down an alley, dragging Bumblebee behind her with the tow cable. She stops for a moment to have a short breakdown, seeing as she is a teenager in what is currently a warzone.

Sam is still running up the stairs. Outside, the military shoots at one of the Decepticons. It is, of course, doing absolutely nothing to the giant metal space robot. Mikaela concludes her moment, looking back at Bumblebee, who gives her the okay to keep going with dragging his ass across the pavement. She whips the truck around and tells Bumblebee “I’ll drive, you shoot.”

Mikaela then proceeds to speed down a main road of this sizable city backwards, running into cars and more or less shoving Bumblebee along to his destination.

The military has finally realized that their efforts have been pointless, but it’s okay because Bumblebee is here with his superior firepower. Bumblebee proceeds to shoot Brawl in the chest, which kills him. After this, he tries to act cute, lifting up his battle mask in a very “did I do that?” way, as if he’s not the same guy who ripped Barricade apart earlier.

Sam, meanwhile, has finally reached the top of this dilapidated building. Helicopters are approaching his location, but will they make it to him before Megatron does? Honestly, I’d be more worried about Starscream on the building just due East.

Sam is just about to hand the AllSpark over, when Starscream fires at the ‘copter, causing it to crash and nearly chop Sam to pieces. Optimus Prime runs towards the scene, on a roof that I refuse to believe could actually support him. Megatron punches thought the roof from the bottom and asks Sam some philosophical questions. Sam can’t answer, given that he’s hiding on the edge of this building, his flimsy grip on one of the angel statues being the only thing keeping him from falling.

Megatron tells him to give him the AllSpark, and in exchange he might not kill him immediately. Sam tells him to fuck off, and Megatron flails the chunk of building he was hanging on to, causing Sam to fall to his death, thus ending the film.

I’m lying to you. Michael Bay is making me into a liar.

No, Sam is, instead, caught by Optimus, very likely breaking several ribs on impact. This is the point where I realize that they’ve given Optimus fingernails. Sam clings to him like a baby koala, as Optimus parkours down the sides of two buildings, Megatron in pursuit. Megatron actually lands on Optimus 2/3rds of the way down, causing the both of them to fall onto the pavement below. How Sam survives this is a mystery.

Megatron recovers from the fall first, flicking a human away from him for having the audacity to exist in his space. The flicked person hits a car, and is almost assuredly dead. At least, I sure hope so, given that this is the director cameo by the Bayman himself.

Feminist icon Megatron?

Feminist icon Megatron.

Optimus comments on the fact that Sam almost fucking died to get the AllSpark out of dodge, and we get the return of “No Sacrifice, No Victory”. Which, I mean, I guess he’s allowed to say that, since he’s actually had to do something that warranted it. His dad doesn’t get to, though.

Optimus then tells this teenage boy, who has already had a hell of a day, to kill him by shoving the AllSpark into his robot-soul-heart, should he be unable to defeat Megatron.

I dunno, I just feel like it’s a bit of an ask.

Sam climbs off of Optimus so the Prime and Megatron can rumble. He runs through the ruined infrastructure of the city, so he’s less likely to be crushed. Optimus tells Megatron to square the fuck up, stating that “one shall stand, one shall fall.”

Then he gets ragdolled around a bunch, so maybe he should have saved the talk for later in the game.

The military is running around some more, stopping in an alley to see Blackout transform to root mode. Yes, the goo-goo eyes were indeed made by several members of the watch party that started this whole thing. People went wild for Rotor-Cape Johnson.

The fighter jets from the US military are arriving in a minute. Epps warns them to aim for the robots that aren’t evil. Lennox and the gang spread out, reminding each other to aim for the underboob, since Transformers’ armor is weak there. Epps marks Blackout with a little green light, which Blackout almost immediately notices. Blackout fires on the military.

Lennox has stolen a motorcycle and is driving through the streets to circle back around and jump off of the bike, sliding on his back to shoot Blackout directly in his underboob. Wonder what his uniform is rated for for road rash.

Sam is watching as Optimus gets his ass handed to him. Up in the sky, Starscream commits identity theft, and then attacks the Air Force. The Air Force can multitask however, and light Megatron the fuck up. Sam has, for some reason, come out of hiding, and Megatron uses this to his advantage, trying to take the AllSpark from him.

Optimus tells Sam to put the AllSpark in his chest, but Sam has a better idea. He shoves it into Megatron’s chest, which has been basically shot open at this point. Megatron makes a Space Invader noise, convulses a bit, then falls over dead.

Congrats on your first murder, Sam.

Optimus tells Megatron’s corpse that he got what was coming to him, then implies that they’re brothers. What flavor of brother isn’t established, but neither was basically anything between the two main faces of the franchise in this film, so it’s fine.

Ironhide walks up holding the two halves of Jazz. Optimus informs Sam that he now has a life-debt to this child. Whether or not Sam is absorbing any information at this point is up in the air. Mikaela shows up, with Bumblebee in tow.

In tow.

In tow-

Sam stares at her blankly. Mikaela stares back, making the pretty girl face. Man, what a great dynamic these two have.

Jazz is dead. That sucks. Optimus is handed his corpse to hold, while he thanks his new friends for helping out.

Then Bumblebee talks and he’s fucKING BRITISH.

Sam is obviously shocked by the fact that Bumblebee is British able to talk now, since not talking has been his whole thing up to this point. Optimus doesn’t let it phase him. Neither does Ratchet, despite having been working on Bumblebee’s throat injury for centuries at this point.

Bumblebee wants to stay on Earth with Sam. Optimus is just like whatever. Sam agrees to have a sweet Camaro from outer space.

Optimus pulls what is left of the AllSpark out of Megatron’s chest. I’m sure that’s not a setup for potential conflicts, not in the slightest.

Over in Washington, D.C., the US President has ordered Sector Seven be terminated, and all the Transformer corpses be disposed of. And by “disposed of” they mean “thrown into the ocean.” Dang, sure hope Earth signed some sort of agreement with the Transformers so that they never come to Earth again. You know, just be proactive about our galactic safety.

