#But also I would love to get onto one of the theory channels

[kindlythevoid]

You write so that your favorite actor will one day star in an adaptation of your book.

I write so that an adaptation of my work gets featured on Film Theory.

We are not the same.

[askzloyxp]

Would you maybe be able to bring other editors on board? Perhaps teach Lyarrah how you do your jazz so she can take over for a couple weeks. Unless I'm mistaken in assuming that her job is just copy pasting the script into the YouTube captions feature. I don't really know how captioning works

Okay, this is actually quite fun to talk about because YES! Youtube's caption system does have a feature where you can get auto-captions made if you just feed it the transcript of the video! HOWEVER, Lyarrah's job on the Recap is not to just do that.

First and foremost, Ly actually handles all of the metadata of the vids except thumbnails. Tags, description and even the titles are all things she has to fill in after I upload, because by that time I have absolutely 0 energy to do that. She also is the one moderating the comments. Even if I'm often the one to reply, she does a lot to filter out the bad stuff and add spam-filters.

Then she has to make the actual captions. Even with the script available, this is actually still a serious undertaking. Because that feature that you just feed the script and it puts the timings in automatically? It sucks ass. The timings are all over the place, it struggles with even the british accent and it couldn't add who is speaking or sound/tone descrptions even if you put them in. And with Recaps specifically, it couldn't put in the parts where the Hermits themselves are speaking, because THEIR LINES ARE NOT EVEN IN THE SCRIPT! What clips to use and to add to the video is mostly decided in the video-editing phase, long after the script is written. So that stuff needs to be added later. But because it's not in the script, the system gets confused about parts where the words that are not in the script are said, and just puts whatever lines in there. As a result, cleaning up after the algorithm takes longer than to just make whole new subtitles. WHICH IS WHAT LYARRAH ACTUALLY DOES.

More or less every video she makes captions for is re-transcribed by hand with the script only as a reference. This results in much better captions where she can even add her personal touch with the emojis to convey tone and all that!

I know there are automated systems in DaVinci Resolve and Adobe Premiere that could output pretty solid captions with working timings, and she's actually looking into that, and will be trying them out. But even then, it will be her responsibility and her choice to use these tools, because she's our captioning specialist. Whatever research she does will still be a load off my back.

But could she just edit the recaps for me? Funny you say that, because in theory? She probably could. Lyarrah and Pixlriffs are both adept video editors, each with their own youtube channels, and perfectly capable of producing videos no worse than what I make. Pix has already edited a couple recaps in the past, and every time he'd deliver on time and arguably a tighter product than what I make. HOWEVER, the trick here is that to get the HC Recap done every week, week after week, on time and with passable editing, when the source material is a dozen videos at least and the result needs to be well paced, illustrative and well, passable, is a whole other ordeal. I don't mean to toot my own horn, but here you gotta not know how to edit, but know how to edit like a motherfucker.

...that doesn't mean "good" or "fast",... just.. like a motherfucker.

And for one, I wouldn't want to put that much work onto anyone, while for two, I wouldn't trust to put that much work onto anyone. Maybe to a professional editor or like, a TV-editor this isn't much, but I don't think I have the funds to hire one, especially when at the end of the day, to me the whole process has long become routine, entertainment even. I love the edit. Which is also why I struggle with stress and burnout the way I do: it is incomprehensible to me that I can't just sit down and do this like always!

One must imagine Sisyphus happy.

[thelemoncoffee]

Ok so you seem to like Ouma x Video Games HCs or AUs. Here's an AU pitch I was GOING to write, but accidentally got distracted and started writing a magical girl (Boy) Saiou AU (Do not fw me on this I'm a slut for magical girl AUs)

Saiou AU, obviously (I have to include them for A. Publicity and B. I love them).

Shuichi and Kokichi meet when they're like super young (age 5-8 preferred). The two bond over video games, puzzles, and board games (and theories for video games) for years, and eventually decide to start a yt channel after they meet Kaede. Shuichi and Kokichi decide to remain faceless because honestly, I don't know why these two (who like privacy from what I've analyzed about them) would want to be recognized. Anyways, the channel with the two goes off without a hitch, and they gradually gain subscribers because they're awesome (They fw each other way too much and it's funny) and also gradually start helping the V3 cast, who they meet through school also start channels because they all like playing games together.

(You=Anyone who wants to write this)

Now, my personal way to go about this is that Saiou is already dating. But, if you want it to be about a get-together, go ahead. I live for those fics, too. Or, alternatively, (my personal idea for this pitch) you could write about a face reveal. It'd be like everyone else has already face revealed, and now the only ppl left are these two. Their place on the internet (Lets be honest, it's probably just YT) is like MatPat. Everyone in this day and age knows them. They're like household name. They could do theory videos, gaming videos, and stuff like that. (The two fit GTLive so well, LMAO)

Lmk if you'd fw this, maybe I'll write it. I don't know. I'm hyper focused on my magical girl (boy) AU rn, so I gotta get my attention gradually back onto that.

fuck yes this is great! it's been a while since igot an au in my inbox and i am looking so hard. you are right in your assement of my enjoyment of Kokichi and viddy games, and i also love the idea of him being a faceless content creator

i don't think it ever occured to me to make him a massive youtuber on level with game theory before (probably because i tend to like thinking more small and niche with my Kokichi hcs) but the concept of him and Shuichi doing youtube together as a faceless duo and getting stupid popular slaps. i can only imagine how many close calls they've had with getting cancled because Kokichi is just Like That™ tho

when you described them as being the only two faceless ones with Kaede also being part of the crew, my brain instantly gave me the imagry of the three of them all sitting at a table for a video together and Kaede is just chillin smiling and stuff with saiouma on either side of her with their faces covered by masks. the only reason i went masks and not just them not doing irl videos is because i just know Kokichi would use his clown mask

[dibbs-n-scribbs]

It feels so bittersweet getting back into Gravity Falls again at an age where I can finally fully comprehend and appreciate the show in its entirety. I was 7 when it came out and found the episodes very fun and entertaining. Every now and then I would go back and revisit it, usually being late to whatever new sensation revolving around the show occurred (this was because I grew up with tv providers that would take away the cool cartoon channels for months-years so I could never watch original premiere dates like other viewers. I also didn't use social media till i was like 13, so youtube recommendations would remind me that I had just missed the Mcgucket author theory, Cipher Hunt, etc). Even going back when I was 15-16, it was fun to revisit episodes I would quote very often, but I'd still feel bad about not having watched every episode yet or even missing the series finally. I'm late to every single fandom ever (I mean I just got into Columbo like 30-50 years later), and even with the new resurgence in GF with the Book of Bill, I didn't here about it until weeks later, and I'm not even getting my book until late November. I've been rewatching some episodes, and I'm experiencing a feeling of nostalgia and grief - reliving the old times while feeling bad for not being able to experience it on time with other fans. Even with the resurgence, the saying "See you next summer" hurts to hear, as there may not be any other Gravity Falls content ever again, as Alex Hirsch might want to move onto other projects (also summer just officially ended too :'0). Being 12 years since the show began, I hope there will be more opportunities to share experiences with other GF fans, but even if there isn't, I'm very glad to be alive in a timeline where Gravity Falls exists as a show. It has created a new format of modern cartoons and will forever hold a big place in my heart. All this rambling to say that I love this show and hope to one day become a big part of it and other shows like this.

[starry-mist]

General mid-s6 thoughts (because I haven’t had time to actually rewatch 609 yet to do a full post yet):

I love that the show is fun to watch again. I’m actually looking forward to it rather than dreading whatever bullshit they were pulling in the early part of the season.

I’m back from my attempt at being a casual fan (hah, we all knew I would fail) to full-on obsessed. I like it here.

With a little more context now, it seems that this season is very much about Charlie, which I initially disliked, but at this point I can kind of envision where they’re going with it. While the show has always been about the characters’ relationships with each other, there’s a real focus this season on how he’s grown as a character as well as how he copes with new challenges but also resolves some lingering issues, and maybe let’s go of some old baggage (like his conflict with his dad.)

I’m still not 100% convinced there will be entirely smooth sailing on the Charah front. It’s really hard to say given it’s this fucking show (affectionate,) they could go either way. There’s a chance they just continue to be strong and supportive of each other, and I love that for them. I’m just still hanging onto the parallel of Sarah being in school with Julia leaving Charlie to go back to school. I’d be fine with temporary conflict, by the way. Because regardless of if her studies become an issue in her relationship with Charlie (and again, that could go either way, it could just be that added profiler aspect for the team like that one press release said, or it could shake things up a little bit) I do foresee them working out. They’ve always been endgame, it’s just a matter of how they get there.

And in terms of the ending for Charah: I predict a season 7 renewal (there have already been hints,) so I feel like there’s a possibility that they “officially” move in together (excuse me while I roll my eyes at the idea of them not technically living together yet after it was heavily implied in s5) or there’s a proposal. I’m trying to keep my hopes super low so I’ll settle for another on-screen kiss or “I love you.”

Also, this is usually the past of the season where they start dropping more intense episodes, which I think we’re getting a hint of with the (spoiler) upcoming Rex whump and Rex disappearance back to back. I’m dying to know what led them back to filming in Hamilton too. The fact that there’s been the tiniest hint of continuity and mention of Trina has me curious. Not that she’d be specifically based there as CSIS (I honestly don’t know how CSIS works) but it’s where my mind goes when I think of reasons for them to have filmed there again. (My other theory is that Sarah’s sister is getting married there and someone gets murdered. My brain is a very strange place.)

Crap, this got long. I should be channeling this energy into fic.

[realtasagartach]

I Have Thoughts, and I Must Write

Warning: Some spoilers

A couple of weeks ago, GLITCH and @gooseworx released The Amazing Digital Circus, a brand-new indie show. And it really is amazing. A short summary: Several humans are transported to a computer game with seemingly no way to escape. The ringmaster, an AI named Caine, comes up with different adventures to keep the captives “from going insane” as Ragatha put it. And when they do give up… Let’s just say it’s not pretty.

There are theories galore already with the pilot episode, and I’ve seen many videos that touch on the “C & A” thing that we see in that backrooms-esque thing Pomni runs through. But I’m not going to talk about that. I’m going to talk about a couple of things I’ve noticed that nobody else seems to be touching on.