The Linkin Park kicks on, as Optimus gives us our bookend narration, telling us what the Autobots plan to do now that their race is at a genological dead end. As he does, we see Lennox reunite with his wife and child, who I had genuinely forgotten were in this movie.

Optimus is pretty chill with Cybertron dying out, because now they know about Earth. We get a shot of Sam and Mikaela making out, a shot that becomes more and more horrifying the further they zoom out, because they’re making out on top of Bumblebee. Who they KNOW is a sentient creature at this point.

And then it gets even worse, because the shot changes, and oh hey! Turns out that the rest of the Autobots were just chillin’ off to the side while this went down. Optimus continues his monologue, just walking around in his root mode as he tells all of Makeout Point how they’re “robots in disguise” now.

The monologue is actually a transmission he’s sending out into space, inviting any of his leftover pals to come kick it on Earth with them, because Earth is pretty cool.

And that’s where they leave us.

IT TOOK THREE PEOPLE TO WRITE THIS SCHLOCK.

So. Bayverse 1. A film showcasing xenophobia, misogyny, and toxic nationalism. It’s rough. Is it the worst film I’ve ever seen? Not even close, but it’s bad, and it was a huge deal at the time of release. Everyone was seeing it, everyone knew the actors and robots, everyone had a scene that they liked. Everyone was exposed to Bayverse, and as a result, a lot of people entered the Transformers franchise thinking that it was all like this.

And really, how far off would they have been in 2007?

When a franchise refuses to introduce female characters until years after being established, when all those female characters have the exact same body type, when a franchise hires misogynists to write stories, when it allows shit like “Prime’s Rib!” to be published- no wonder Michael Bay was approached to direct.

What a mess.

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

COMING SOON:

TRANSFORMERS: REVENGE OF THE FALLEN (2009) - MEGAN FOX I AM SO FUCKING SORRY

TRANSFORMERS: DARK OF THE MOON (2011) - WILL YOU JUST STAY DEAD

TRANSFORMERS: AGE OF EXTINCTION (2014) - SHUT UP ABOUT THE LAW SHUT UP ABOUT THE LAW

TRANSFORMERS: THE LAST KNIGHT (2017) - ACTUALLY, FUCK CONTINUITY

[hillaryisaboss]

For better or worse, we all know Roseanne Barr is a bit of a bully just like Donald Trump.

Roseanne constantly fired people from her show (sound familiar?), viciously attacked critics (I can’t wait for her to read this), threatened lawsuits, and thrived on controversy, celebrity feuds, and tabloid sensationalism. Roseanne and Donny are more similar than one might think. Is Roseanne the female version of Trump? A bully at heart?

All of these similarities between Roseanne and Trump make it all the more ironic and hypocritical when Roseanne attacks the bullies her grandson faces at school for wearing girls clothing.

Roseanne… you literally voted for a man that enabled the bullies that attacked your grandson. To ignore this glaring hypocrisy and lack of self-awareness is mind-boggling. Bullies across our nation were given the “green-light” to attack minorities when Trump won the Presidency. Roseanne should do some serious self-reflection and soul-searching on how her vote for Trump (the #1 bully of all-time) emboldened the very kids who bullied her grandson.

So all of this begs the question:

How did feminist hero Roseanne Barr go from supporting Hillary Diane Rodham Clinton during the 2008 Democratic primary (even writing a pro-Hillary article for the HuffingtonPost), to supporting Donald J. Trump (con-man and pussy-grabber) for President in 2016?

The answer is simple: Russian bots on Twitter.

After using Twitter (just like Trump does) to run for President in 2012, Roseanne submerged herself in political propaganda on Twitter (which she has since deleted).

There is no better proof than Roseanne herself that the Russians were successful with their online propaganda campaign. How else do you explain a feminist hero voting for a pussy-grabber over the most qualified woman to ever seek the Presidency?

Putin feared Hillary, and turning former supporters like Roseanne against Hillary was part of the mastermind. The ultimate con in American history to destabilize our nation in Putin’s favor.

Sadly, Roseanne is using her reboot to justify the unjustifiable: voting for a proud bigot who conned working-class people by scapegoating minorities and promising to return us to an America we will never be again. So how will Roseanne justify the unjustifiable?

By trying to say Hillary was an equally bad candidate – the “lesser of two evils” argument. Which was, after-all, Russia’s ultimate goal: muddy the waters so the American public thinks both candidates are equally bad.

“Neither Trump or Hillary will change anything, so why not give the finger to the establishment by voting for Trump? At least he gives the illusion of being on our side. He looks and sounds like us, right?”

A very petty and immature rationale from a group of people that have felt forgotten. But it’s a rationale I fear far too many working-class people used to convince themselves that Trump (a 4-times bankrupt silver-spoon Daddy’s boy fraud) was somehow their guy. Or maybe the working-class simply supported Trump in order to seek revenge against America for feeling ignored?

Either way, don’t allow Roseanne to use her reboot to justify the unjustifiable. Never allow the support of bigot Trump be normalized or rationalized.

So in preparation of Roseanne’s reboot, I present to you several rebuttals to Roseanne’s misguided, dangerous, and ignorant point-of-view:

1. Roseanne tackles the skyrocketing cost of prescription medication.

Wasn’t it Hillary Rodham Clinton who fought for universal healthcare in the early 1990s, and eventually helped pass the Children’s Health Insurance Program – a program that covers 9 million children?

Hillary also secured healthcare for 9/11 first-responders as New York Senator, and President Bill Clinton passed the Family and Medical Leave Act.

I guess in addition to believing Russian propaganda, Roseanne doesn’t remember history, either.

The Clintons have been tackling the issue of healthcare for decades, and deserve credit for the Children’s Health Insurance Program, and the Family and Medical Leave Act. Two achievements we take for granted now days but are actually a result of the pragmatic Clintons.

Heck, while Bill Clinton was Governor of Arkansas, the Clintons helped expand access to healthcare in poor, poverty stricken communities. Around the same time, Trump was being sued by the Justice Department for racial discrimination.

The Clintons have a long record of achievements on healthcare. Why is this well-known history ignored by Roseanne? Did she forget?

2. Roseanne says Trump talked about “jobs.”

Hillary talked about jobs, too. But the media never covered it. Studies show that for the most part, the media only covered Hillary’s fake “e-mail scandal.”

Hillary had detailed policy plans to create jobs in 2016 America, such as clean-energy jobs. She even gave numerous speeches on her plans – speeches that weren’t covered by the media.

Meanwhile, con-man Trump promised to bring back coal jobs that will never come back to America. The original Roseanne Conner would have easily seen through Trump’s deception. Unfortunately, Roseanne Barr spent too much time on Twitter being subjected to Russian propaganda. I guess technology has unfortunate, unintended consequences?

Roseanne should have spent more time doing independent research regarding Hillary’s jobs plan rather than re-tweeting Russian bots on Twitter. Hillary promised green energy jobs of the future. Con-man Trump promised coal jobs that will never come back to America.

Oh and does Roseanne remember that President Bill Clinton created 23 million new jobs during the 1990s?

If you want to talk about jobs, let’s remember the prosperous and pragmatic Clinton Era. Meanwhile, con-man Trump shipped jobs overseas to China, stiffed American workers out of contracts, and hired immigrants rather than American workers to build his buildings.

Hillary’s jobs plan was crafted for the future. Trump’s jobs plan was crafted to con Americans into thinking we could transport back in time.

3. Roseanne says Hillary is a “liar, liar pantsuit on fire.”

That’s only if you believe Russian propaganda and 40 years of manufactured “Clinton scandals.” Hillary was rated by fact-checking websites as the most honest politician running for President in 2016. Furthermore – Hillary has never been found guilty of anything in over 40 years of “investigations.” I guess that would make Hillary the best liar of all-time, right? 40 years and not a single guilty verdict. Personally, I hope one day there is a book written debunking every single Clinton “scandal.”

On the contrary, Trump has the all-time record for false and misleading statements. No President has ever lied at the rate Trump has lied. There is no distant second. Trump is in a league and category all on his own.

So making a joke about Hillary (who has never been found guilty of anything in 40 years) as being a liar rings hollow when you voted for a man who lies multiple times per-day (maybe even per-hour). I guess there was a true lack of self-awareness when that joke was written? Not only is it hypocritical, it proves Russian bots corrupted Roseanne’s mind.

Again – Hillary was rated by fact-checkers as the most honest 2016 candidate for President. Trump is the biggest liar of all-time. Hillary, unlike Trump, has never been found guilty of anything. Every single Hillary investigation has turned up nothing. No trial. No guilty verdict. The same can’t be said of Trump who has been found guilty or settled out of court hundreds of times.

This is yet another example of the Russians trying to muddy the waters and make Hillary seem like just as big of a liar as Trump is. Nothing could be further from the truth.

4. Roseanne says the Clintons are equally as corrupt as Trump.

Roseanne consistently re-tweeted conspiracy theories about the Clinton Foundation, even though fact-checking websites debunked literally all of them.

Let us remember: the Clinton Foundation was given a higher charity rating than the Red Cross and provides 11.5 million people with HIV/AIDS medication – that’s more than half of all those affected by the virus worldwide.

Many of the Clinton Foundation conspiracy theories pushed on Twitter made it seem as though Hillary was just as bad as Trump. However, the Trump Foundation illegally paid off Florida Attorney General Pam Bondi to hide Trump University fraud. Meanwhile, the Clinton Foundation helps treat millions of people affected by HIV/AIDS – treating more than half of all those affected by the virus worldwide.

Furthermore, the Clintons pay 35% in taxes. We have yet to see Trump’s tax returns. Who truly is the corrupt one based on tax returns?  

5. Roseanne recently said no American should want their President to fail.

So why did Roseanne support Trump, a man who led the racist birther movement against Barack Obama? And no, Hillary was not the “original” birther as Russian propaganda would have you believe.

Point is – why did Roseanne enable and spread the propaganda of those who made it their mission to make Obama a one-term President?

This is yet another example of Roseanne’s hypocrisy.

If Roseanne actually believes what she is saying, why did she enable and embolden those who wished for Obama to fail as President? The double standard is both maddening and terrifying all at once.

6. Roseanne hates Hillary’s foreign policy.

As Secretary of State, Hillary passed the first-ever U.N Resolution on gay rights (proclaiming: “human rights are gay rights and gay rights are human rights” on the world stage), and made it so trans Americans can legally change their gender on their passport. Hillary also rebuilt relations with every nation after the disastrous Bush Administration, traveling to 112 countries — more than any other Secretary of State. Our worldwide favorability rose 20% during Hillary’s tenure. Her primary focus was on women’s rights and health, bringing up issues such as forced abortion and maternal mortality rates. Hillary re-opened relations with Burma, enacted a ceasefire between Israel and Hamas, and killed Osama Bin Laden. She also was instrumental in putting together the Paris Climate Agreement, something Trump has since removed us from.

Roseanne supports Trump’s foreign policy because he enables Israel’s war crimes against the Palestinians. Remember: Trump appealed to all prejudices – including prejudices against the Palestinian people. As a Jewish woman, Roseanne is a hardcore supporter of Israel.

7. Roseanne hates the Clintons because of NAFTA.

George Bush Senior originally put NAFTA together. Bill Clinton oversaw the implementation of NAFTA due to denying Bush Senior a second term.

NAFTA was originally Bush’s baby (not Clinton’s).

Instead of only remember the negatives of the Clinton Era, let us also remember the numerous positives:

—4-balanced budgets due to the superb compromising ability of Bill Clinton

—Surplus

—22 million new jobs

—7 million fewer Americans living in poverty

—Minimum wage up 20%

—Assault Weapons Ban

—Brady Handgun Violence Prevention Act

—Northern Ireland peace process

—Campaign Against Teen Pregnancy: all-time low abortion rates

—Office on Violence Against Women

—Violence Against Women Act

—Children’s Health Insurance Program (CHIP): 9 million children insured

—Family and Medical Leave Act

—Incomes rising at all income levels

Didn’t Roseanne do well during the 1990s?