Firstly, the fact that everyone forgets their names is genuinely terrifying. It’s the scariest part of the whole situation for me. In an early doodle gooseworx drew, it shows Pomni and Jax in which Jax says that they also forget what they looked like as humans. I don’t know about you, but if someone stripped me of my identity and tossed me onto a tiny island, I’d go absolutely nuts. More than Pomni by the end of it all. I think I could cope better if I could just remember my name and appearance.

Next is the fact that these characters can no longer eat, drink, or sleep now that they’re in the digital world. But they can feel pain? In the episode, Ragatha gets glitchy after encountering another character who “Abstracted” and crawled to where everyone is to be fixed up. She cries out, “I am in so much pain!” Now, I’d probably brush this off as an exaggeration if it were anyone else (Jax has said he’s hungry and asked if anyone wants to grab something to eat). Still, I’m inclined to believe that Ragatha is actually in pain and feels every bit of it. There was also one part where Jax was running, and he was out of breath. So, they need to breathe as well? Can they be suffocated? Can they feel anything else?

Keep in mind that this show has some inspiration from the post-apocalyptic story, I Have No Mouth, and I Must Scream, in which an AI known as “AM” tortures the last few humans on Earth after decimating the planet and pushing them to their very limits. It’s more horrific than I’m letting on, and I don’t recommend anyone with sensitive stomachs to read it.

Lastly is Caine himself. I don’t know GLITCH or gooseworx, so I don’t know how much to trust them, but gooseworx has gone on record on Twitter that they’re a “fun-loving wacky little guy” even though he’s based on AM. I did notice something odd, though. GLITCH's channel has a series of “meet the character” shorts for every character in the episode. Every character besides Caine. That in itself is bizarre, but what's even stranger is that there is one for Bubble, the plucky sidekick to Caine that looks like they have the mentality of a fuecoco. Teeth like one, too. You’d think that the ringmaster of this circus would have his own introduction like everyone else. But he’s treated as more as The Cat from The Cat in the Hat. Someone who helps cause chaos but will help clean up when everything is done. I don’t know if I can take this at face value, but I’ll hold off on official judgment for the time being.

Bubble has his own short. Sure, Caine is there, but he’s not mentioned. Bubble is a character. But it doesn’t seem like Caine is. Something about Bubble is off somehow, and I don’t exactly trust him. If what gooseworx says is true, then Bubble is the most suspicious thing in this scenario. (Moon and Sun get the side-eye.)

So, these are my thoughts. I just had to get them out.

[aparticularbandit]

Duke Cody getting a Helix Mattress promotion for his Twitch channel.

They send him two free mattresses - one for him, because he's the streamer and he's got to test the thing out and see if it is as good as they say it is, and one for his mom, because Duke can sleep on anything anywhere and probably wouldn't tell the difference but his mom will DEFINITELY know.

Duke's mom gives her approval and suddenly Duke just starts raving about Helix mattresses in his Twitch streams, even when they haven't paid him. (Mostly because his mom comes in every now and again and asks if he's told them about the mattresses and it just starts the whole thing over again.)

((Let's be real, some of Duke's viewers are there because occasionally, in the early days, he'll bring his mom on and she'll tell them stories and try to play games with them and talk to them and they all just sometimes want a good mom to parent them.))

But Duke's gushing over these mattresses get the entire fam to go over and take their tests and use his code to get their own mattresses (look, it's supporting Duke, first off, and if these mattresses are as good as he's saying they are, then what's the harm? They could ALL use a good rest).

Duke namedrops Claire at least once - "Yeah, you know Debella? That governor in Connecticut? SHE uses one of these mattresses, so you KNOW they're the real deal."

Claire gives him SO much shit for that, and Duke's just "What? I wasn't lying! You LOVE that mattress!" And Claire just kneading her brow because there is no way she can explain to Duke how awkward this is. Andi assures her that no one on Duke's stream actually cares and most of them won't believe him anyway. Claire just "You think?" in the most vulnerable tone while Andi pats her back and directs her somewhere else.

Speaking of Andi, she keeps track of who has what mattress so that when they have their big vacation parties once a year, they all have their own specific mattress with them. (Miles might have the big ideas for the parties, but he and Andi are partners, and she's always been better at smoothing out the details than he is.)

When Miles starts setting things up on the island, he scours through Andi's notes to find what mattresses they use. This is all well and good until Benoit shows up, and he doesn't have a special mattress for him.

Mattress specifics under the cut.

Birdie has a California King Helix Moonlight.  Because of course she has a very big, very soft mattress.  She wants something she can sink into.  Also, she sleeps on her stomach mostly because she just flops down onto the mattress and is done and out.  (She also has a non-Helix waterbed because.  This is Birdie we’re talking about.  She has a waterbed.)

Duke has a King Helix Dawn.  Because a king sleeps on a king size bed (hah) and, opposite of Birdie, he wants the firmest mattress he can get.  Also opposite of Birdie, he sleeps on his back, and while he occasionally has back pain, it’s not super bad.

Claire has a Queen Helix Midnight Luxe. It’s not too firm and not too soft but somewhere in the middle, just like Claire (shots fired, Claire, don’t get mad).  She’s a side-sleeper - tends to curl up in the fetal position (or against whoever she’s sleeping with, tbh, because after a long day at work, Claire wants to cuddle).  She has horrible back pain in the morning when she wakes up and probably honestly gets massages or goes to a chiropractor regularly to get help with this.  Yes, she shares her bed with her husband, but she bought the mattress for her before she had to worry about that.  (She may have reconsidered later, but he never pressed her on it, so it wasn’t an issue.)

Lionel has a Full Helix Dusk.  He’s in the middle (like Claire), but he’s a back sleeper like Duke with only occasional back pain.  He doesn’t need or want a very big bed because he keeps his bedroom a lot smaller (and a lot more crammed with a lot of other stuff for theories).  A big bed would just get in the way.  (He doesn’t get a Twin because yo, that is much too small and definitely reminds him of college.)  He does have back pain, but not on the same scale Claire does, no one has back pain like Claire does, good grief--

Except for Andi, who definitely also has all of the back pain, and she and Claire swap tips and places they’ve gone to where they’ve gotten the best massages (and Birdie gets in on this because even though she has never had back pain in her entire life (Birdie are you lying), she loves a good massage.  The ones she recommends are usually far more expensive than they’re worth, though).  She has a Queen Helix Sunset Luxe because she tosses and turns and has trouble sleeping in general and has all of the back pain but also wants a super soft bed just like Birdie.

Miles ironically has the a King Helix Dusk, which is the same as Lionel.  This means they could totally share a bed together, but they definitely don’t.  He sleeps on his stomach, like Birdie, and has no back pain, like Birdie (I still think Birdie is one hundred percent lying), but he likes a firmer mattress.  This does not bode well when he and Andi are together because this is not the best mattress for her.  (If they actually took the quiz together, they would get a King Helix Dusk Luxe - because the Luxe helps take care of Andi’s back pain - but Miles would never actually do that.)

[lgcyushin]

▶▶ LOADING … CAFE PERFORMANCE 001 ( lgc artist cafe ) 

fifty minutes felt like a long time. in the grand scheme of what it felt like to perform during musicals, it wasn’t long at all in contrast, but rarely was he on stage alone. even with V&A, with agito having been three members, he wasn’t perfoming solo. due to his own pressures exerted upon himself, yushin wanted a set of five songs that he was going to be content with. despite having ‘free reign’, it was a cafe, and while there were a few rap songs he really enjoyed, he didn’t exactly want to be screaming about left alone ( yea, looking at you ‘crooked’, that nearly made it onto the final cut. maybe next time, when he’s braver and maybe crazier. )  

he wanted to still have a sense of agito’s branding behind his current performance, while also slowly branching out into the type of music he enjoyed, and was interested in. and while yushin had improved vastly in his dance moves, dancing alone in front of everyone was something he was not quite keen on yet. so.... an entire rap and vocal playlist it would be. ( too bad he never perfected more of his keyboard skills. another thing to look back into for future arrangements, when the opportunity arose again. )

after having started everything with an upbeat song to get the crowd into the groove, and moving into a more mellow song, yushin hopes there ought to be some fans of his in the crowd, considering this is the company’s cafe. it’s halfway into the set so he takes the time to have a water break and engage with the crowd again, happily doing so after the feedback from the initial two performances. it’s relieving that any lingering nerves leave his mind after he’s into the first verse of ‘summer tights’. funny how the stage fright never seemed to go away, even after performing for so long. that’s something he better pass off to the trainees as a piece of knowledge, when he runs into them next.  “so i’m sure some of you have seen my cover on the youtube channel with ‘instagram’. does anyone want to hear me perform that today?” the response is enlightening, and yushin responds in a mimicry. “this is one of my favourite songs from hyunbin, so i hope i do it justice. i know most people and eterval rarely get to hear me sing, but haru and jiho do a much better job than me, so they have that area covered. some of you may have heard me sing back when i performed in dream high but they don’t really allow recording during musicals so i’m sure those clips are sort of rare as it is... i might be a bit rusty but here we go.”

after performing instagram, to the rather lively audience, yushin continued onto the next two songs in his set, feeling alight, and completely engrossed in the performance. when he’d initially said fifty minutes felt like a long time during prepration, it’s all in theory. much like how time flies by during a concert, it’s his last song and the idol was rather perplexed and how quickly the clock had moved towards this point. “and my last song will be ‘stay here’, a song that resonated quite deeply with him, and one that he’s glad he didn’t have to re-enact in real life. a song may remain a song, but the lyrics and melodies have a way of encapsulating the audience, inclusive of the singer. surely if he loves the song, they would too. 

“that’s a lot more singing than you expected from me, isn’t it? i do enjoy both, so i hope you will expect to see more from me and accept it with open arms. i know most of you know me as main rapper, yushin, of agito and that won’t change.” yushin continues his final monologue, perhaps getting a bit too giddy about his song choices but there’s always going to be something magical about how much he lives to perform, and that he gets to have this as a career. even if his family aren’t here to see it, and probably don’t plan to see it, it’s no longer something that is on the forefront of his mind like after he’d debuted in dream high. time does fade scars, and he’s already proven what he needs to mainly to himself, only with new expectations and ambitions on the grind. thanking the audience wholeheartedly for staying for his segment, yushin looks upon the crowd with a warm heart and smile. 

“thank you, thank you. whether i see you next time here or with a comeback, i hope to see you again soon.” 