Incomes were rising at all income levels, 22 million new jobs were created, minimum wage was up 20%, more children had healthcare (9 million covered under CHIP), and our country had a blanched budget and a surplus. We also passed the Family and Medical Leave Act.

Plus, in-case you were wondering, Glass Steagall had nothing to do with the 2008 financial collapse according to fact-checking websites (try blaming Republican George Bush for a change). And sure… welfare reform sucked. But that’s because we had a GOP-dominated Congress and Bill Clinton was a true pragmatist (exactly what we need in a leader).

On balance, the Clinton Era was a great era for most Americans (including Roseanne). Just look at the long list of accomplishments! Hillary’s platform would have ushered in another pragmatic Clinton era, which would be going far better than the current Administration.

In conclusion:

The worst thing that ever happened to Roseanne Barr was her Twitter account. She was constantly subjected to pro-Trump and anti-Hillary propaganda, causing her to support the pussy-grabber over the first-female nominee for President. In her Russian corrupted brain, Hillary was just as bad, if not worse, than Trump.

It’s truly sad that a former feminist icon didn’t support the first-female candidate for President due to Russian propaganda. The former icon opted instead for a well-known misogynist. (And please don’t bring up Bill Clinton as your defense because he had consensual affairs and was then held accountable for his transgressions). Trump has yet to be held accountable for his abuse of women.

Roseanne is going to attempt to use her shows reboot to legitimize Trump and justify her vote for the pussy-grabber. However, as much as Roseanne may try, Trump is not a legitimate President. Donald lost the popular vote by 3 million votes and was elected with Russian help (treason).

I don’t care how “forgotten” you feel by the establishment – it is never acceptable to support bigotry, discrimination, scapegoating, sexism, bullying, or hatred. I will never root for this “President” to succeed so long as he is a bigot filled with hate. I will never endorse those beliefs or root for them to be validated through this Presidents success.

Trump’s victory –aided by Roseanne on Twitter– legitimized bigotry and discrimination everywhere. Roseanne helped the very bullies she defends her grandson against. The embodiment of hypocrisy and irony.

Roseanne fell for the con-man fraud who promised to bring back obsolete coal jobs instead of researching Hillary’s jobs plan the media never covered – a plan that would have led to huge job growth, powered primarily by clean energy jobs of the future.

Roseanne is the ultimate example of the effectiveness that the Russian propaganda campaign had on Twitter. Roseanne was duped by Russian bots into thinking Hillary was as big of a liar as Trump (fact-checking websites confirm Hillary was the most honest 2016 Presidential candidate while Trump was rated the least honest). Luckily, even without Roseanne’s support, Hillary still won by 3 million votes. Roseanne will never be a member of the true American majority.

Roseanne is forever a member of the manipulated minority – manipulated by both Russian bots and a con-artist that was born with a silver-spoon in his mouth. A man who prides himself on bullying and sexism. A man who cheated working-class people out of contracts his entire life, shipped jobs to China, and hired immigrants over American workers to build his buildings. A man whose tax-plan only benefits people like himself.

The woman who always spoke truth to power and never fell for anyone’s manipulation finally did at the hands of Russian bots on Twitter. A true American tragedy.

Over 165 million Americans were subjected to Russian propaganda online saying both candidates were equally as bad. So for those that say Russia’s propaganda campaign had no impact on the election, look no further than Roseanne as “exhibit A” proof.

Roseanne preferred a “relatable” con-man over an overqualified “elitist” woman. Hillary was too “smug” for Roseanne’s taste. She preferred the “pussy-grabber” propaganda artist who looked and sounded like Dan Conner. A con-man who puts billionaires like himself above people like the Conners. A con-man who cheated drywallers like Dan Conner out of money countless times.  

I’m still holding out hope this is all satire and in the season finale of the 10th season, Roseanne will admit she was wrong about Trump and that she should have voted for Hillary (you know, the woman who worked for decades on healthcare and whose husband left us a booming economy and surplus). Because after 1 year of a Trump Presidency, can anyone really still say their vote was the right decision? I’d give anything to transport back to the Clinton years based on what we have now.

Roseanne Barr truly could do our country a great service by helping convince those who voted for Trump that they were wrong. Sadly, she’s still on Twitter submerging herself in Russian propaganda – believing that the Democrats are just as bad as Republicans. I guess that’s how Roseanne went from supporting Hillary in 2008 to now supporting Trump – a con-man propaganda-artist.

At the end of the day… the jokes on you, Roseanne.

You sold-out the intelligence of Roseanne Conner’s character who could see through con-men like Trump. You know – the billionaires who pretend to be on your side but are only interested in continuing their silver-spoon Daddy’s boy lifestyles. A lifestyle built on fraud and bankruptcy.

Thankfully, Hillary still won by 3 million votes despite Roseanne betraying women and supporting a sexist bigot. I’m proud to stand with the 66 million majority who voted for the slogan “Stronger Together.”

I guess false promises and scapegoating can even manipulate those you once viewed as idols. Maybe birds of the bullying feather truly do flock together?

So please defend Hillary and tweet @therealroseanne when she bashes Hillary with lies on her shows reboot.

Because we need to declare once and for all: Hillary is not nor has she ever been “just as bad as Trump.” Just ask the millions of people who receive HIV/AIDS medication from the Clinton Foundation – over half of all those affected by the virus worldwide. Or look at the hundreds of guilty Trump convictions vs. the zero guilty convictions for Hillary. Or the fact that the Clintons gave us 4-balanced-budgets while Trump had 4-bankruptcies. Or Hillary’s work at the Children’s Defense Fund investigating African American juveniles being placed in adult prisons. Or the Clintons working tirelessly on the Children’s Health Insurance Program and the Family and Medical Leave Act.

Face it Roseanne: you were duped by two abusive, sexist men (Putin and Trump) into hating Hillary, the first woman to run on a major party’s ticket for President, and who will become a bigger feminist icon than you could ever dream of becoming. Critics always did say Roseanne hated other women who were more powerful than her. Did Hillary take your crown, Roseanne?

The old Roseanne Conner is a true feminist icon.

The new Roseanne Conner voted for the pussy-grabber.

America 2018.

PS: Maybe Roseanne simply wanted Trump to win so her working-class show would be given a reboot and she would make more money? Nowadays, Roseanne Barr (not us) will be benefiting from the Trump tax scam.

[homosexualprude]

Another critique of an article that mischaracterizes radical feminism

https://www.newyorker.com/magazine/2014/08/04/woman-2 Author: Michelle Goldberg. 

“...Trans women say that they are women because they feel female—that, as some put it, they have women’s brains in men’s bodies. Radical feminists reject the notion of a “female brain.” They believe that if women think and act differently from men it’s because society forces them to, requiring them to be sexually attractive, nurturing, and deferential. In the words of Lierre Keith, a speaker at Radfems Respond, femininity is “ritualized submission.”

This isn’t entirely wrong but it’s incomplete. What radfems view as “ritualized submission” is more than feminine gender roles, because the roles expected us can be contradictory. See the Madonna-Whore complex. Femininity as a descriptor is more than the oppressive gender roles forced onto female people. We aren’t expected to be complete feminine beings, but caricatures of femininity that act to prove male superiority. 

“In this view, gender is less an identity than a caste position. Anyone born a man retains male privilege in society; even if he chooses to live as a woman—and accept a correspondingly subordinate social position—the fact that he has a choice means that he can never understand what being a woman is really like. By extension, when trans women demand to be accepted as women they are simply exercising another form of male entitlement. All this enrages trans women and their allies, who point to the discrimination that trans people endure; although radical feminism is far from achieving all its goals, women have won far more formal equality than trans people have. In most states, it’s legal to fire someone for being transgender, and transgender people can’t serve in the military. A recent survey by the National Center for Transgender Equality and the National Gay and Lesbian Task Force found overwhelming levels of anti-trans violence and persecution.”

Not wrong but incomplete, once again. Even the trans-exclusionary radfems acknowledge that society itself doesn’t privilege trans people at all times. But radical feminists do believe that trans women keep their socialized male entitlement much of the time because their views go unchallenged. The male entitlement doesn’t only exist in their identity as trans women, but in how they talk to women who aren’t trans. They try to integrate into female society and change the definition of “female,” when that definition was what several women viewed as a way to maintain class consciousness. Often, trans women who speak over other women don’t try to integrate into the stereotypically female role. 

And as for this quote.... Sigh...  “In most states, it’s legal to fire someone for being transgender, and transgender people can’t serve in the military. A recent survey by the National Center for Transgender Equality and the National Gay and Lesbian Task Force found overwhelming levels of anti-trans violence and persecution.”

Legal rights are a reflection of what courts have decided, not of social or overall systemic acceptance. Additionally, if trans women are women, why are they put in a separate category from ‘women’s legal rights’ here? It’s almost like the author thinks trans women are less oppressed for being women than they are trans. Women who were born female are still marginalized, just more visible. Female people don’t have many legally-mandated protections over their bodies in the workplace, especially when it comes to pregnancy and menstruation. 

Additionally, who made these anti-trans laws? Were they “TERFs,” or were they conservative, homophobic men?  Exactly. Radical feminists do not believe someone should be barred from any occupation because of their identity. 

Arguing that female-born women are less oppressed than anyone trans and not that they’re more visible than other people who are oppressed on the basis of sex/gender is what radfems have a problem with. We recognize that privilege isn’t a choice, but there’s no privilege inherent to womanhood. One could argue that women have privileges as being seen as the sex they identify with by society. But how much of a privilege is it if that sex is marginalized in itself? 

[bidotorg]

Musician, Scientist, and Activist. Meet Carlos Castaño.

My name is Carlos Castaño. I was born on April 16th, 1987 in Béjar, a small town near Salamanca (Spain). However, I’ve been living in Madrid for the last 12 years where I work as a Ph.D. scientist researching molecular biology. I love movies, books, nature, and music. I actually play the keyboard and sing in a rock band called Me Quito el Cráneo!

Turns out, I am also bisexual. This took me a lot of time to figure out and the bisexual group of COGAM (an LGBT association from Madrid) was very relevant in this process. Having a safe place where bi people could just be themselves showed me what bisexuality really was and allowed me to embrace my identity and live my life to its fullest. I started my bi activism in this group, which I am currently coordinating with other bi activists.

In time, I joined the bisexual area of FELGTB (Spanish LGBT Federation), which is one of Spain’s main LGBT organisations made of LGBT groups from all over Spain. Here, I was part of the group of bi activists coordinating FELGTB Bisexual Visibility Year in 2016, which increased bi visibility in Spain. This was the first time I came out as bisexual publicly (in national papers or TV news). It was very, very scary, but also, very rewarding in the end. At the moment I am part of the FELGTB main board, a team made of nine LGBT activists from different areas of Spain working to improve the life of LGBT people from Spain and the rest of the world.

How long have you been out and who was the hardest person to tell?

I’ve been out for four years and a half.

The hardest person to tell was probably my mother, even though she and my father had raised me in an open-minded environment. At first, she did not understand what being bisexual was and she accepted me nonetheless. This acceptance increased when, bit by bit, I explained to her about bisexuality, bi-erasure, and so on. This made me so happy.

Who is your bi icon?

My bi icons are the Spanish bi activists that worked before me. They paved the way so my activism and my life would be much easier than it was for them. And of course, the bi activists that are currently working all over Spain to fight biphobia and increase bi visibility.

What is your greatest extravagance or indulgence?

I've got plenty of those but I would say that my greatest extravagance is that sometimes, when I am alone with my husband, we speak to each other using some sort of a made-up cat language (just using “meows”) and, oddly enough, we understand each other! It’s super weird!

As for my indulgence, I use to eat food that I like as a reward for the work that I do, so on Saturdays, after a looong week, I often eat a large dish of pasta with cheese and Lea & Perrins sauce using my mum’s recipe.