[temple-of-truth]

Temple of Truth Episode 4#2 (492, but all undesirable numbers are ohm-itted) Transcript

Saturday, June 23rd, 2063

Hello, Truthers of Night City! Thanks for tuning into Temple of Truth, whether it’s your first time or the last time. Today’s episode is a big one, but before we dive into that, let’s get through the weekly report.

In case some of you all haven’t been outside, it’s been extra hot this week with the start of summer. The moon’s in waning crescent, and the highest Zodiac constellation is now Cancer, if we could see it. Residents of Heywood have been complaining about blown fuses up and down the streets—which of course we’re supposed to believe is just the heat. And, finally, today’s Truest Truther is Kathy from Rancho Coronado, who called in last week with some truly brilliant observations about her neighbors’ new satellite dishes. We thank you for your viewership and vigilance, Kathy, and we hope your son’s baseball game goes well.

Now, onto the big news. The huge news. This was so exciting that I almost did a special episode yesterday, but I figured it would be better to plan things out. Oh, I don’t even know how to start with this. My brother Ohm and I—if you don’t know who Ohm is, she’s really the brains behind the whole show. I’d never be able to get all this gear set up without her. Anyway, Ohm and I were out doing some investigative work. It wasn’t for our core mission, but we had met some cool new friends, and anyway, all truth is the truth, as we always say. I’ll keep the details to myself for the sake of a few people’s privacy, but Ohm and I ran into a real, actual, confirmed agent of the Sisters. It was… it was life-changing. To be there in his presence, I mean, I could feel his power and benevolence washing over me.

We knew he was alien from the moment we met him, and we had a good sense about him. But our suspicions were confirmed when he started talking about how he used to travel through space but had been staying on Earth for a while. I mean, this is exactly the kind of trajectory that we thought these agents of the Sisters would have. He was speaking to us in coded, indirect language: he told us he wasn’t an alien because it was clear that, for whatever reason, he had to keep his identity a secret. Ohm and I picked up on this, so we stayed extremely subtle and clandestine. No one suspected a thing, which is what the agent likely wanted.

He also mentioned an organization called the “Green Thumbs” which runs community gardens. Since yesterday, I’ve done some research into them. On the surface, they’re a community group that uses the few fertile spaces around the city to grow vegetables to improve nutrition. But if you look closer like I did and start to connect the dots on the map, the locations of the gardens form a flower-like shape—just like the Pleiades. Ohm and I need to do more research and testing to figure out whether this is only a symbolic choice on the part of these Green Thumbs or if it has a functional purpose, maybe for communication or even transport. As always, if any of you listeners have any tips or theories, we’d love to have you call in during Truth Time on our show tomorrow. I’ll also be sending out copies of the marked-up maps of the Green Thumbs gardens through our various channels.

Another major revelation from this agent of the Sisters is that the Trauma Team is good. The agent said that he appreciates what they do. We’ve been looking into the Trauma Team for quite a while, and as many of you know, the Trauma Team being good appears like it would disprove many of our theories. But this is actually a hugely helpful piece of information because we’re now closer to the Truth. Every step, even backwards ones, is a step in the true direction.

And finally, a bit of a teaser for our next news episode: earlier this week, Ohm and I met a real vampire. We’re working with her to come on the show for an interview. That was actually our original plan for this episode, but obviously the encounter with the agent was urgent news.

Alright, that’ll wrap it up for this episode. It’s a bit of a short one because Ohm and I have got to head off to an event tonight. But I hope it was an exciting one for all you Truthers out there listening. It’s hard to describe how important meeting a real agent of the Sisters is to getting closer to the Truth, but I’m sure all of you listeners understand.

Thank you for tuning into the Temple of Truth. If you want to be the Truest Truther for the next episode, make sure to either call in tomorrow or send your theories through our virtual channels. Good night, and remember to keep your ears open and your eyes on the stars.

[sugarcause]

HIHIII ok it’s 🍉 anon and I’m probably gonna be sending a lot of thirsts but could I also request hurt/comfort with kaeya, childe, zhongli, diluc and albedo? (u can choose the ones u enjoy writing the most haha) just like some angst with the reader, maybe they get injured/they’re trapped somewhere and the character has to keep them calm while they figure out what to do? like along the lines of an avalanche traps albedo and reader on opposite sides of an ice wall in a cave and the reader’s injured (thats v specific but I think abt that scenario a lot 😭)

zhongli, albedo and childe comforting you because you're injured ✉

includes: zhongli, albedo, childe precis: despite all the anxiety and pain you were in, knowing they were on the other side seemed to make every part of your fear subside. take note of: mentions of injury, mentions of blood, hurt/comfort, getting stuck in caves/tight places, avalanche, light angst reader gender: gn! voice mail: hi 🍉 anon! thank you for your req!! heheheh i love that it's specific, hope you're satisfied!

❦ zhongli

''don't panic, love.'' zhongli reassured on the other side of the cave.

it was all so overwhelming. one second, you were admiring liyue's terrain and the next, you were covered in cuts from rocks falling.

you had wandered into a small cave with zhongli trailing behind you. however, you seemed to have disturbed the position of the stole as one fell out of place and set of a train reaction, the rest following and blocking the entrance.

you were pushed back by the impact and there was no light to be seen.

''i-it's so dark...'' you spoke, shivering slightly.

''breathe,'' he said. ''are you badly hurt?''

''not really, j-just some wounds.'' you said.

''we'll get those fixed as soon as i get you out.''

as much as you were afraid, you couldn't help but believe him.

zhongli observed his surroundings, trying to figure out a way to get rid of the rocks.

while you were sitting inside, he constantly spoke to you to comfort you, reminding you he was here.

he knew if you panicked it would only worsen the situation and you were his priority.

''you'll be out quickly. just stay calm, i'm right here.''

in theory, he could use his abilities, but he feared that the rest of the cave would fall down on you, injuring you further. that was a risk he could not take.

he crouched in front of the cavern to inform you of this situation, knowing you had to get out now before it got too dire.

''love, i must go seek help. there is a way i can get you out, but the chances of you being hurt more are far too high.''

''it's alright... i... please try it.'' you said.

''are you sure? the rest of the cave could collapse on you.'' he asked worriedly.

''yes... no matter what happens, i know you'll be there.''

''if that is what you wish.''

standing up, he channeled his geo prowess to get rid of the stone in his way.

senses on alert, he ran in and grabbed you, dashing out immediately as the ceiling crashed down onto the ground.

the two of you were silent as you breathed heavily.

zhongli looked you in the eyes and leaned his forehead against yours.

''i think that's enough exploration for today. you must rest.''

you only chuckled.

❦ albedo

''don't worry dear... i'll get you out of there.'' albedo muttered, hands on the ice wall as if he were holding you.

the two of you were exploring dragonspine trying to get samples when an unexpected avalanche occurred, separating you and him on two opposite sides.

albedo seemed to have been unscathed, but your leg had been injured in the disaster.

you saw blood and it stung, but the adrenaline and your nerves helped numb the pain.

it all happened so fast, heaps of snow are rocks falling rapidly as you fell.

'''bedo... i'm scared.'' you shuddered.

''i know. but you just have to breathe, okay? i'll get some help.'' he replied.

''don't go, please.'' you whispered out.

''...alright.''

you heard shuffling on the other side as you wrapped your arms around yourself, trying to stay warm.

''you'll be okay. trust me.'' he said.

many minutes had passed as albedo tried to find ways to melt the ice, yet there was nothing nearby.

however, knowing the mountain well, he remembered the side you were on was connected to a longer path.

there would be some stone blocking his way but it would be easier than picking at the ice.

''i have to go around the cave. it'll take a bit, but it'll help me get you out. is that okay?'' he asked, wanting to make sure you would be safe.

''...i trust you.'' you answered.

and with that, he took off to the other end of the cave.

he entrance finally came into his sight as he rushed forward and assessed what he had to do.

he hastily used his geo vision to get rid of the smaller rocks in his way.

eventually, he was able to clear the way, immediately running towards your direction.

you heard his footsteps and as your turned around, you were met with his warmth.

he hugged you and held you close for a while, making sure you were right there with him.

''this will never happen again.'' he spoke, picking you up in his arms to carry you to his camp.

❦ childe

''it'll be okay, hm? just stay calm and let your prince save you.'' childe said, trying to keep the mood light but even he was worried.

he had brought you along to explore and spend time with you.

he also wanted to show off his fighting skills (typical), so he brought you to an unexplored ruin that he had heard of.

this all happened out of the blue.

after defeating an opponent, the ruin seemed to shake as it's structure had been worn down throughout the years.

childe hadn't predicted that his blows would cause a huge portion of a wall to break down and split the two of you up.

so here you were, covered in debris with blood staining your clothes from the unexpected force of the collapse.

the wall had broken into pieces and you were stuck in a dark, tight corner, only able to see a sliver of light.

''ajax... it hurts...'' you said, breathing becoming heavier.

''i'm sure it does but you have to stay strong for me ok? i'll rescue you, just wait for a bit. i'm right here.'' he comforted you.

he was looking around quickly for every means possible to help you.

he was anxious and guilty. you wouldn't have been in this position if it weren't for his carelessness.

''are you still there?'' he heard you ask in a small voice. it broke his heart.

he had to help you as soon as possible.

things were looking hopeless when he decided he couldn't leave you, even if it was to get help.

the surrounding area was quite empty and there was only one thing he could do.

''i'm going to try and carry this. as soon as you see it rise, run out as fast as you can. okay?'' he spoke.

''y-yeah.''

through sheer adrenaline, he was able to lift a piece of the ruin that would make you space for an exit.

as soon as you got out, he dropped the heavy slab and ran to embrace you, burying his face into the crook of your neck.

''i'm so glad you're safe.'' he whispered. ''i won't ever let that happen again.''

you simply nodded as he held you tighter, not planning to let you get harmed again.

getting reqs done slowly but surely and i love it

[ericleo108]

CosmicLuve.com Sept 2022 - Hope

2022 Cosmic Luve posts:

Sentientism 2022

Cosmic Love Feb 2020 - Emma Watson

Cosmic Love April 2022: Cary Charlotte or Mary

Cosmic Love June 2022 - Curtis Atwood’s Visions

Cosmic Love May 2022 - Starlight

Cosmic Luve July 2022 - Smoke Blunts Response Treatise

Cosmic Luve Aug 2022 - Coast

This is a very pivotal cosmic luve post were the communication was focused on Emma Watson’s new paradox refillable perfume release. I called it hope because that’s what this cosmic luve communication has brought me. Other themes include asking for permission and asking ‘do you care?’ Before we go into the similarities and why this is pivotal cosmic luve I’ll give an update since last post and give a breif outline of the theory. If you want more posts that are academic and sociological check out American Inequality 2022, The Psycho Consumption Cage 2021, Dark Racism, or check out 2021’s blog navigation post.