What do you like most about yourself?

I can multitask! I am a scientific researcher, a musician, a writer, and an activist. I think that’s cool… and a bit exhausting.

What was your last post on social media?

Two tweets saying how much I loved the movie Ralph Breaks the Internet and how I probably enjoyed it more than the kids that were watching it.

Where would you most like to live?

I love Madrid. I got everything I need in this city… although sometimes I miss the countryside where I grew up… but I can get to my hometown by car in less than three hours and enjoy nature.

Would you like to be famous? If so, for what?

My only ambition is to sleep eight hours a day, which I rarely do, even on weekends! I think being famous would demand less sleeping for me, so no thanks!

What do you know now that you wish you’d known when you were 18?

That studying a lot, getting a degree, a master and even a Ph.D. would not necessarily get me a good job. I would tell myself “stay away from science, lad!!!”.

What are you the most grateful for today?

My family, my friends, and my husband.

If you could change any one thing about the way you were raised, what would it be?

I wouldn’t change that much. I was lucky enough that my parents always told me that I would be loved no matter who I loved. Of course, they never taught me that bisexuality was a thing, but then, they didn’t know!

If you could wake up tomorrow with one new quality or skill, what would you choose?

I would love to have the ability to sleep whenever I wanted, for the exact time that I wanted. That would be awesome.

What’s your fandom?

I love way too many fictional stories or characters that I find inspiring and have contributed to my view of the world. For example, I love Doctor Who because of the witty anti-violence and feminist stories, or the Final Fantasy videogame series as they have some of my favourite stories and characters, especially Yuna from Final Fantasy X.

What trophy or prize do you most covet?

I don’t recall winning any trophies in my life, to be honest! Does a Ph.D. fellowship count as some kind of prize? If so, this definitely the prize I most covet!

What is something you remember fondly that someone who is now a baby will not grow up with or understand from personal experience?

Jokes from Monkey Island or The Simpsons that some younger people than me don’t understand. How can they communicate without using jokes from The Simpsons!?

What do you consider the most overrated virtue?

Courage, probably.

What stereotype about bi people annoys you the most in your own life?

I just hate the stereotype that says that bi men are actually gay men in denial, or that bi women are just straight women “playing." It is oftentimes used as a joke in a very harmful way because it shames people’s internalized biphobia or/and homophobia. When you think about it, it’s incredibly cruel.

Your house is on fire and all people and animals are already out and safe. You get a chance to run back in safely and save a single possession. What would it be?

Nah, I think that I would enjoy the company of the people and animals that are out and safe! It’s not like I don’t care for my possessions but, my favourite music I can find on Spotify, my favourite books are in my ebook (and could be retrieved if my device broke), most of the video games I own I have already finished so I wouldn’t need to buy them again. After moving a lot from house to house I’ve learned not to accumulate much, or I will suffer the consequences when I have to leave one house and move to the next. And it’s not like I (or most people my age) can afford a house in Madrid so…

Who’s your favorite bi character?

Captain Jack Harkness from Doctor Who and Torchwood.

Given the choice of anyone in the world, living or from history, with whom would you want to sit down and have dinner?

I believe that we often have these fantasies of meeting some celebrity or person from history that we admire. However, I have the theory that these role models are idealized, so it is highly likely that we would be disappointed when finally meeting them. Therefore, I’d rather have dinner with someone I have already met and admire. My answer is definitely my late grandfather and grandmother.

What is the best thing about being bi?

Being bi is like being a double agent. You know that what most people think about dating men or women is wrong. For example, straight men that complain about how difficult is to communicate with the women they date don’t know that this also happens when men date men. Having dated men that see and treat you as an object helped me to understand painfully well everything that my female friends were complaining about all the time. It gives you a great gender perspective and an out-of-the-binary view of the world that I find very rewarding. Of course, being bi does not necessarily make me a better person but I feel that all that I have learned from my bisexuality may help make the world a better place.

*If you are interested in being featured as part of bi.org What Bi Looks Like series, please fill out the form here.

[zvtara-was-never-canon]

Every time Ztarians write – jokingly or not - that Katara and Zuko’s extreme discomfort when someone suggests they are dating and their vehement denial that there are boyfriend and girlfriend are sure signs that Zuko and Katara are in love – I am so creeped out.

How can one deny a romantic interest? You agree – means you are in love. You deny – “you protest too much”, surely you are in love, you don’t react = you agree but too shy to admit you are in love, you burn down everything and storm away to the other side of the universe – of course you are in love!

Where is “no means no” and respect to Katara’s feelings?

Zuko is very straightforward in canon in this regard. He passionately denies untruth – neither Jin nor Katara are his girlfriends, and then dreamily sighs when talking about his actual girlfriend, Mai.

The jokes don't creep me out, nor do the fics in which they show the POV of either Zuko and Katara and have the character say they DO want to be in a relationship with the other but thinks would never happen, because it's all in good fun.

But the ones that INSIST those scenes could only mean Zuko and Katara like each other because they think that in real life people only deny being into someone if they ARE into that person? Those are creepy as fuck.

And yes, it's very hypocritical of the self-appointed "feminist shippers" who are always "calling out Kataang for being one-sided/inherent coersive" to then turn around and say "No means yes when it's convenient for me."

Also the Jin thing could not be more different than the situation with Katara. Zuko was out on a date with Jin, and we are given a very obvious reason as to why he's uncomfortable with the idea of them becoming a proper item: he wants to be Zuko, the proud Fire Nation prince that is gonna help his father take over the whole world, Ba Sing Se included. Jin likes Lee, the brooding guy that works in a tea-shop. He likes her, but he already made up his mind about his plans for his own life, and they simply cannot include a peasant girl from the Earth Kingdom.

Meanwhile, with Katara, there's no "larger issue." We are never given any indication that Zuko is even aware of Aang's crush on Katara, he's assuming that once the war is over IROH will be Fire Lord, and while Mai did save him at the boiling rock, we get confirmation in the finale that Zuko did not immediately assume this meant they were back together and they don't properly reconciliate until they see each other again.

And while Katara is obviously aware of her more complicated situation with Aang, she had no issue being honest with him about saying she was confused, reacting negatively when he jumps the gun and kisses her, and, more importantly, full on say that the play was wrong in stating that she only sees him as a little brother instead of a potential boyfriend.

The first time Zuko and Katara and wrongfully labeled as a couple, they aren't even embarassed, they're uncomfortable and look kinda grossed out, even sliding away from each other because ew, no. The second time they're blushing furiously - but it's because it's a direct conversation, not them watching a play that got everything wrong about not just them but their friends.

"Oh, they got embarassed" only works as "evidence" that the characters like each other when they've already done other things to suggest an interest. Most Zuko and Katara ever done was hug, something they casually did with all of their friends. Dismissing their very legitimate disgust and embarassement and trying to play it off as "further proof they like each other" is just absurd.

[route22ny]

Long live Ida: Trailblazing life of journalist and activist Ida B. Wells

She was born in slavery, but she would not be chained.

Long after the Civil War ended, Ida B. Wells continued to fight for freedom. She battled segregation, wrote groundbreaking exposés, and marched for women’s suffrage.

Wells set out to change the law and ended up inspiring a nation.

Her descendants have long cherished her memory. Now her great-granddaughter, Michelle Duster, pays tribute in “Ida B. the Queen: The Extraordinary Life and Legacy of Ida B. Wells.”

The woman who grew up to be someone federal agents called “one of the most dangerous Negro agitators” was born in Holly Springs, Miss., on July 16, 1862. She grew up in a family of 10. After the war, her father opened his own carpentry business. The family thrived.

Then, in 1878, an epidemic of yellow fever swept through the region. It took both of Wells’ parents and her youngest brother. She was now not only orphaned, but the sole support of seven. She was 16.

Wells put on a long dress and pulled her hair up into a bun to make herself look older. Then she went out and secured a job as a teacher. After all, she now had a family to take care of.

A few years later, Wells took on an extra job, too: Fighting for equal rights. By 1883, the family had moved to Memphis, where Wells taught grade school in neighboring Woodcock. She regularly took the train to work, and she regularly refused to sit in the car set aside for Blacks.

The first time the conductor told her to move, she refused. When he grabbed her, she bit his hand. It took three men to finally throw her off.

The second time it happened, Wells sued.

The railroad bought off her first lawyer. But Wells found another who took her case — and won. The circuit court judge awarded her an astonishing $500 in damages. But before she collected a penny, the state Supreme Court reversed the decision.

“Oh God, is there no redress, no peace, no justice in this land for us?” she wrote in her diary after. “Come to my aid at this moment & teach me what to do, for I am sorely disappointed. Show us the way, even as Thou led the children of Israel out of bondage.”

The more Wells mulled over the inequities and how to battle them, the more she felt that way might be through journalism.

She began writing articles for her local literary club. Soon, her column in the Living Way ran weekly under the pen name “Iola.” Wells’ pieces about race relations, politics and feminism were eventually picked up by other newspapers, including the influential, Black-owned New York Freeman.

“If Iola were a man,” its editor declared, “she would be a humming independent in politics. She has plenty of nerve and is as sharp as a steel trap.”

Wells’ determination to speak her mind cost her one career. Furious that her articles exposed racism in the school system, the Memphis Board of Education dismissed her in 1891. That gave her more time to dedicate herself to her true calling — crusading journalist.

Her first great cause came in 1892, with the People’s Grocery killings. The small, Black-owned business just outside Memphis had become a success, even attracting business away from a nearby white merchant. Tensions rose steadily.

Finally, the white man called in a false report that the competing store was a criminals’ hideout. The sheriff sent armed, hastily deputized citizens to investigate. When they stormed the store that night, without identifying themselves, the three terrified Black storeowners fired, wounding several in the confusion.

Unsurprisingly, the Black men were held responsible. They were seized, tortured and lynched. Their bodies were dumped in a field.

“This is what opened my eyes to what lynching really was,” Wells said later. “An excuse to get rid of Negroes who were acquiring wealth and property, and thus keep the race terrorized.”

She began the great work of her life: Exposing the white terrorism that much of the country still tried to pass off as justice. Her first pamphlet, published in 1892, was “Southern Horrors: Lynch Law in All Its Phases.” Although she was already receiving death threats, the cover bore a big, bold portrait of the author, along with her name.

A book, “The Red Record,” followed in 1895, detailing more than 30 years of lynchings. To head off any claims of misrepresentation, Wells pointed out that every horrific fact in it had already been published in white newspapers. Hoping to bring international pressure to bear, she gave speeches across Great Britain for two months.

She had already won respect in America. “Let me give you thanks for your faithful paper on the lynch abomination,” Frederick Douglass wrote her after “Southern Horrors.”

“Brave woman! You have done your people and mine a service which can neither be weighed nor measured.”

Wells married Black attorney Ferdinand L. Barnett in 1895. They eventually settled in Chicago, joined their careers as authors and activists, and had four children.

And she broadened her work. An early proponent of women’s suffrage, Wells refused to let the movement’s white feminists push her aside. When her all-Black group, the Alpha Suffrage Club, went to Washington in 1913 to join a national protest, they were told to march at the very back of the parade so as not to offend any Southern ladies. Wells nodded.

And then, when the march began, she proved again why she was a leader and had her members take their place with the rest of the Illinois delegation.

Her stubbornness was an inspiration to many but worrisome to a few. Although Wells had several pioneering successes — setting up kindergartens for Black children, doing social work among parolees — she also angered the powerful. The New York Times called her “slanderous and nasty-nasty-minded.” White politicians shunned her.

In 1917, she took up the cause of Black soldiers executed for rioting in Houston’s streets. Federal agents visited and warned she could be charged with treason.

If this were treason, Wells answered, quoting the patriot Patrick Henry, then her enemies should “make the most of it.”