It seems like we’re picking up right were we left off from last month’s cosmic luve post (coast) because I have “paradox” as a lyric in my song “Vibe on the Wave” which was featured in last months post as a track that is similar to Hailee Steinfeld’s “Coast.” It seems like a roads lead and point to Emma.

To summarize, the theory is that the Earth is conscious through it’s internal dynamo and magnetism which gives it access to your mind, as I talk about in my book “108 The Story of Discovering Earth’s Consciousness” where I cite Dr. Micheal Persinger’s “No More Secrets” Experiments. How would the Earth Communicate? We explore the belief the Earth is communicating through Sentientism which basically states the Earth is communicating through trance (through drugs or rituals) or cosmic randonauting and ‘points of realization.’ Basically the Earth makes you have deja vu or epiphanies about things by highlighting cognition in conjuction with your environment. It seems if she would communicate she would do it through communications of love, like scientists interfering with a birds mating dance. 

For more details on this theory from Yummi Yetti’s perspective read the Cosmic Luve July 2022 - Smoke Blunts Response Treatise post. But Yummi Yetti is saying the Sun might take a long time to talk if you check out this TikTok of him hypothesising on how the stars communicate. This is important because one of the theme’s from this month’s log is me wondering if the Sun is asking for permission.

I haven’t wrote poetry in a long time but a couple week back, right before Emma released paradox I wrote a poem where I cried in what I can only describe as a shaman channeling the sun, which is what it’s about. You can see me recite the poem in this casual live about the notes from writing this post. I will leave the written version at the end.

Now, to get into the coincidences, I published “Hey Emma” on April 15 Emma Watson‘s birthday and Emma launched her New Prada fragrance on my birthday August 22nd. It made me feel very happy, special, and seen by Ms. Watson. The truth is though, these coincidences happen all the time and I need something more direct to act. Still it gives me hope.

This made me think about my lyrics “Hope is a paradox, tell me do you care or not?” from my second release “Vibe on the Wave.” This connected lyric of “do you care or not” is also similar this August’s release “Talk to me” (which is about Emma) where I rap “Tell me what you scared of. Tell me should I care, just, tell me should I give up. Tell me is it real love?” So there seems to be a focus on hope as a paradox and asking if you care. 

To be clear, hope is a paradox because you need it to motivate yourself to keep going. Especially in the most deperate of times, when nothing is going your way, all you have is hope. But it’s also a paradox because you have to make sure you are not hoping for the impossible. In that same way hope is a paradox bringing us out of the depth of despair but also making us hold onto nothing but the promise of pain, nothing, and failure. 

The sun and asking for permission semantics came through first with Emma’s behind the scenes video to her directing debut for Paradox where Emma says “I had to give myself permission” to ask to direct. I want to say that is a semantic cosmic luve communication and Emma is giving me permission to pursue her romantically, but that’s just wishful and schizophrenic thinking. 

What makes me think this is a communication from the sun is along with a couple other sun related semantics that I’ll get into, Emma posted a circular artwork on her instagram that semantically reminds me of a sun. In the last month there has also been a new series called “Found” on Hulu who’s cover art I think is semantics pointing to the sun.

Before I go into more semantic of permission I actually think many people would be effected by the sun trying to communicate. It would come forth like cryptomnesia but instead of previously remembering it, it would be a thought given to you by Gaia, Blue, or the Sun. For a deeper understanding watch Yummi Yetti’s quick Tiktok on how the sun would likely communicate. This could be evidence of the sun trying to communicate like yummi yeti described, maybe a sentence takes a week so it’s really a feeling and for the most part we act out local atmospheric and celestial vibes without understanding it’s even affecting us. The result is a semantic communication that is overlooked but resonates within our collective conscious.

Keeping up with other cosmic luves. Selena Gomez just dropped a song called “Calm Down.” The song reminds me of my soon to be released song “Just Like You.”  In “Calm Down” she sings “Don't you ask, you know you're allowed, allowed,” seemingly giving permission. Selena is saying she can’t promise she’ll stay, consistent with the narrative from her (third) verse in my song cosmic love 2022. The song also has the lyrics “I see this fine girl, for my party, she wear yellow.” This is significant because Emma Watson is the girl in yellow for me. I talk about his in the Feburary 2020 Emma Watson Cosmic Love post. 

It’s worth mentioning that in a since deleted post from (probably) 2017 called “The Situation,” I talk about how the music industry was reflecting me and I remember one of the semantic being that the girl in Yellow from Charlie Puth’s “How Long” was (Selena pointing to) Emma Watson. It’s also worth mentioning that when it came out I thought Taylor Swift’s “Calm Down” was cosmic luve about me too.

Basically, Selena and Hailee have been acting as a vessel that leads me to Emma and ultimately Gaia. And by that I mean the cosmic luve semantics point to Emma. I’m also getting the vibe that, in this case, Hailee, Emma, and Selena represent the past, present, and future respectively. 

Besides the rhetoric from my cosmic luves about permission I have been trying to get permission from Marcus Lemonis for months. Basically I have a song based on Marcus Lemonis’s business philosophy called “the three p’s” from his show “The Profit.” I have been emailing him and messaging him on twitter for months to years with no response.

Basically I really need his permission and a picture for the song, and I also wanna know if he wants to sponsor a music video or would invest in a project. I have been thinking about this for years. Basically I want to meet him, so I’ve been thinking I would get couch surfers and hang out in the town he lives with the hopes of getting to know the locals and his employees to get him to respond. I basically don’t know how to approach him so he’s not offended, will hear me out, and potentially say yes.

So I’ve been thinking about this and then I saw Emma’s picture, where she doesn’t have make up on and you can see lines on her face with a pixie cut, and I though of Marcus’s wife Bobbi. It seems like the semantic are pointing me to try and get ahold of and ask permission from Bobbi. 

This is only difficult and an issue because I don’t have the money to travel. Of course if I had the money I wouldn’t be chasing Marcus, I would be chasing Emma. I would probably be in England trying to meet Emma but I don’t have the money. I’m trying to get to Marcus for a business deal so I can get the money to chase her.

To conclude, like the Charlie Puth lady in yellow picture, it’s worth mentioning that a local cosmic luve sent me a picture that made me laugh on my birthday. Yes I have local cosmic luves, but I just don’t talk about them because their not public figures like Hailee, Selena, or Emma. However, I want to explain the coincidence real quick because Gaia has basically been building off previous semantic and also interjected in this month’s evidence. 

I have since deleted the post but when I was in the throes of my schizophrenia I essentially said (in a treaetise about Hailee) that Hailee Steinfeld was semantically representing R. Miller in her song “Most Girls” specifically at 1:49. I dismissed this because I was severely mentally ill until I wanted to contact Master P. Basically I like Master P as a businessman and want to do business with him so I looked up his real name. Turn out his name is Percy Robert Miller. I immediately thought of R. Miller. 

If that wasn’t enough, and tying in with the theme and coincidences, Miller recently featured a picture on her social media of a beautiful sunflower. R Miller is a friend and I asked if she wanted to be tagged and a picture of her sunflower picture but she hasn’t responded. With the theme I wanted to ask for permission especially because I think her instagram is private. But keeping with the coincidences, another Michigan female influencer (Megan from Detriot) I follow went to a sunflower festival. And I came across this message about bugs in food featuring a sunflower.

Some other tid bits. “Get a job” is trending from Games We Play, which he has been all on TikTok promoting the song. This came out the same time I quit my job. I decided to “coast” because I’m a year ahead on releases and the song is about quitting your job to work on your music career. Beyonce also has lyrics about quitting your job in her new “Renaissance” album which recently came out. 

So basically we have permission or need it. The question now seems to be “do you care?” The “Vibe on the Wave” hook that is similar to Hailee Steinfeld coast is overshadowed and pointing to paradox and by that I mean I hope. Hope coming in the form of Emma‘s product release on my birthday with a theme of the sun, asking for permission, and the throwback lady in yellow. 

To end I’ll ask this question. What’s crazier? Someone contacting you because they love you and have something to offer? Or Having a blog that with with your theory about your love for them and never have tried to contact them? I try to contact my cosmic luve’s and the people I talk about here because I think it’s kinda hollow unless I try.

Until next time. Consider leaving a tip if you like this. Thanks for reading. 

Sun poem

I am you I made you When they say “you’re bright,” “you’re glowing”, or “you’re radiant” you can best be assured you got that from me

And I tell you this because I love you like the stars love rain Like the earths vibration through you I feel and share myself

Like the elements of my dead body combine to be the coalescence of life Then gave birth to the very carbon lifeforms that can understand what I am How I love you I cradled you in my bussum I watched you as you took your first steps How your curiosity as child made you a conquerer in your adolecense

And although you may deny it, you still feel the pain of war The gnawing agony for more And as the lover you take, do you not ask  Are you satisfied my dear? Or even ask? Satisfied from what?

Do you not understand that Like penguins bond over pebbles Or finches sing and dance I love you like the stars love rain 

Like from the bacteria in the gut  The colony you Excrete aromatically I would take you then Like the forest and fonna  The earth blackend by your burn I would take you then Like the mineral salt in the ocean Was acidified by your hand I would take you then Like you were the diseased I was helpless by your side And all I could do is weep Like rain, even still I would take you then

I am better because I got to hold you I nurtured you from nothing  And as a faithful dog greets you when you get home everyday. I will always be there for you In good times and bad In sickness and health I love you like the stars love rain You made this worth it Your sun

[lunarnatalya]

💕Rising Sign Observations💕

Observations about the rising signs from the eyes of a Scorpio Rising watching you all from the corner with x-ray vision O_o... jk xD

🔥ARIES risings tend to embody this energy of being both slightly distant, slightly somewhere else, yet simultaneously very on edge and physically responsive to their surroundings. They can be very caring but their attention span isn’t very long so their sympathies can be kinda blunt in nature. They are not afraid of being in opposition with anyone (Aries/Mars being the God of War) so when they disagree with something you said or did, you will FEEL it especially if you’re a Water sign... they won’t make the effort to hide their facial expression, or posture or anything of that nature. Sun is exalted in Aries (in Vedic astrology), so everything shines through.