“I’d rather go down in history as one lone Negro who dared to tell the government that it had done a dastardly thing than to save my skin by taking back what I have said,” she declared. “I would consider it an honor to spend whatever years are necessary in prison as the one member of the race who protested, rather than be with all the 11,999,999 Negroes who didn’t.”

Federal agents opened a file on her. And she kept speaking out until her death in 1931, at age 68.

There were low points; times she lost faith, times she doubted herself — if never the causes she fought so fiercely for. At one point, toward the end of her life, she confessed, “All at once the realization came to me that I had nothing to show for all those years of toil and labor.” But still, she pressed on. Looking back over her struggles, she declared, “If it had to be done over again … I would do and say the very same.”

[bananaofswifts]

Taylor Swift’s music has always been the most interesting thing about Taylor Swift, and she’s rarely more interesting than when she’s talking about her music. You would think this would be obvious, considering she’s one of the defining singer-songwriters of her generation, but for large portions of her decade and a half career, the conversations around her have focused on just about everything else: her romances, her feuds, her aesthetics, her strategic alliances, her business calculations, her imagined politics, her actual politics, her role as a feminist icon, her role as an avatar of white fragility, her authenticity, her inauthenticity, her videography, her numerology, her cats. Last winter’s Sundance documentary “Miss Americana” allowed her to tackle most of these issues head-on, often with a frankness that we rarely saw out of the increasingly private star, but even there, Swift’s music sometimes risked getting lost in all the noise. Perhaps that’s why “Folklore,” the decidedly low-key album she recorded during quarantine and released with zero fanfare in July, felt like such a breath of fresh air. It also didn’t hurt that it was one of the best things she’s ever done. Working remotely with veteran collaborator Jack Antonoff and new producer/co-writer Aaron Dessner (best known as the guitarist for sad-dad-rock mainstays the National), Swift used “Folklore” to cast off the spectacle, the commercial calculations, and the meta-framing of her last few albums and focus instead on the fine-tuned intimacy and incisive turns of phrase that made her such a singular voice to begin with. The one thing that album was missing, however, was the immediacy of a studio setting, and so for this week’s Disney Plus release “Folklore: The Long Pond Studio Sessions,” she’s assembled Dessner and Antonoff in person to play through each song live. Aside from some brief home videos of Swift recording the album earlier this year, the entire film takes place at the titular studio in New York’s Hudson Valley: a cozy, exposed-wood cabin situated on a picturesque piece of waterfront real estate, surrounded by chairs, string lights and fire pits where the artists can retire to sip wine and tea while discussing the day’s progress. (Frankly, the most succinct way to describe the setting would be “extremely Taylor Swift-like,” even though the studio is actually Dessner’s.) It wouldn’t be a Swift project without a few strategically teased Easter eggs — in this case, some hints about the love-triangle narrative that pops up irregularly throughout the album, and a revelation about the identity of her mysterious collaborator “William Bowery” — but the remote getaway vibe of the location mostly allows the focus to stay on the music. Directed by Swift herself, the film is handsomely mounted though never flashy, and follows a simple repeated structure: We get a drone shot of the surroundings, then a brief interlude discussing the next song, and then a performance. The discussion sections are of highly variable quality, at times offering fascinating glimpses into Swift’s creative process, and at others sounding suspiciously like the sort of rehearsed banter she might have offered from the stage of an arena tour. As the newcomer to Swift’s circle, Dessner tends to draw the most out of her in conversation, offering his own interpretations of Swift’s lyrics and opening up about his personal struggles with depression during a chat about the song “Peace.” Longtime associate Antonoff is more likely to simply “yes, and” whatever Swift is saying, which can be slightly frustrating. When she mentions that “picking a track five is sort of a pressurized decision,” you want someone to ask her to elaborate, instead of knowingly nodding. Naturally, the film’s main attractions are the performances, as the three run through each of “Folklore’s” tracks — bonus ones included — in order. None of the live renditions here are radically different from what’s heard on the record, though one can easily imagine Swiftian scholars endlessly debating the merits of each, the way Dylanologists still fight over which take of “Idiot Wind” is the canonical one. But it’s obvious that these three are enjoying the chance to once again exchange ideas in person rather than over email and Skype, and it’s impressive to watch just how thoroughly Dessner and Antonoff manage to re-create the record’s sparse yet carefully textured soundscapes with just a few guitars, a piano, some light drum machine and a solitary snare. (“Folklore’s” lone guest star, Justin Vernon, does Skype in his performance for the duet “Exile” from his own home studio, and adds enough improvised touches to keep the song from feeling overly familiar.) Perhaps the most striking element of the film is its deep focus on Swift as a singer. Back in her “Fearless” days, Swift was subject to substantial criticism for her limited vocal prowess, which was always unfair. Swift was a lyrics-first singer-songwriter long before she was a pop star, and she deserved to be considered in the company of the former rather than contrasted with the Mariah Careys of the world. Nonetheless, the control she has developed over her instrument in the years since is remarkable to behold, and Swift’s vocals sound simply lovely here. She still never allows a flourish or a tricky run to compromise the clarity of a lyric, but she knows exactly how to work wonders within her register, and she’s perfectly comfortable exploring its further reaches. On “My Tears Ricochet,” Swift gives her voice a husky edge that almost calls Chan Marshall to mind — this is probably the oldest she’s ever sounded, and it becomes her nicely. Meanwhile, she can still summon the old wide-eyed “Teardrops on My Guitar” innocence when a song calls for it, and she’s practically bouncing off her seat when “Betty” hits its big key-change at the end. Once again, it seems as though Swift envisions every album release or career move as another chapter of an elaborate, neverending bildungsroman, and “Long Pond” doesn’t give much indication of what the next one might look like. (Although she does note that “Folklore” taught her the value of songwriting that looks outward, rather than plumbing exclusively from her own experiences — for those of us left somewhat cold by her more tabloid-baiting “Reputation” period, that’s certainly a welcome note.) With this film, she just does the two things she does best: making excellent music, and giving people a new reason to talk about Taylor Swift. But at least she’s made sure that this time we’re talking about her for all the right reasons.