🌱TAURUS risings are very generous and giving, and it tends to be because they don’t want to get wrapped out in the complicated nature of 8th house stuff. They’d rather give to everyone and show their cards than find themselves feeling in debt to others, or like people are angry with them or anything. Of course out of the kindness of their Venusian hearts as well, but also just for peace.

🕊️GEMINI (I’m using a Dove because they are messengers just like Gemini) risings are super playful and easy to get along with, they make you feel comfortable and at home in conversation like you’ve known each other for years. The thing is, then you’ll see them talk the same way to someone else and some people, especially water signs will see this as a betrayal when they don’t mean to hurt anyone, they are just natural social 🦋s and want to extend the same kindness and communication to everyone. I’d imagine that the Geminis in question would be Rohini Nakshatra in Vedic astrology, which is described by astrologers as ‘babylike’ and wanting to experience bliss all the time much like babies do.

🦀CANCER risings, I’ve noticed are super sweet and kind, but because of their extreme sensitivity and vulnerability tend to be very taken aback if you do anything to make them feel out of their comfort zone or like their safety has been threatened. As soon as you do that, they’ll forgive you, but they will deem you as someone who they should be wary around- and of course they’ll bottle up their emotions about it. They forgive, but they also collect all of the things that have happened and emotionally hold onto them.

👑LEO risings I’ve noticed are very in their regal energy and confidence all the time not really taking things too seriously and more focused on just living an awesome life, but when personal things or things related to family or the heart come up even slightly, they get VERY fierce and something in them just seems to rise from within them. I’d guess it’s because the majority of the time, a Leo rising will have fierce, loving, protective and loyal Scorpio in the 4th house of home, family, and the heart space.

.🌿VIRGO risings have such a distinct energy! There’s something about them that you can’t miss- could relate to how in Vedic, most of the Virgo risings will be Leos. They have such a quiet authority and power and can be very dainty in their mannerisms and everything. They suppress their voice a lot and don’t speak up so that they don’t ‘make any mess’ socially or emotionally, and can be really hard on themselves in that way.

🌸LIBRA risings I’ve noticed, can be very cynical but very motivated to move forward nonetheless especially because they’d never want to let anybody else down. I think this also relates to how in Vedic, the Libras are mostly Virgos. They can be very picky about aesthetics especially! Libra risings are also often very quiet, but I think this one depends. The misalignment with Libra & Scorpio is a big reason why I stick with Vedic often too- Libras in western often don’t embody balance so much as the embody the pickiness of Virgo, and Scorpios in Western are often very artistic, relationship oriented, and scared to ‘tip the scales’ more like Libra... then Sagittarians are often very deep and tend to have troubled pasts and demons more like Scorpio. It’s not that Western placements are untrue, but my theory is that Western is showing us the physical world since it is showing us the sky as it is from Earth, but Vedic is showing us the non-physical. Sorry Libra, you got the rant xD

🔮SCORPIO risings- like maself- are very very almost dangerously deep thinkers. The thing is, having a Scorpio Sun or Moon can make you very deep thinking too, but the thing about Scorpio rising is that this mode of deep thinking is initiated in their IMMEDIATE, environment, because that’s what the rising sign is about. They don’t have to get emotional to do this, and don’t have this inner fire to pursue deep thinking like Scorpio Sun would, they just do immediately and instinctively and it can be very crazy making for us. We can zone out at the grocery store thinking about something super dark or something dark that happened from the past and really get trapped in our own bubble there. A lot of the Scorpio risings who relate to that are probably Swati in Vedic astrology- Swati struggles with this because Swati is the ultimate middle Nakshatra, so it is always attuned to the hidden world and ‘space inbetween’. 

💕SAGITTARIUS risings (heart emoji because I think Sagittarius risings need love, especially if you’re Jyeshta in Vedic) tend to be very secretive. They will do the ‘normal stuff’ like go to school/work, do normal every day stuff but they’ll often not fully divulge what’s going on emotionally (which is why to me it makes sense that Sagittarius becomes Scorpio in most cases in Vedic). I’ve noticed Sagittarius risings often don’t show up to social events either for mysterious reasons- they won’t really explain why or it’ll seem mysterious in nature but they won’t show up, and people tend to miss them/worry about them because of it.

✨CAPRICORN risings... okay hear me out, I have observed that they are quite adventurous, but in a very refined way. They aren’t all over the place trying to travel and try new things and be cray like the stereotype of Sagittarius, but they are wanting to try new things in a very sophisticated and planned out way. They are often super creative but their creativity always has purpose- like making a bookmark to use for the book they’re reading, or doing an artwork with the clear intention of giving it to someone, or putting it in a certain place on the wall they want to fill. Always with earthy, rich purpose.

🌟AQUARIUS risings, I’ve noticed are really good at knowing how to get a rise out of people and also knowing EXACTLY how people are going to react to what they’ll say or do. They are comfortable saying controversial things and speaking up about their opinions partially for this reason- if they already have the social and emotional awareness to know how people will react to their behaviour, they don’t have to be afraid of anything that comes their way as far as backlash goes because they already anticipated it! Smart cookies O_o

💫PISCES risings - aww man, I love you guys  💕 I’ve noticed a lot of Pisces risings tend to feel like outcasts in this world. They can feel very isolated and alienated and the infamous ‘charming awkwardness’ Pisces can have definitely comes from this feeling of being the ‘local weirdo’ lol. Pisces risings are amazing at bringing ideas to life as well, if they have an idea, they can explain it to you to a degree that they can make you feel like you BOTH had that idea and both have an emotional connection to it. Definitely relating to how Pisces will often become Aquarius in Vedic.

So that’s the end of my post on my observations about the Rising signs 💕 Subscribe to my YT Channel for videos on Astrology :) 

https://www.youtube.com/channel/UCRlHfp9V-Re62OmTwh5SROg

[feelingofcontent]

DNP Rewatch: Reading The Creepiest Email I’ve Ever Been Sent

Date video was published: 06/06/2019 (X)

DNP Main Channel Rewatch: 396

The last pre-coming-out video.

0:06 - I sincerely hope these are real subject lines of emails he has gotten because they are hilarious

0:16 - actually I’m not sure I want to know

0:22 - Phil idiom!

0:30 - he was really holding onto that email waiting to talk about it in a video for 10+ years 😂

0:57 - made himself laugh there with the dramatic reading, I love it

1:02 - young Phil actually reading through the whole email and then saving it rather than just deleting it immediately after seeing that subject line...

1:13 - they did get the spelling with one “L” correct!

1:27 - Phil coming up with names on the spot is always an adventure

1:30 - Phil’s face certainly did something there...he was definitely thinking something he decided not to say 👀

1:44 - did he forget about being creeped out by the “Philip”

1:47 - jesus christ and the “you just wait” 

2:06 - parts of this sound like it was written by a bot

2:21 - I use so many “...”s sorry Phil

2:34 - this is too early, but he did end up with a “YouTube colleague”

2:41 - he cannot hold it together because he knows what’s coming 

2:58 - I mean fair

3:10 - Phil does not like capital-letter-shouting

3:22 - sounds like a bot again

3:47 - it really does just keep getting weirder

4:14 - pretty sure when this came out it made me think VPMO 2 was coming soon...but nope, not for another year and a half

4:32 - Phil is hilarious. these editing inserts with the “Harold cam” are great. also, can’t decide if he did the “shaky cam” bit in editing or if Dan is holding the camera here filming these clips rather than having it on the tripod

4:52 - the dramatic pause! 😂

5:10 - he can’t even get words out

5:29 - Phil air-quotes!

5:36 - a more jarring jump-cut than usual there

5:41 - who would write this email and then be like, ‘yeah, gonna send that’ what even.

5:56 - what a summary

6:11 - Phil is giggling to himself so much in this one

6:22 - I like that this bit is “Susan’s” idea for some reason

6:30 - again with the dislike of the capital letter emphasis

6:34 - he really keeps glancing off to the side/looking behind the camera...now really wondering if Dan did help him film those other clips but was also in there while he was filming the rest

6:52 - “tickle me a bit on the side” dying 😂

6:55 - “they could have been hot” loud Phil! makes sense at this point

7:20 - more Phil air-quotes

7:34 - he didn’t even have anything to say about that one

7:45 - yeah that sounds like a threat more than a perk

8:09 - “it may sound strange” YOU THINK?!

8:28 - another side glance and then he breaks into laughter again. I’m going with the Dan-is-in-the-room theory

8:53 - love him naming PJ as a 2008 YouTube friend 😊

9:10 - what a journey that email is

9:24 - me either

9:57 - “more of something” I wonder if he knew at this point what the next video on his channel was going to be

9:59 - I bet that white dot annoyed him so much during editing he had to call it out with the annotation there

This is an enjoyable Phil anecdote. Also I’m sorry for including so many screen shots from this one except no I’m not. Phil looks so good in blue.

[infernal-fire]

five types of love.

what to expect: smut, swearing, friends w/ benefits arrangement, mention of Imposter syndrome, fluff, angst, heartbreak, overstimulation, implied creampie, rough sex

a/n: a little warning; you will be choosing your ending - there is a happy one and a sad one. a huge shoutout to @mollygetssherlockcoffee​ and @angrybirdcr​ for talking to me about the fic and offering such amazing advice! and @tuiccim​ was so damn lovely, even offered to beta this (though all mistakes are my own).

summary: you once heard that there were eight types of love. you only knew of five; the five that caused you to fall for one, blue-eyed menace.

Ludus: uncommitted, casual love that can attribute to a flirtatious and fun conquest. Not to be mistaken for Eros.

“I think we’re forgetting the reason why the mission failed in the first place. If the older fellow took a suggestion once in a-”

“-Tony, you know damn well that there were civilians in there.”

Steve and Tony glared at each other from across the briefing room. The tension in the room was exorbitant, but then again, it had been that way since Bucky joined the team. 

“This is exactly why we need the new girl. You super-soldiers and billionaires are getting tangled up in each others’ asses and forgetting about what it’s like for the normal people,” Rhodey sighed.

“The last thing we need is another trainee fucking up orders,” Tony snorted and began messing with his tech. The projector flipped through random screens, FRIDAY most likely filtering out the irrelevant news. 

“If you have a problem, maybe you should say it to his face,” Steve seethed, now standing up to match Tony’s stance. Usually, this type of jab at Bucky wouldn’t rile him up, but the super-soldier was at his wit’s end following the events of the latest mission.

Beside him, Bucky lightly tugged on his friend’s hand, signalling him to disengage.

“You’re with them?” Tony incredulously questioned Rhodey. 

“I’m with the idea of calming this room down.”

“Besides, she’s already been prepped for her first mission,” Natasha piped up. “We’re supposed to have a sit-down in 5 minutes... that is, if you boys can get your shit together.”

The room broke out into a chorus of muttering and everyone settled in their seats again. Captain strode to the front of the room and pulled up his game plan, fiddling with the map FRIDAY was projecting. 

You, on the other hand, could not decide how to act in front of the Avengers: Laidback? They wouldn’t take you seriously. Know-it-all? No, that was Stark’s play. Timid Tiffany? If you wanted to seem secretly conceited? Sure. That would work for now.

When Vision floated out to bring you in, you didn’t even flinch at the unforeseen phasing. Impressed at your lack of a reaction, Vision faltered before ever-so-courteously introducing himself. 

Could this sentient being laugh of his own volition? You gave him your name and dramatically curtsied to test your theory; he could laugh, and you were pleasantly surprised to find that it was not at all robotic. 

You felt the room intently eye you as you ambled to your seat beside one, blue-eyed menace. You half-expected the team to introduce themselves, but who were you kidding - anyone could hear the argument from three corridors away. There was no point in pretending like they wanted you here, but that wouldn’t deter you.

You glanced at your neighbour, met with the pleasant face of the one and only. James Buchanan Barnes was known to be a handsome devil, but the reputation of the Winter Soldier often precedes him; that, unfortunately, does not stop you from eyeing him. 

When he caught your stare, you scolded yourself. You’re such a creep. 

When he smirked at your ogling, you praised yourself. Oh, hello there. 

This is gonna be fun.

Eros: sexual, passionate love that is fueled by lust.

It didn’t happen after the first mission; he had the decency to wait until the fourth mission to knock on your door. 

You had been putting away the last of your belongings, finally adjusting to the grandiose living conditions the Avengers Tower provided.

As soon as you unlocked your knob, the door flung open; Bucky's stare was partially inhibited by his hooded eyes. He hadn’t always looked at you like that. 

Like what?

With unadulterated craving. 

That day, he strode in like he owned the place. You didn’t expect the shove that caused you to land on your bed with an oomph. Bucky wasted no time, climbing onto your form, straddling you. By the time you understood what was happening, a single finger was pressed into your lips.

“Either tell me you don’t want this right fucking now,” he leaned in, close to your face, “or shut the fuck up and let me use you.”

You whimpered in response.

“Not good enough.”

“Use me.”

That’s all the affirmation he needed. 

You pushed off the bed to try and meet his lips but he firmly pinned you down by your shoulders. Bucky reached into your panties and circled your clit without hesitation. It only took some swivelling, his intense gaze and the unexpected plunge of his fingers in your channel to make you see stars. Bucky had made you come before kissing you.

When he finally slotted his lips against yours, it was nothing short of all-consuming; you hadn’t even realized the absence of clothes on your body. Had it been ten minutes? Or thirty? It was hard to tell when you were being ravaged by another.

He made you come twice more: once with his fingers’ repeated dipping and pressing into the soft, spongy part of your cunt. The second time was with the talented sucking and flicking of his tongue. Technically, it was the third time.

None of your past partners had been this steadfast in their duty to pleasure you. You were already putty in his hands, ready to be moulded according to his needs. Part of you was ready to tap out, unable to fathom the likelihood of coming over his cock again, but the better half of you needed it.

In your orgasmic haze, you failed to notice that his clothes were being discarded - if you did, it would have given you the opportunity to gawk at the body that you so desperately wanted to see shirtless. When you finally registered his naked person, your hand involuntarily traced the connection between the metal arm and flesh. He threw his head back and groaned before kissing you again. 

He pulled off, just enough to get a good look. 

“Look at you, all fucked out. I didn’t even put my cock in.”

He pumped his shaft with fervour before pushing the blunt head against your slit. You winced at his attempt to put it in.

“Made you cum three times and you’re still too fucking tight,” he muttered and ran his length up and down your folds. Once he had accumulated enough slick he tried again, this time, successful.

You moaned as he slowly sunk in and buried his cock to its absolute limit. If the walls of your pussy had a voice, it would be absolutely hoarse. You also realized that he only bestowed the three orgasms in hopes of reprieving the pain of the stretch. Without the preparation, he might have torn you in half.

When he began moving, the only thing that was slow or soft about him was his lips against your skin. The thrusts were punishing; if it wasn’t obvious that he was angry before, this made it clear as day.

You screamed and moaned, alternating between keening and arching your back; the pleas did nothing to falter his furious pace. The smacking of your skin was only heightened by the slick that your cunt produced in attempts to accommodate his length. Every time he pulled out, his balls were connected to your sex with a string of come.

If someone told you that you could come five times within forty minutes, you would have face painted and dressed them up like a clown.

Now you laid in bed, being used like a rag doll, begging Bucky to stop you from coming a sixth time that session. It was usually the dirty talk that got you off, but he hadn’t said anything aside from the occasional ‘shut up’ or ‘shhh’. His movements alone had you convulsing around his length.

His thrusts didn’t get sloppy. Rather, they increased in force, as his cock sought space beyond your cervix. You tried to scream, but all that came out was more broken tears and cries. At last, he let out a pornographic moan as his load flooded your insides. Sure, you had let past boyfriends come in you, but you never actually felt the liquid shoot up inside you, until today.

Following the pop sound that his cock made as it pulled out, you whined again. You could feel your heartbeat throb down there. 

He flipped you onto your stomach and smacked your ass, laughing at the way you sobbed in pain before disappearing from your room altogether. 

He was gone as fast as he showed up. 

And he ruined everyone else for you.

In all fairness... you asked for it.

Philia: the deep, virtuous love that is formed in a good friendship. Lovers share a strong bond when Eros and Philia feed into each other.

What started as a release from the frustrations that accrue on the battlefield turned into a deep connection that neither of you had anticipated. Sex had only been used as a tool in the act of psychological detachment until that day. 

It was a failed date of some sort: either you had been stood up or the guy was a total moron. You could wrack your brain for the memory, but in any matter, it was all irrelevant now. 

You were upset, not just at your lack of a love life, but at the imposter syndrome that had weaselled its way into your liveliness. Feeling like you weren’t enough was catching up to your daily life and even Bucky had noticed the hesitation during your post-mission escapades. 

Before you knew it, your hand was knocking on Bucky’s door at the ripe hour of 1 AM. 

You heard the muffled thumps of his footsteps and considered booking it out of there, but before you made up your mind, the door opened.  As you had predicted, Bucky was wide-awake. 

“What?” 

You had wanted to sass him for his tone but decided against it since you were the one who interrupted his 1 AM activities. You shook your head from the clouds and mumbled incoherently, starting to walk away. The coldness of his metal arm abruptly gripped your wrist.

“Are you okay?”

You hated that question. You could be doing so good, holding in the burden of a horrible week, but the moment someone asks you that question, the dam would disintegrate into dust, only to be washed away by the inevitable waterworks. 

The sob you let out didn’t loosen his hold. He let you cry and watched as you tried to wipe away the unrelenting tears, still refusing to close the gap between your bodies. Finally, you shuffled into his arms where he bear-hugged you, cupping the back of your neck and holding it to the junction of his neck. 

"You smell nice,” you sniffled. 

He lightly chuckled before dragging you into his room and seating you on the bed. He ordered you to stay there and rummaged around his cupboard before pulling out a bottle with red liquid sloshing around. 

“You keep that in your room?” you snickered, wiping your nose with the back of your hand, before blanching at your state. Hell, he had seen you naked, how you look right now is the least of your concerns. 

“In case of emergencies,” he winked. “This seems like a real emergency.”

A fresh wave of tears pooled in your waterline as you peered at your hands that were picking at each other. 

“I don’t have wine glasses, so we can just chug.”

Bucky stuck out the bottle and you grasped it firmly before gulping one-fourth of it. That’s all the coaxing it took to get you to spill. 

You don’t even remember what you talked about, but before either of you realized, 3 AM blinked on the digital clock that hung above the bed frame. You were almost asleep, now resting on Bucky’s lap while he occasionally hummed or offered his two cents. Right before you drifted off, the super-soldier lifted you, placing you under a cover. He climbed in from the other side, one hand cupping your face, the other snaking around your waist.

“Thanks, Buck.”

“It’s gonna be okay. You’re okay,” he whispered.

Your eyes drooped but swiftly opened as Bucky leaned in, resting his forehead against yours. His lips barely touched yours, grazing their presence, but you moved, tenderly catching them. He returned the movement, the delicacy of his actions reflected in the softness of his eyes. 

You pulled away and the two of you wordlessly bore into each other’s eyes. At last, you succumbed to the fatigue, as did he; both of you resting in the others’ possession. 

Mania: an unhealthy, obsessive love that plagues the mind.

It was the third time Bucky didn’t show up at your door after a mission. Three missions, each of them ending in something that would have indubitably pissed him off - after all, they were HYDRA bases. That’s when you first suspected it.

The second was when you noted his intentional avoidance of your presence. Whether it be the kitchen, the gym or the hallways, the stealthy ex-assassin didn’t have trouble actively dodging you. Initially, you chalked it up to wanting space or simply taking a break.

Then you heard it.

Why was it that your gut told you to go right then? All this time you had been biding, yet it was at this precise moment that your hunch asked you to speak to him. It could’ve been the duration of the month that it took you to prepare yourself, but it had to be now. You raised your hand, prepping to knock on the door, but stopped.

Your hand froze mid-air. The elegant laugh of another girl sounded behind the door. It was faint, the noise slightly suppressed by the wall between you. 

It could be anyone. 

But it wasn’t. Your intuition, the one that told you to come here right now, was wise enough to know that this wasn’t just anyone. It was her. 

You cupped your mouth to stop the sob that threatened to liberate itself from the confines of your constricted airway. You fell forward, onto your knees, as if to pray to the gods to not let it happen. But it already did.  You let go of your mouth, gasping for air from holding your breath all this time. 

Shoulders sagged and spine bent, you stalked back to your room like a zombie. Face devoid of all emotion, you fell onto the corner of your bed and crumpled into a ball.  For twelve hours, you laid there. Sometimes sleeping, other times letting the tears leak out of the corners of your eyes. Memories of his fingers weaving through your own, the pleasures that chilled you to the bone. Most of all, the way you held his head to your chest as he whimpered about the nightmares that invaded his nights. It felt like those things happened to someone else. Nothing more than a distant memory.

Your heart clenched, tugging on the heartstring that you once thought was connected to him.

-

It was as if he knew you stood outside his door that day. There was an unspoken agreement to never speak of it. Yes, yes, don’t ever speak of it. The dam that you built so carefully will come crashing down.  He stopped avoiding you, but you wished he didn’t; it was crueller to be reminded, easier to pretend he didn’t exist. 

Be honest with yourself.

You didn’t pretend like he didn’t exist. 

In fact, the first thought after waking up? Bucky. Last thought before going to sleep? My Buck. Every time he wasn’t around? James Buchanan Barnes.

Please, don’t act like every waking moment isn’t spent loving him. Because deep down, you know what’s true.

He never did introduce the mystery girl to anyone at the Tower, but you knew his disappearance after missions could be credited to her. Did he take out his anger on her as he did to you? Or were you nothing more than a toy?

Guilt was one of the few emotions you could make out from the rare occasions you caught his stare. Longing was there too, but you couldn’t be sure that you weren’t projecting.  Months went by, waiting for thoughts of him to abandon your disturbed mind. The time never came.

As promised, he ruined anyone else for you. 

Pragma: the type of love that endures all shortcomings. Committed relationships that stay in love have an element of significant Pragma to them.

a happy ending.

That relationship may have ended but it didn’t mean he would come back to you.

He did come back. But he wasn’t yours.  Bucky made that clear when two more relationships ensued the last. Each time, the buffer period between them was filled by you. 

His back-up plan. That’s what you had been reduced to. 

After the third time he brought a new girl, you’d think you would be used to it, maybe even uncaring. Unfortunately, the opposite would always prevail.

Steve caught your fist and tutted, commenting on the bad form. You stopped, shook your shoulders and began hopping on the balls of your feet again.  Jab, jab. Swing.  At first, you’d imagine the faces of those girls. Nowadays, it was easier to envision the pads Steve held as his best friend’s face. 

“Bucky’s girl broke up with him.”

“Oh,” you made out, focus slightly wavering. 

“You know what happened?”

“Are you asking me ‘cause you wanna know or because you already know?”

“I already know,” he sighed, lowering the hand pads. 

He exhaled your name, shaking his and rubbing the bridge of his nose. “When are you two gonna stop playing around?”

“I really don’t understand, Steve.”

“You know why she broke up with him?” You blinked, tongue poking the inside of your cheek in anticipation of an answer. 

“He moaned your name during sex.” 

“God, that’s so corny,” you huffed, now beginning to make your way out of the boxing ring. 

“So what, you’re gonna do nothing? Keep letting him use you?” Steve jogged to catch up to you.

“No,” you faced him, “I’m not letting him use me as a fallback anymore. I’m putting an end to it.” 

Steve pursed his lips and shot you and exasperated look before shaking his head.  “Don’t let something good go to waste.”

It used to be something good.

You wondered if you could hold up the promise you had just declared to Steve; in the past, you failed every time he showed up at your door. Bucky knew exactly how to play into your emotions, how to say the right things every time. And just like that, the next morning you’d end up in his arms. That stops today.

Determined, you practically punched the button to go up on the elevator and impatiently tapped your foot. As the doors slid closed, you took one look at yourself and turned away, fighting the urge to fix your appearance for him. The doors opened again and you check the floor number, ready to step out, but stopped at the sound of your name.  His ex. You almost ran off, unwilling to put up with an angry ex, but she called on you again. You sheepishly stood there, as if you were the one who did something wrong, until she stepped in and pressed the button to go to the lobby.

The silence stretched on, much like your patience. Does she even know who you are?

“We were both fooling ourselves.”

You turn to check if she was speaking to you. Her stare was unwavering and she maintained eye contact that almost made you squirm.

“We both love different people.” She smiled, an obvious melancholy tainting her face. You stood there, absolutely clueless as to how you should respond.

“It’s too late for me, but it’s not for the two of you. Just... don’t let him go. He’s one of the good ones.”

You turned again, now looking down at the ground. Even if she expected you to say something back, it was impossible, at this point. Your mind was in shambles, everything she said contradicting the choice you made five minutes ago. 

After what seemed like an eternity, the doors opened and she stepped out. She turned one last time and nodded as if you knew what to do now. 

Bucky’s door was unlocked. You called out his name, barely above a whisper and sauntered with hesitation lining your every step.  Nothing. Empty. He wasn’t there. 

It was a sign. You almost ignored the advice his ex gave, ready to walk into his room and end things. Your shoulder slumped as if your bore the weight of the world on them as you slunk back to your room. Now it would take another outburst or another month to prepare yourself to talk to him again.

As the days went by, you barely saw him around. It reminded you of the times he intentionally ignored you, except this time, you weren’t sure it was intentional. When you did see him, it was clear that he wasn’t doing good; his beard was unkept and scraggly, the bags under his eyes heavier than any trauma he carried. You pretended as though you didn’t notice and went about your routine. 

1 AM

A knock sounded at your door. You knew who it was, how could you not, but hoped it wasn’t him anyway. The encounter would most likely end with tears or sex and you didn’t favour either outcome. 

You waited a minute. Maybe he would leave if he assumed you were asleep. The knock sounded again.

You cracked the door open.  Whatever you were expecting, surely, it wasn’t this. Eyes red and puffy, it was clear he had been crying and most definitely not sleeping. 

He held up a wine bottle, and chuckled pathetically at himself. 

“Maybe this is bad idea,” he sniffled and wiped his nose with the sleeve of his left arm. 

It didn’t feel right to say anything. Rather, you opened the door wider and beckoned for him to step in.

“Emergency?” you asked with a little smile. God, you were so close to crying and he hasn’t even said anything.

“Oh yeah. Big emergency.”

He sat on your bed and felt the sheets, trying to remember the feeling of it on his knees. The days he would buck into you while you clutched them like a vice. The soldier pursed his lips and watched as you settled beside him.

“You don’t have to talk... if you don’t want to,” you said. Your voice cracked and you almost smacked yourself for being so weak around him. 

“But I do. I should talk. I have so much to say... Can I explain?” He turned to face you, reaching out for your hands, holding them in his own. You didn’t say anything, opting to return his request with a pleading look in your eyes. He knew what the look meant: just don’t break my heart. Again. He took a deep breath in acknowledgement, trying to form the words that would help you understand. 

“I can’t believe I hurt you. I swear, I didn’t know I was doing it, at first.” You mustered your best unbelieving look, almost scoffing for good measure. “No, really,” he hastily added. 

A few tears streamed down your face and you frantically tried to wipe them. Bucky took one look at you before he began breaking down, tears slipping down his face.

“Sorry, I didn’t mean to cry... I just- I don’t understand? I thought things were good?” you questioned. You had given up on trying to wipe your tears, as did he.

“I wasn’t supposed to fall for you. And by the time I realized, we were so far in. Then I found a distraction... and I really thought I was over you,” he paused, wondering if he should continue or not. You showed no sign of speaking up, so he went on.

“I didn’t think you cared. I didn’t think you felt the same way. I was so convinced that you wouldn’t blink twice but then... but, I-... I heard you at the door that day. I wanted to kick her out and hold you, but I-...”

“But you what? You what, Bucky?”

“I thought it was too late for us. I thought I ruined everything.”

“Then why are you here now?”

“Don’t be mad,” he murmured, retracting his hands and fiddling with his fingers.

“I don’t think anyone can ever replace what we had. Maybe... still have? Because you’re it for me. I’m sorry it took me this long to realize that. I was on the brink of losing myself.” He looked up at you, eyes brimming with a new wave of tears. He mumbled your name weakly, croaking out a please at the end.

You curled in on yourself and fell into his arms, hoping that was enough of a answer.

“I can’t promise you that everything will be back to normal by tomorrow morning... but with some time, I can learn to trust you again.”

Above you, Bucky hurriedly nodded. At the state he’s in right now, you suspected that you could ask him to sell his soul and he would agree.

“And if you ever break my heart again-,” 

“-I would die before that happens,” he finished for you, kissing the top of your head for good measure.

“I love you,” you whimpered, “so fucking much.” 

“I love you too. I really love you too,” he affirmed and encased you with his arms again.

Though there had been some rough patches on the road to happiness, with Bucky by your side, you felt as though you could make it through anything; for that, is the power of pragmatic love.

an unfortunate ending.

The tears that would’ve been shed during the ceremony have dried on your pillowcase about five hours ago. Now, you sat beside the team, waiting for her to walk down the aisle. 

Bucky looked nervous, as if he were reconsidering his life decisions. The little devil on your shoulder was holding onto every little thing he did: the wrinkle of his forehead, his repeated tugging on the suit and his flustered glancing around. Oh lord, and when he accidentally locked eyes with you? You may have bitten your lip and looked away in contempt but the shoulder-devil was as persistent as ever.

He secretly still wants you.

Shut up.

He wants to call it off.

Get a life.

At last, the lucky girl stood at the end of the winding path and you couldn’t help but sneak a look at the groom. His tension and nervousness crumbled at the sight of her; it was difficult not to feel happy that he had found the one that made him feel this way. 

It may have been him for you, but that notion was long forgotten, a nuisance of memory at most. Your love for him, regardless of the storms it has endured, is no longer respected or wanted by either party.

If he loves her, why does he come to you when things get bad?

You shook your head at that, having no answer for the nature of his secret infidelity. It was nothing more than taking out his frustrations on you - much like the old days.

Your reminiscing was cut short when a voice asked everyone to rise for the bride. You stood and straightened out your outfit, flicking off the little white petal that clung to your maroon dress. A hand grasped your own, and you turned to see Steve smile reassuringly. You squeeze his hand in appreciation and turned your attention to the white-clad figure walking down the aisle.

And that’s all you remember. You wish you could recall the rest of the wedding. You really do. Too preoccupied with what was going to happen after the event, you disassociated from the ordeal altogether. No matter how hard you grilled yourself, nothing would come to mind - dissociative amnesia only occurs as a protective coping mechanism during traumatic events; was that what Bucky’s wedding was to you?

What type of question is that?

For once, you agreed with the little red beast that sat on your shoulder. Long ago, the first time you saw someone else Bucky’s arms, the devil pierced the pitchfork right through the angel’s heart. These days, it was all you could think of. 

After the bride and groom exchanged ‘I do’s’, you willed yourself to stay a while longer. Your only companion, Steve, slow danced with you in silence, knowing that whatever he says would be of no consolation. Bucky did have half a mind to ask you for a dance, but he saw you leave. You didn’t think anyone did. He waited for you to turn and look at him one last time, but you never did. It’s okay, he thought. I didn’t deserve her anyway.

No one saw you after that.

On your bed, Steve found a single note that didn’t explain anything more than what he already knew. If anything, it simply affirmed that you were gone for good. Your things packed up, no trace of a person ever having lived there. Even if he pulled some strings, it would take years to find you again. 

After all, you had already been lost for quite some time.

hey folks. i know this seems a little desperate-sounding but i would really appreciate reblogs and would absolutely love to hear your thoughts on the story. what was you favourite part? which part made you feel some way? i really love knowing these things. love each and every single one of you.

Masterlist

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[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

[jamlavender]

Gaslight, gatekeep, girlboss: Mrs Coulter, misogyny and the His Dark Materials TV show

The show went hard on misogyny as a vital part of Mrs Coulter’s backstory, and I want to talk about how they did it, and why, and how it might have been done better. This is quite long (when is anything I write not, let’s be real) so it’s under the cut. Read on for thoughts on women, power and fictional villainy.

As a quick disclaimer, though: I’ve enjoyed the show a lot! I’m so glad they made it! Ruth Wilson is mesmerising as Mrs Coulter! There’s so much to appreciate about the show overall, including many aspects of Mrs Coulter’s portrayal. But the HDM team have also made gender politics and misogyny very explicit themes of the show – particularly season two, particularly season two, episode five – and I think it’s fair to critique that.

Let’s be clear: Mrs Coulter is a villain. She murders kids by tearing out their souls. She kills and tortures friends and foes alike without a second thought. She abuses her daughter. She upholds and advances a totalitarian regime. She’s a Bad Person, as confirmed by God himself with the unforgettable line: “You are a cesspit of moral filth.” She’s fucking terrible, but, in life as in art, many of us are fascinated by how such awful people are made. What drives someone to commit atrocities? I am keen to see such questions examined in fiction, because I don’t think exploring a character necessarily means excusing their actions, and because it’s interesting (I mean, of course I find her fascinating, I’ve written a novel’s worth of fic about her). However, after a few snarky comments (“What sort of woman raised Father Graves, do you think?”) and some subtler commentary on sexuality, gender and power (her unsettling MacPhail with the key in the bra in S1E2), S2E5 drew a weird line between sexism in Mrs Coulter’s professional and academic life and her vast and senseless institutionalised child murder, and the longer I’ve sat with that the more I’m like: what the fuck?

Look, Mrs Coulter doesn’t tear apart children to search for sin inside them and poison Boreal and break a witch’s fingers because she’s experienced sexism in the workplace and in her education. That’s… a very odd thing to imply. We have to remember that there are lots of women in Lyra’s world, all of whom will also have experienced sexism, misogyny and other forms of marginalisation (many in more expansive and pernicious ways than Mrs Coulter, who’s a woman, yes, but also white, wealthy, highly educated and very thin and beautiful), and none of them are running arctic torture stations. She will have experienced misogyny, absolutely, and that will have affected her in various ways that inform how she approaches her work, but to imply that being denied a doctorate is the reason she became a sadistic killer is frankly bizarre. Here are a few of the lines from that episode with my commentary:

“Do you know who I could have been in this world?” What does this mean? If she’d been roughly the same person in our world, the answer is: Margaret Thatcher, which is probably a step down for Marisa, all things considered, because the Magisterium is far more autocratic than any recent Tory government and would be a much easier institutional environment in which to enact her cruelty. What we’re supposed to think, clearly, is that she’d have been a different person: a scientist and a mother, and she’s had this realisation because she saw a woman with a baby and a laptop and had a three-minute conversation with Mary. This doesn’t make sense. We live in our world! It’s less repressive than Lyra’s world but it’s hardly a gender utopia. If Mrs Coulter had chosen the scientist-and-mother life (which, as I’ll revisit later, she could have done in her world but chose not to because of her megalomaniac tendencies), she’d still have been affected by misogyny here too. Our world is not kind to young mothers, nor young women embroiled in scandals, nor is the world teeming with female physicists. It might be a little better, sure, but it’s hardly as if those gendered challenges would have been solved.  

“What do you mean she runs a department?” This is just the show forgetting its own canon. Marisa, you ran a massive government organisation (the GOB), including a huge murder science research initiative in the Arctic. That’s a much bigger undertaking and much more impressive than running a university department in our world. Pull yourself together.

“But because I was a woman, I was denied a doctorate by the Magisterium.” This is the show flagrantly ignoring the source material to make a clumsy political point. In the books, there are women with doctorates (notably Hannah Relf, also a major player in the new Book of Dust trilogy) and at least one women’s college full of female scholars. Now, would that women’s college likely be underfunded and disrespected compared to the men’s colleges? Almost certainly. But saying that is different than saying “I couldn’t get my doctorate!” when women in Lyra’s world can. The show knew what point they wanted to make, and were willing to ignore canon to do so, which is frustrating. Also, given that there are female academics and scientists in Lyra’s world, and that Mrs Coulter is a member of St Sophia’s college, it’s clear that she could have lived that life if she so desired. But she didn’t want that, because being a scientist and academic at St Sophia’s imbues her with no real power, and that’s what she craves.

I’m not opposed, in theory, to exploring Mrs Coulter and misogyny in more depth, but I think doing so through an examination of the sexual politics of her life would have made a lot more narrative sense and been much more powerful. It’s better evidenced in the text – her using her sexuality to manipulate people and taking lovers for political sway is entirely canon, as is her backstory where genuine love and lust blew up her life – and it links much more closely with the most shocking of her villainy, which involves cutting out children’s dæmons to stop them developing “troublesome thoughts and feelings,” referencing sexual and romantic desire (and what Lyra and Will do to save Dust is clearly a big ‘fuck you’ to those aims). She even says this to MacPhail in TAS, “If you thought for one moment that I would release my daughter into the care - the care! - of a body of men with a feverish obsession with sexuality, men with dirty fingernails, reeking of ancient sweat, men whose furtive imaginations would crawl over her body like cockroaches - if you thought I would expose my child to that, my Lord President, you are more stupid than you take me for.” Don’t get me wrong, she’d have been a villain regardless, but I do believe that there’s a much stronger link between her sexual and romantic experiences and her murder work than between professional and academic stifling and child murder. It would have been a lot more interesting and a lot less tenuous.

However, the show is trying to be family-friendly, and digging into why this terrible, cruel woman might want to cut the ability for desire and love (and other non-sexual adult feelings, I’m sure) out of people could get dark. We know that the show doesn’t want to go there, because they’ve actively toned down her weaponising her sexuality: in the books, she has an established sexual relationship with Boreal, whereas the show made it seem like she’s been stringing him along all this time, and made it about potentially ‘sharing a life’ together rather than fucking, which was clearly the arrangement in the books. Also, I think Ruth Wilson said she and Ariyon Bakare filmed a “steamy scene” together, and given that only a single chaste kiss between them aired it must have been cut. I think they deliberately minimised the sexual elements of the text, particularly regarding Mrs Coulter (the mountain scene with Asriel, which I did still love, was also a lot less horny than in the book) and replaced that with another gender issue, that of professional sexism, as if the two are interchangeable, which they are not. This is a shame, both for Mrs Coulter’s character and also for the story as a whole, because the characters’ relationships with sex and desire are an important part of the books! (If this minimised sexuality approach means that they don’t use the TAS scene where Asriel threatens to gag her and she tries to goad him into doing it, I’ll scream). Overall, I think they missed the mark here, which is a shame because I also think it could have been done well, if they’d been bolder and darker and more thoughtful.

Why might this happen? Why might the show take this approach? Why might it be latched onto by viewers? Personally, I think the conversations we have about women and power are very simplistic, which leaves us in a tight spot when we see women seizing power for themselves (even in fiction) and weaponising that against others, not just other women but people of all genders, because we struggle to move past ‘women have overall been denied power, so them taking it ‘back’ is good,’ even if that immediately becomes a hot mess of white, corporate feminism and results in the ongoing oppression of many people. I think we are so hungry for representations of powerful women that we – producers and viewers alike – struggle to see them as bad, because it’s uncomfortable to be so intoxicated by Mrs Coulter effortlessly dominating the men around her, subverting systems designed to marginalise her for her own benefit, and generally being aggressive and intelligent and ruthless, and then realise that you are entranced by someone who is, objectively, a terrible, terrible person. It can be hard to realise that if you channelled the energy of someone who mesmerises you, you’d be the villain. So instead of sitting with that (more on this below), a lot of legwork goes into reworking her villainy into, somehow, a just act, a result of oppression, as her taking back power that has been denied to her, rather than grappling with the fact that for anyone to desire power in such a merciless way, even if they have to overcome marginalisation to get it, is really, really dangerous.

The joy, of course, is that Mrs Coulter is not real! She’s not real! Adoring fictional characters does not mean condoning their (imaginary) decisions, nor do stories exist for each person in them to fit neatly into a good or bad box so you know who you’re allowed to love. Furthermore, fiction can be a fabulous tool for exploring and interrogating the parts of yourself that, if left to bloom unexamined, might perpetuate beliefs or behaviour that cause harm to others. Mrs Coulter doesn’t need to be a feminist or taking down the patriarchy or a righteous powerful woman to illuminate things about gender, power and feminism for those reading and watching. In fact, it’s important that we explore what happens when women (most commonly white, wealthy women, as she is) continue to perpetuate brutal systems under the guise of sticking it to ‘men,’ because it happens all the time in the real world, and it’s a serious issue. Finding characters like Mrs Coulter so cool and compelling doesn’t make you a bad person, but it might tell you something about yourself – not that you want to be a villain or kill kids or whatever, but something about how you relate to your gender or women or men or power – and that knowledge can be useful! We all have better and worse impulses, and finding art that helps us make sense of ourselves, both the good and bad parts, is a gift that we should relish.

Anyway, tl;dr, Mrs Coulter doesn’t need to be sympathetic or understandable or redeemable to be brilliant – but you wouldn’t know that from how she’s been portrayed in the new adaptation.